shaxper
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Post by shaxper on Feb 23, 2015 9:31:19 GMT -5
The color was a point I should have mentioned. I forget about it as I mostly have the series in the B&W collections. If they were going to color it, I think Tom Luth's straightforward style is the correct choice, but I think Sakai's art works best in black and white. The only time Usagi ever makes sense in color is when Stan does it himself with water colors (for example, in "Yokai"). Luth is a competent artist, but he never captures the subtlety of Stan's inks with his colors. |
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Post by coke & comics on Feb 27, 2015 0:56:56 GMT -5
"Warrior" Space Usagi #1-3 (January-March, 1996) Reprinted in Space Usagi  Summary:Part 1: Usagi is in a potentially dangerous training session involving koroshi-tama (kill globes) and is distracted by memories of Tomoe. Rhogen, still at the White Star Castle recovering from the recent adventures, saves Usagi and lays some much needed truth on his friend. At a ceremony where the lords are swearing their loyalty oaths to the young Lord Kiyoshi of the Shirohoshi Clan, he has just been greeted by Lord Kumano--who Kiyoshi claims his father Hideaki always trusted and counted in--when Rhogen interrupts. to say that he is leaving, but if called upon he will answer and protect the interests of the clan with his life (excepting some innocent smuggling). The ceremonies are again interrupted by the surprise appearance of Akira, Kiyoshi's uncle, who taught Usagi swordsmanship, but who has spent years wandering the stars like the ronin of old. Akira suggests Kiyoshi lead the expedition to recover the clan's hidden trease, and Kiyoshi's advisor Mitsubonu agrees with the plan. As Akira has his own business to attend to, Kiyoshi appoints Kumano to rule in his stead. Usagi is concerned for Kiyoshi's safety and has Dr. Takenoko implant a tracer in Kiyoshi. Soon after the voyage begins, Usagi encounters and kills a shape-changing lifeform that had been smuggled aboard and disguised itself as Kiyoshi. They are then under attack by Neko Stealth-Walkers and Rhogen!  Part 2: Rhogen kidnaps Kiyoshi and destroys their ship. Only Usagi escapes in a small ship. He uses the tracer to follow Kiyoshi to a planet filled with giant bugs called buggs. Usagi's ship crashes, but he is rescued by a nomadic bugg mining clan. Upon awakening he is greeted by Koto and Niu; Niu posseses a hatred of the Shirohoshi clan that is not uncommon amongst his clan, based on ancient events. Usagi asks the clan for aid in rescuing Kiyoshi. The offer aid and ask nothing in return, despite Niu's objections. Usagi promises to urge Kiyoshi to restore their clan into the ledgers of nobility. Usagi is accompanied by a party of 10. They are ambushed by the Neko and only Usagi and Koto escape. They learn Niu had betrayed them and been killed by the stealth-walkers after revealing their plans. Koto agrees to continue with Usagi to atone for Niu's dishonor. A small ship lands, and Rhogen alights, only to be shot by Usagi. Then another Rhogen appears behind him... Part 3: Secrets revealed and betrayals unmasked, tying into the adventures of the previous Space Usagi series. All leading to treasure, battle, and finally a conclusion. Thoughts: Premiering two months after the sudden ending of Usagi's Mirage series, this is the first Usagi comic published by Dark Horse. A new Usagi series will premiere after the conclusion of this miniseries, the one which continues to this day. Usagi has finally found a home. I am wary of referring to this as the conclusion of the Space Usagi trilogy for two reasons. One, are we absolutely certain Stan won't return to the character some day? (I for one would be in favor of this) Two, the second miniseries basically resolved the story from the first. And this is basically a new one. However, it does pick up right where the second one left off, and play off some plot threads. Usagi is upset about Tomoe's death. Kiyoshi is establishing himself as lord. Rhogen hasn't left yet. As in the previous series, Stan's strength at action sequences is particularly well on display. The final swordfight stands alongside the many great ones in the Usagi series. Stan's art remains distinguished here from the main Usagi series by being more details. Far more lines on characters than the more minimalist style we are used to. This series has also let Sakai indulge in his love of drawing strange creatures, and this arc is his best such effort, with the beautifully weird and intricate buggs of the world. It is really the art that makes this miniseries so excellent, but adventure, intrigue and solid storytelling carry you through the story. And I appreciate a good Lion King reference. |
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Post by Rob Allen on Nov 13, 2015 18:39:16 GMT -5
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Post by coke & comics on Nov 13, 2015 23:03:50 GMT -5
I knew this and really wanted to go. I made plans with friends to see it opening weekend. But then I had to go to Australia. I got back from Australia today. And I have two more days. But I have to be at work Monday. Portland is just not quite close enough. If you see it, tell me what you think. p.s. This thread will actually be resurrected one day. It is between series at the moment, so at a good breaking point. I intend to get back to it when I'm sure I have time to get to it regularly. |
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Post by coke & comics on Dec 30, 2015 0:35:45 GMT -5
