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Satsuma Gishiden (5 volumes) #1
Satsuma Gishiden Volume 1
This is the Edo-era samurai guts. Controversial, tough, angry, highly skilled and lost in a time of peace, the characters of Satsuma Gishiden tell a quasi-historical tale of social caste and brutal reprisal. Readers with a taste for Kazuo Koike's gritty Lone Wolf & Cub will go nuts for master gekiga artist Hiroshi Hirata's tome of samurai struggle. Hirata's art and calligraphy leap off the page during scenes of action, only to unfold upon a full bleed that looks like a fine plate print. It's art at is most expressive, accentuating the classic stoic samurai characters you've come to know, only with a little more true society thrown in to help the reader understand what it was really like to be a warrior without a war.
264 pages, Paperback
First published January 1, 2009
About the author
Hiroshi Hirata
49 books30 followersHiroshi Hirata (平田 弘史 Hirata Hiroshi?, born February 9, 1937, Japan) was a mangaka best known in the United States for the samurai manga series Satsuma Gishiden, which is published in the United States by Dark Horse Comics. Hirata's works belong to the subset of manga known as "gekiga" ("dramatic pictures"), and his artwork has a realistic style comparable to Goseki Kojima's work on Lone Wolf and Cub. He's also known for his use of elaborate calligraphy for dialogue, which has been preserved (though still translated) in the American editions of his work.
According to Frederik L. Schodt's Dreamland Japan: Writings on Modern Manga, famed Japanese author and militarist Yukio Mishima admired Hirata's work. Also, Usagi Yojimbo creator Stan Sakai has praised Hirata's artwork.
According to Frederik L. Schodt's Dreamland Japan: Writings on Modern Manga, famed Japanese author and militarist Yukio Mishima admired Hirata's work. Also, Usagi Yojimbo creator Stan Sakai has praised Hirata's artwork.
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Displaying 1 - 19 of 19 reviews
September 29, 2014
While the apotheosis of the Samurai as a way of life was probably the 'sengoku' or 'warring states'-period that was more-or-less done with in the first couple of decades that followed the battle of Sekigahara in 1600, the years of peace that accompanied the consolidation of power by the Tokugawa shogunate hold the strongest grip on the public imagination. The theme of the warrior cursed to have been born in a time of peace hits a deep, archetypal nerve; the American Western serves as a rough corollary, with the majority of tales set in the waning hours of the Frontier, from the end of the Civil War in 1865 to the proliferation of railroads, telegraph lines, and Cavalry Forts that encouraged rapid western expansion throughout the 1880's. The thematic similarities between the Samurai and the Gunslinger, Ronin and Outlaw, are demonstrated best in the Westernized film adaptations of Akira Kurosawa's 'Yojimbo' -- Sergio Leone's 'For a Few Dollars More', with Clint Eastwood lending his icy charisma to the role Toshiro Mifune made so unforgettable -- and 'Seven Samurai' -- as 'The Magnificent Seven', the 1960 John Sturges classic that featured Steve McQueen, Yul Brynner and Charles Bronson.
The brand of hard-hearted 70's gekiga/seinen manga that explored the bleakest and most horrific aspects of samurai culture, particularly the 20 000-plus pages of brilliant story-telling by Kazuo Koike and Goseki Kojima, as well as the lesser-known masterpiece 'Satsuma Gishiden' by Hiroshi Hirata, have their own parallels in the complex moral relativism and brutality that authors like Cormac McCarthy, Ron Hansen and Larry McMurtry introduced to the previously simplistic mythmaking of the American West. This realism was reflected in film as well; from Leone's spaghetti westerns and the thousands of exploding squibs in Sam Peckinpah's films, to the near-perfection of 'Unforgiven', there was a concerted effort to break free of genre clichés and create historical fiction in it's stead. 'Satsuma Gishiden' uses an almost academic tone at times, and while Hirata doesn't have the bottomless reservoir of incredibly clever plots that Koike does, he has a talent for creating scenes of gut-churning violence and cruelty that rival anything from 'Samurai Executioner'. The opening pages depict a ritualized contest between two opposing 'armies' of bored, frustrated, destitute samurai, organized by their feudal lord in an attempt to release pent-up hostility. Condemned criminals, their hands tied behind their backs, are put on horseback and told to ride for a large tree a half-mile-or-so away. If they reach it, they are given their freedom. In order to get there, however, they have to run a gauntlet between the two mounted teams of battle-ready samurai, all of whom are looking to use the condemned man's liver as a football... literally. With armored samurai hacking away with naked, razor-sharp katana and dotanuki, the criminal is soon reduced to a glistening crimson trail of severed limbs and spilt organs. The warriors pull no punches with one another, each one desperate for whatever scraps of glory they might gain from reaching the finish-line with the chunk of armless, headless torso containing the liver. The art and calligraphy Hirata uses in rendering the scene -- drawn from detailed historical accounts -- is typically unsettling and beautiful. The contrast between the elegant landscapes & architecture and the gruesome disregard for human suffering is both disturbing and compelling.
