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Usagi Yojimbo [兎用心棒] #12
Grasscutter
Book by Stan Sakai
246 pages, Paperback
First published August 1, 1999
45 people are currently reading
304 people want to read
About the author
Stan Sakai
920 books372 followersStan Sakai (Japanese: 坂井 スタンSakai Sutan; born May 25, 1953) is an artist who became known as an Eisner Award-winning comic book originator.
Born in Kyoto, Sakai grew up in Hawaii and studied fine arts at the University of Hawaii. He later attended the Art Center College of Design in Pasadena, California. He and his wife, Sharon, presently reside and work in Pasadena.
He began his career by lettering comic books (notably Groo the Wanderer by Sergio Aragonés and Mark Evanier) and became famous with the production of Usagi Yojimbo, the epic saga of Miyamoto Usagi, a samurai rabbit living in late-sixteenth and early-seventeenth-century Japan. First published in 1984, the comic continues to this day, with Sakai as the lone author and nearly-sole artist (Tom Luth serves as the main colorist on the series, and Sergio Aragonés has made two small contributions to the series: the story "Broken Ritual" is based on an idea by Aragonés, and he served as a guest inker for the black and white version of the story "Return to Adachi Plain" that is featured in the Volume 11 trade paper-back edition of Usagi Yojimbo). He also made a futuristic spin-off series Space Usagi. His favorite movie is Satomi Hakkenden (1959).
Born in Kyoto, Sakai grew up in Hawaii and studied fine arts at the University of Hawaii. He later attended the Art Center College of Design in Pasadena, California. He and his wife, Sharon, presently reside and work in Pasadena.
He began his career by lettering comic books (notably Groo the Wanderer by Sergio Aragonés and Mark Evanier) and became famous with the production of Usagi Yojimbo, the epic saga of Miyamoto Usagi, a samurai rabbit living in late-sixteenth and early-seventeenth-century Japan. First published in 1984, the comic continues to this day, with Sakai as the lone author and nearly-sole artist (Tom Luth serves as the main colorist on the series, and Sergio Aragonés has made two small contributions to the series: the story "Broken Ritual" is based on an idea by Aragonés, and he served as a guest inker for the black and white version of the story "Return to Adachi Plain" that is featured in the Volume 11 trade paper-back edition of Usagi Yojimbo). He also made a futuristic spin-off series Space Usagi. His favorite movie is Satomi Hakkenden (1959).
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Displaying 1 - 30 of 65 reviews
August 18, 2021
Stan Sakai sneakingly gave us a saga that incorporated elements from several single issue stories over the course of the entire series to date. It does start off a tad slow with 4 prologues, only one of which was needed. But then we get to the meat of the story. The legendary sword of the emperor, Grasscutter, is recovered after 400 years setting off a chase for the sword. The crazed demon Jei returns as well. This story has it all, action betrayal, demons, witches.
July 28, 2011
[Review of whole series.]
Back in what I imagine was 1986* I walked into my local comic book store for the latest issue of Power Pack and saw there was an artist doing a signing. He was the letterer for Groo the Wanderer and a creator of indie black-and-white comics. I didn’t approach his table. Not only was I painfully shy as a child (I would have been in sixth grade or so at this time), but I felt bad for this creator and didn’t want him to see the pity in my eyes. After all, he wasn’t good enough to work on color comics. Color comics like Power Pack.
I was a moron. That creator was Stan Sakai. And I’ve been regretting the ignorance of my youth ever since.
It wasn’t until late 1998 that I first encountered Usagi Yojimbo firsthand when I had one of the final issues of the “Grasscutter” storyline slipped into my pull list at my local store. Rather than return the book for a refund, I thought I’d give it a shot. After all, I’d heard of the rabbit samurai by that point and I was looking for new ways to distance myself from the superhero genre, a market of the medium with which I had been growing increasingly disenchanted. It was really much better than I expected a book starring people with animal heads to be. I waited a few months more for “Grasscutter” to be collected so I could get a little more context. And a month after reading “Grasscutter,” I had every volume of Usagi Yojimbo I could find. Sakai’s creation was invigourating.