"Origin Tale" from Usagi Yojimbo #1 (April, 1996) Reprinted in Usagi Yojimbo Book 10: The Brink of Life and Death  Summary: A recap of the origin of Usagi. Thoughts: This is a brief tale, illustrated prose with 4 beautiful splash pages.  Lots of the words are spent on the history and very little on Usagi's story itself. We are reminded of Usagi's lost lord, of the schemes of Hikiji, and of the names of some of Usagi's allies. The only possibly piece of new information is the suggestion that Usagi travels the Musha Shugyo (Warrior's Pilgrimage) to hone his spiritual and martial skills. While it seems clear he's been doing something like that, I can't recall it's been put explicitly. Still not quite explicit, as the comic merely says that many ronin do this. It only implies that Usagi is among them. Notes:With this short story, we see Usagi has finally found a home, an ongoing series which continues to this day, almost 20 years and 150 issues later! Ironic, given that the cover indicates this is issue 1 of 3. It did a few more issues than expected, I guess. Seems to be a similar situation to Marvel's Transformers comic. |
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shaxper
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Post by shaxper on Dec 30, 2015 0:48:35 GMT -5
He's ba-aack!  |
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Post by coke & comics on Dec 30, 2015 13:15:33 GMT -5
“Noodles” Usagi Yojimbo #1-2 (April-May, 1996) Reprinted in Usagi Yojimbo vol. 10: The Brink of Life and Death  Summary: Miyamoto Usagi comes to a new town to find a woman who seems to know him being chased by the police. The police get into a fight with Usagi and Yoriki Masuda warns him to pass through town quickly. It turns out the woman is Kitsune, who hid in the soba stand of a mute friend she calls Noodles. The magistrate pressures the yoriki to end the crime wave. The yoriki is well known for having a gambling problem. It turns out he is himself involved in the crime wave, because of his gambling debts to gangsters. Not realizing Noodles is an accomplice to a few purse snatchings, the yoriki frames him for the larger crime wave. Kitsune had secretly hoped that one day she and Noodles would make enough to settle down somewhere together, but knew that was not to be. The yoriki suggests to the magistrate that the normal process be rushed and Noodles' execution be immediate. Usagi and Kitsune rush to try to save Noodles... Thought: An important story as it will set the tone for everything to follow in this, his final ongoing series. I think the Mirage series made a poor choice to begin with the Ninja Turtles crossover rather than something a little more basic to establish the character for new audiences. In many ways, this is better. Much of it is very much a standard Usagi story. It is made notable by the tragic ending. It is certainly a powerful start to the new series. Perhaps too powerful. After all, where does one go from there? The opening page is a bit of humor before the storm. It consists of two contrasting panels: one with the yoriki and his police on a hunt; the other with Usagi saying to himself that "This town looks quiet enough."  I always like Stan's depictions of Kitsune's fan tricks.  I find the relationship between Usagi and Kitsune interesting. It speaks to Usagi's sense of morality, which is something I think we could all learn from. He does not approve of her thieving. "It's criminal," he says when asked. But when Kitsune tries to explain, Usagi says, "You don't have to justify yourself to me." It's that odd balance between not approving, but not judging either. A live-and-let-live attitude. Too often people fall into traps of dividing the world into right and wrong, failing to realize that morality is often a personal choice. Usagi will not steal, and he will not condone thievery. But nor will he condemn it, nor let his judgment of people be influenced by his own standards of morality. His morality is something he practices, not forces upon others. To me, the great power of the story is found in the second issue, when Usagi and Kitsune discuss options. Kitsune considers surrendering and Usagi thinks about catching the real thieves. This is suggestive of where the story will go, and is a familiar story. Noodles is framed. Usagi catches the villains and he gets freed. That is not how the story goes, but the hint that it might is powerful indeed. Noodles is a great character, perhaps modeled off Lennie from "Of Mice and Men". But the trope of a gentle giant is not uncommon. Powerful arms, but harmless because of his personality. See also Stephen King's "Green Mile", or more recently the character of Hodor from "A Song of Ice and Fire". He sells his noodles (that the noodles are terrible is a nice detail). He was attacked before by people afraid of him, and it's happening again. The Christian symbolism in what happens next seems clear, particularly with Kitsune's protests. We then see a look of rage in Usagi's eyes which is chilling, and again proves Stan is a master of his craft. Notes: The yoriki tells the gamblers that Usagi is an agent of Yuden, the oil merchant, who we met in #37 of the Fantagraphics series. |
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Post by coke & comics on Dec 30, 2015 13:20:21 GMT -5
Question for the audience. I'm attempting to use my scanner, though realizing it's quite difficult to scan pictures from trades. Hence the fuzziness along the edge and the crookedness. Do people prefer them full-sized as above (to see the picture better) or half-size as I've been doing in the Alias thread to interfere less with scrolling and reading?  |
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shaxper
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Post by shaxper on Dec 30, 2015 13:50:12 GMT -5
Oh man, Noodles. I'm going to start tearing up just thinking about it, I know.