The most spectacular examples of Hirata's celebrated calligraphy are left intact and subtitled in Dark Horse's typically meticulous translation of the early 70's Gekiga. Hirata's artistic style is stunning, slightly more natural and detailed -- but otherwise very similar -- to the cinematic storytelling of Goseki Kojima. The social tensions that emerged in Edo-period Japanese society are explored in fascinating detail; as need for trained samurai steadily declined, the lowest class of warrior known as the 'Goshi', or peasant samurai, grew larger. Members of a once valued hereditary aristocracy, dedicated to the harsh strictures of the Bushido code, were now an inconvenience. Forced to do the work usually done by the peasant and merchant classes to avoid starvation, the Satsuma Daimyo declared that a wide variety of professions could only be completed by the Goshi. These frustrated samurai were still not happy about the situation, and exploited their various monopolies on professions they despised, extorting unfair prices and favors from any merchant who needed a store built, or any peasant requiring medical treatment. The higher classes of samurai, meanwhile, displayed an open contempt for the 'yam-eaters', perhaps uncomfortable being reminded of their steadily declining importance. They could lash out and kill the Goshi for any perceived slight, and any attempt at defending themselves or seeking vengeance could result in a death sentence that extended not just to the offender, but their family as well. Since death was not something the samurai feared, especially a starving samurai, stronger deterrents were required. The social and psychological complexities examined in 'Satsuma Gishiden' are fascinating. The artistry, emotional resonance, and historical authenticity have made it one of the most revered manga classics, and rightfully so.
The brand of hard-hearted 70's gekiga/seinen manga that explored the bleakest and most horrific aspects of samurai culture, particularly the 20 000-plus pages of brilliant story-telling by Kazuo Koike and Goseki Kojima, as well as the lesser-known masterpiece 'Satsuma Gishiden' by Hiroshi Hirata, have their own parallels in the complex moral relativism and brutality that authors like Cormac McCarthy, Ron Hansen and Larry McMurtry introduced to the previously simplistic mythmaking of the American West. This realism was reflected in film as well; from Leone's spaghetti westerns and the thousands of exploding squibs in Sam Peckinpah's films, to the near-perfection of 'Unforgiven', there was a concerted effort to break free of genre clichés and create historical fiction in it's stead. 'Satsuma Gishiden' uses an almost academic tone at times, and while Hirata doesn't have the bottomless reservoir of incredibly clever plots that Koike does, he has a talent for creating scenes of gut-churning violence and cruelty that rival anything from 'Samurai Executioner'. The opening pages depict a ritualized contest between two opposing 'armies' of bored, frustrated, destitute samurai, organized by their feudal lord in an attempt to release pent-up hostility. Condemned criminals, their hands tied behind their backs, are put on horseback and told to ride for a large tree a half-mile-or-so away. If they reach it, they are given their freedom. In order to get there, however, they have to run a gauntlet between the two mounted teams of battle-ready samurai, all of whom are looking to use the condemned man's liver as a football... literally. With armored samurai hacking away with naked, razor-sharp katana and dotanuki, the criminal is soon reduced to a glistening crimson trail of severed limbs and spilt organs. The warriors pull no punches with one another, each one desperate for whatever scraps of glory they might gain from reaching the finish-line with the chunk of armless, headless torso containing the liver. The art and calligraphy Hirata uses in rendering the scene -- drawn from detailed historical accounts -- is typically unsettling and beautiful. The contrast between the elegant landscapes & architecture and the gruesome disregard for human suffering is both disturbing and compelling.