Usagi Yojimbo is the story of a fictional, idealized, totemic, and somewhat historical Japan. It is a story told by following (primarily) a single wandering ronin as he follows the way of the samurai, seeking enlightenment, honour, justice, and the beauty of living. Due to his wandering nature, the reader encounters a breadth of stories, regions, and cultures. These tales unfold circa 1627 and create, despite their (sometimes) almost mythical hue, a worthwhile vantage into real and historical Japan.
Sakai peppers his narrative with the fruit of a lot of research. The most popular of his stories, “Grasscutter,” begins with a lengthy-though-entertaining excursus into the mythological origins of Japan and her people. A shorter story, “Daisho,” explains the craft with which the samurai’s sword-pair is forged and the importance those two swords (called daisho) hold to their owners. Other chapters include overtly educational bits on kite-making, pottery-making, and the intrusion of the West into the Far East. And even when he isn’t completely halting his telling in order to instruct the reader, Sakai weaves a story that posits a seamless, discreet form of education—taking part in the story by simply reading it, Sakai’s audience is constantly learning more and more about a dead and foreign culture.
One of Sakai’s great talents is in his visual storytelling. His art flows naturally and his panel design is masterful. Some of the most beautiful pages are silent and filled with panels; each of these panels illustrates part of a picture-story that initially seems unrelated to the narrative intent but ends up providing context or mood for everything that is to follow. Sakai’s art has a wonderful, lyrical quality to it and it’s incredible that he’s been able to maintain his more-than-twenty-five-year schedule of producing one chapter per month. He really is one of the best creators in the medium.
Usagi Miyamoto, a long-eared samurai based on Musashi Miyamoto, is a near-master swordsman. Having lost his lord to a betrayal on a battlefield years earlier, Usagi has taken to wandering Japan on a warrior’s pilgrimage. As he follows wherever his paths lead him, he hones his skills, meditates on the way of life, and interacts with those whom he meets on the road. The rabbit’s nomadic nature allows Sakai to easily structure the book episodically, with many stories self-contained in a single chapter. Typically, the author will interject a sustained story arch in between groups of five or more shorter tales. Still, despite the book’s episodic nature, Sakai manages to keep a fairly large stable of recurring characters who help to build reader-investment in Usagi’s world.
Usagi is a morally upright figure who lives by a strict code of honour and generally prefers non-violent solutions. Regardless, because of his abilities, his willingness to assist the oppressed, and the general anarchy of the land, Usagi has personally killed more people on-page than probably any single real-world figure has throughout history.** Yet for a book filled with so much violence, Usagi Yojimbo is a nearly sterile work. Opponents die from deep sword cuts, but there is rarely any kind of blood shown—and never any viscera. Just as Usagi himself does not tend to rejoice in the violent outcome of his circumstances, neither does Sakai seem to relish gratuitous visualizations of what must be horrible deaths. For this reason, despite all the killing, Usagi Yojimbo may be an entirely appropriate and wonderful read for even an older elementary student.
One of the great things about watching a series and creator evolve over twenty-five years is that progress and growth are tangible. Improvement in craft becomes easily evident. One of the not-so-great things about it, though, is that there is the early stuff to contend with, the material produced when the creator was still feeling his way around. Before he had time to grow comfortable with his art style. Before his writing could find its pace and voice.
On the left, Usagi as he originally appeared in 1984.
On the right, Usagi as he appeared in 1998.
Like with Fables (though not as grievously), I find myself conflicted when recommending Usagi Yojimbo. The first volume is really just not at all representative of the wonderful stories that fill the book’s twenty-four other volumes. The art is hard and abrupt, and there isn’t enough of a narrative to endear the reader to any of its stories. The first volume’s importance lies in its introduction of several recurring characters, including Usagi himself. My only fear is that some will approach the first volume only to give up on an otherwise stellar series.
[review courtesy of Good Ok Bad]
Back in what I imagine was 1986* I walked into my local comic book store for the latest issue of Power Pack and saw there was an artist doing a signing. He was the letterer for Groo the Wanderer and a creator of indie black-and-white comics. I didn’t approach his table. Not only was I painfully shy as a child (I would have been in sixth grade or so at this time), but I felt bad for this creator and didn’t want him to see the pity in my eyes. After all, he wasn’t good enough to work on color comics. Color comics like Power Pack.