In terms of image size, I would argue for something halfway between the two options presented -- big enough to read the words and appreciate the detail, but not so big as to overpower your words.
Or maybe just crop the scanned images so as to lock in on a particular panel or two instead of presenting the entire page when it isn't needed.
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Post by coke & comics on Dec 30, 2015 23:55:19 GMT -5
"Hebi"
from Usagi Yojimbo Book 7: Gen's Story
Reworked as part of Snakes & Blossoms story from Usagi Yojimbo Book 11: Seasons
Summary: While traveling, a snake nearly attacks Usagi and is killed by Gen. When they stop to rest at a temple, Gen becomes possessed by a snake disguised as an ama, seeking vengeance for her husband's murder.
Thoughts: A short and simple tale. Your basic demon snake story. Usual storytelling excellence. Always good to see the banter between Usagi and Gen.
Notes: This story was in an old printing of Usagi Yojimbo Book 7, but disappeared from later printings. It instead got combined with the tale "Courage of the Plum" and given a framing sequence, retitling it "Snakes and Blossoms".
The story is set sometime during Usagi's wanderings with Gen during the final issues of the original Fantagraphics series. The reimagining where Usagi tells the tale to the Bonze is likely set where Stan puts it in the trades, after issue 9 of the Dark Horse series.
I place the review here in line with its original publication date.
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Post by wildfire2099 on Dec 31, 2015 9:17:40 GMT -5
Noodles is a great one... Kitsune really shines in that one. She's not just a thief to be a foil, but a 3-dimensional character, which is rare for supporting characters in comics,
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shaxper
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Post by shaxper on Dec 31, 2015 10:28:56 GMT -5
Noodles is a great one... Kitsune really shines in that one. She's not just a thief to be a foil, but a 3-dimensional character, which is rare for supporting characters in comics, I've never liked Kitsune, and that story really sealed the deal for me. I felt she had a responsibility towards Noodles and should have blamed herself more than she did. |
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Post by coke & comics on Dec 31, 2015 13:46:36 GMT -5
Noodles is a great one... Kitsune really shines in that one. She's not just a thief to be a foil, but a 3-dimensional character, which is rare for supporting characters in comics, I've never liked Kitsune, and that story really sealed the deal for me. I felt she had a responsibility towards Noodles and should have blamed herself more than she did. He was framed for the crimes of the gamblers. His accessory to her minor crimes was entirely irrelevant and coincidental. And what good does blame do? |
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Crimebuster
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Post by Crimebuster on Dec 31, 2015 13:49:25 GMT -5
I'm not a huge fan of Kitsune either. I mean, I like her as a character, but not as a person, if that makes sense.
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shaxper
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Post by shaxper on Dec 31, 2015 14:26:39 GMT -5
I've never liked Kitsune, and that story really sealed the deal for me. I felt she had a responsibility towards Noodles and should have blamed herself more than she did. He was framed for the crimes of the gamblers. His accessory to her minor crimes was entirely irrelevant and coincidental. And what good does blame do? As a speechless character with simple reactions and an obliging nature, Noodles comes off as a child-like innocent. Kitsune is therefore responsible for him. What always troubled me about the character was how perfectly happy she seemed with her immorality, not just doing what she must to get by, as she would often brag, but enjoying it to boot. All of Sakai's other less than moral characters are either evil or uncomfortable with their ambiguous lifestyle. Kistune's unapologetic nature is what always bothered me, and when the child-like innocent she was responsible for (and using) dies horribly under her care, I want some sense of ownership -- I should have watched him more closely, I shouldn't have involved him in my lifestyle, etc etc. |
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