The most spectacular examples of Hirata's celebrated calligraphy are left intact and subtitled in Dark Horse's typically meticulous translation of the early 70's Gekiga. Hirata's artistic style is stunning, slightly more natural and detailed -- but otherwise very similar -- to the cinematic storytelling of Goseki Kojima. The social tensions that emerged in Edo-period Japanese society are explored in fascinating detail; as need for trained samurai steadily declined, the lowest class of warrior known as the 'Goshi', or peasant samurai, grew larger. Members of a once valued hereditary aristocracy, dedicated to the harsh strictures of the Bushido code, were now an inconvenience. Forced to do the work usually done by the peasant and merchant classes to avoid starvation, the Satsuma Daimyo declared that a wide variety of professions could only be completed by the Goshi. These frustrated samurai were still not happy about the situation, and exploited their various monopolies on professions they despised, extorting unfair prices and favors from any merchant who needed a store built, or any peasant requiring medical treatment. The higher classes of samurai, meanwhile, displayed an open contempt for the 'yam-eaters', perhaps uncomfortable being reminded of their steadily declining importance. They could lash out and kill the Goshi for any perceived slight, and any attempt at defending themselves or seeking vengeance could result in a death sentence that extended not just to the offender, but their family as well. Since death was not something the samurai feared, especially a starving samurai, stronger deterrents were required. The social and psychological complexities examined in 'Satsuma Gishiden' are fascinating. The artistry, emotional resonance, and historical authenticity have made it one of the most revered manga classics, and rightfully so.
August 8, 2021
Eu assisti recentemente uma série no Netflix que conta sobre as guerras samurai até o ponto de unificação do Japão e a batalha de Sekigahara. A obra de Hiroshi Hirata caiu como uma luva, uma ficção histórica (graphic novel) ilustrando a decadência da cultura samurai num período de paz nas décadas seguintes a essa grande batalha, especialmente sobre o povo da região de Satsuma.
As ilustrações do autor são belíssimas, a forma em que ele encaixa nos curtos capítulos um pouco de história e exemplos que nos ajudam a construir a imagem (anti-intuitiva no meu caso) de como os samurais pensavam e se comportavam é super intrigante. A história principal, construída através de relatos de sofrimento e honra, é interessantíssima. Em breve devo encarar os outros dois volume!
PS - Edição de luxo da editora Pipoca e Nanquim -- no aguardo pelo volume, esgotado :(
As ilustrações do autor são belíssimas, a forma em que ele encaixa nos curtos capítulos um pouco de história e exemplos que nos ajudam a construir a imagem (anti-intuitiva no meu caso) de como os samurais pensavam e se comportavam é super intrigante. A história principal, construída através de relatos de sofrimento e honra, é interessantíssima. Em breve devo encarar os outros dois volume!
PS - Edição de luxo da editora Pipoca e Nanquim -- no aguardo pelo volume, esgotado :(
August 2, 2026
Una de las obras de samuráis que más me ha sorprendido por su enfoque. Crítica y dura con una realidad desgarradora. Es lo primero que leo de Hiroshi Hirata y me ha sorprendido gratamente. Su estilo de dibujo me recuerda al de otros maestros como Takehiko Inoue o el mismo Kentaro Miura. Si bien en este he visto un trazo más superficial, o suelto, no por ello deja de crear unos volúmenes espectaculares y transmitir la crudeza que merece la trama. Me ha gustado mucho el tratamiento de los rostros, en especial de los más maduros.
La edición en castellano, sin embargo, me parece que deja un poco que desear. Al menos para alguien tan puntilloso como un servidor. Faltan signos ortográficos tanto en la sinopsis como en las viñetas y hay palabras sin traducir cuando tienen su perfecta equivalencia en castellano ("stress" es un ejemplo). Tratándose de una edición profesional, me sorprende encontrar estos descuidos. En fin, no tiene por qué ser algo determinante de cara a no comprarlo; pero sí me ha hecho dudar de seguir la colección o no hacerlo.
La edición en castellano, sin embargo, me parece que deja un poco que desear. Al menos para alguien tan puntilloso como un servidor. Faltan signos ortográficos tanto en la sinopsis como en las viñetas y hay palabras sin traducir cuando tienen su perfecta equivalencia en castellano ("stress" es un ejemplo). Tratándose de una edición profesional, me sorprende encontrar estos descuidos. En fin, no tiene por qué ser algo determinante de cara a no comprarlo; pero sí me ha hecho dudar de seguir la colección o no hacerlo.
March 3, 2023
(4,1 of 5 for a nice semi-historic feudal Japan story)
I like this theme, best if sticking to history and Satsuma Gishiden fits that perfectly. It's great, heavy on information, morals, characters and action too. The art can be sometimes git chaotic, but otherwise, I really enjoyed it and flew through very fast. Now I wish I hadn't only the first volume...
I like this theme, best if sticking to history and Satsuma Gishiden fits that perfectly. It's great, heavy on information, morals, characters and action too. The art can be sometimes git chaotic, but otherwise, I really enjoyed it and flew through very fast. Now I wish I hadn't only the first volume...
January 22, 2008
This series took my breath away and left nothing to the imagination. Brutal, very graphic, and nothing like Lone Wolf and Cub series at all. Lone Wolf had a terrible and melancholic beauty both in the artwork and the stories, despite all the brutalities and pain contained within. But in Satsuma Gishiden there were only anger, too much anger and frustration, and bitterness that seemed to evaporate from every page and made me want to finish these books as soon as possible and be done with them.
January 17, 2013
The best of the series translated into English thus far. Very compelling story-line with a strong historical context. The areas dealing with impoverished samurai and their attempt to maintain dignity were very powerful. Brutal but representative of the strictly hierarchical social milieux in which the story takes place.
February 17, 2018
Un Japón con samurais sin mucho trabajo de "lo suyo", lucha de clases, espadas y blanco y negro. Genial.
Después de ponerle 4 le bajé a tres porque el final me pareció muy anti climático :-(
Después de ponerle 4 le bajé a tres porque el final me pareció muy anti climático :-(
Read
June 16, 202215/06/2022
•Primeiro mangá que li e gostei muito, tanto do estilo (mangá) quanto da obra em si
•Muito legal ver as tradições do Japão antigo, como era o código de honra dos samurais e como eles levavam isso à sério
•Bizarro a cena do pênis gigantesco do cara kkkkk
•Ilustração muito foda
•É extremamente rápido a leitura, fiquei até assustado, quase 500 páginas e li em 3 dias, sendo que daria pra ler em 1 tranquilamente
•Primeiro mangá que li e gostei muito, tanto do estilo (mangá) quanto da obra em si
•Muito legal ver as tradições do Japão antigo, como era o código de honra dos samurais e como eles levavam isso à sério
•Bizarro a cena do pênis gigantesco do cara kkkkk
•Ilustração muito foda
•É extremamente rápido a leitura, fiquei até assustado, quase 500 páginas e li em 3 dias, sendo que daria pra ler em 1 tranquilamente
November 17, 2017
Increíble, la distintiva forma de plasmar un Japón, donde la pobreza, en Satsuma, afectaba de forma brutal. Donde como regir su vida, se iba degradando de su codigo samurai.
Los personajes se volvieron más complejos al entrar en dilemas acerca de lo que realmente significa ser un samurai.
La discriminación entre clanes es muy evidente. Ricos y pobres separados.
Los personajes se volvieron más complejos al entrar en dilemas acerca de lo que realmente significa ser un samurai.
La discriminación entre clanes es muy evidente. Ricos y pobres separados.
September 2, 2019
Great art, painfully boring history
February 12, 2023
4.5 stars.
March 28, 2026
una buena historia de samurais, con bastante idiosincrasia e historia. el dibujo un poco irregular
April 27, 2026
Na razie porywa tylko ilustracjami, fabuła za bardzo skacze i próbuje na głównie zarysowywać scenerię historii i powoli zasiewać zalążek akcji, zamiast ciągnąć ją do przodu
March 4, 2011
If you like things like Samurai Executioner and Lone Wolf and Cub, you will probably like this as well. This is a tale of samurai who have fallen into poverty and hard times, and they try to preserve their honor and dignity. Not always an easy task. The story starts fast and graphic (a scene where a convict is to be killed), and the pace pretty much remains fairly quick for the narrative. Like other works in this genre, it is very evocative of the era it presents. The art is very well suited to the story. My only issue is that this volume ends just as the story is picking up an important plot. I hope I can find the next title, though I have learned Black Horse discontinued the series after the third volume. A pity, since this is clearly a good piece of work.
December 27, 2012
I was hoping for more manga in the style of Lone Wolf and Cub. It doesn't exactly follow one person around. It follows the Samurai of Satsuma, which makes for an interesting read. The first book feels like a good introduction.
Read
July 25, 2011Bien.
Want to Read
June 14, 2016FALSE
August 9, 2010
Brutal!
April 11, 2017
This was okay. Maybe it was just not the right time for me to read this particular book, but I had a difficult time following the plot. It seemed like the timeline was skipping into the past, but that was not explained and so it came off as disjointed and confusing. Not sure if I'll be reading more or not. The art was lovely though and I did learn a little more about Japanese class culture and structure.
Displaying 1 - 19 of 19 reviews