I was a moron. That creator was Stan Sakai. And I’ve been regretting the ignorance of my youth ever since.
It wasn’t until late 1998 that I first encountered Usagi Yojimbo firsthand when I had one of the final issues of the “Grasscutter” storyline slipped into my pull list at my local store. Rather than return the book for a refund, I thought I’d give it a shot. After all, I’d heard of the rabbit samurai by that point and I was looking for new ways to distance myself from the superhero genre, a market of the medium with which I had been growing increasingly disenchanted. It was really much better than I expected a book starring people with animal heads to be. I waited a few months more for “Grasscutter” to be collected so I could get a little more context. And a month after reading “Grasscutter,” I had every volume of Usagi Yojimbo I could find. Sakai’s creation was invigourating.
Usagi Yojimbo is the story of a fictional, idealized, totemic, and somewhat historical Japan. It is a story told by following (primarily) a single wandering ronin as he follows the way of the samurai, seeking enlightenment, honour, justice, and the beauty of living. Due to his wandering nature, the reader encounters a breadth of stories, regions, and cultures. These tales unfold circa 1627 and create, despite their (sometimes) almost mythical hue, a worthwhile vantage into real and historical Japan.
Sakai peppers his narrative with the fruit of a lot of research. The most popular of his stories, “Grasscutter,” begins with a lengthy-though-entertaining excursus into the mythological origins of Japan and her people. A shorter story, “Daisho,” explains the craft with which the samurai’s sword-pair is forged and the importance those two swords (called daisho) hold to their owners. Other chapters include overtly educational bits on kite-making, pottery-making, and the intrusion of the West into the Far East. And even when he isn’t completely halting his telling in order to instruct the reader, Sakai weaves a story that posits a seamless, discreet form of education—taking part in the story by simply reading it, Sakai’s audience is constantly learning more and more about a dead and foreign culture.
One of Sakai’s great talents is in his visual storytelling. His art flows naturally and his panel design is masterful. Some of the most beautiful pages are silent and filled with panels; each of these panels illustrates part of a picture-story that initially seems unrelated to the narrative intent but ends up providing context or mood for everything that is to follow. Sakai’s art has a wonderful, lyrical quality to it and it’s incredible that he’s been able to maintain his more-than-twenty-five-year schedule of producing one chapter per month. He really is one of the best creators in the medium.
Usagi Miyamoto, a long-eared samurai based on Musashi Miyamoto, is a near-master swordsman. Having lost his lord to a betrayal on a battlefield years earlier, Usagi has taken to wandering Japan on a warrior’s pilgrimage. As he follows wherever his paths lead him, he hones his skills, meditates on the way of life, and interacts with those whom he meets on the road. The rabbit’s nomadic nature allows Sakai to easily structure the book episodically, with many stories self-contained in a single chapter. Typically, the author will interject a sustained story arch in between groups of five or more shorter tales. Still, despite the book’s episodic nature, Sakai manages to keep a fairly large stable of recurring characters who help to build reader-investment in Usagi’s world.
Usagi is a morally upright figure who lives by a strict code of honour and generally prefers non-violent solutions. Regardless, because of his abilities, his willingness to assist the oppressed, and the general anarchy of the land, Usagi has personally killed more people on-page than probably any single real-world figure has throughout history.** Yet for a book filled with so much violence, Usagi Yojimbo is a nearly sterile work. Opponents die from deep sword cuts, but there is rarely any kind of blood shown—and never any viscera. Just as Usagi himself does not tend to rejoice in the violent outcome of his circumstances, neither does Sakai seem to relish gratuitous visualizations of what must be horrible deaths. For this reason, despite all the killing, Usagi Yojimbo may be an entirely appropriate and wonderful read for even an older elementary student.
One of the great things about watching a series and creator evolve over twenty-five years is that progress and growth are tangible. Improvement in craft becomes easily evident. One of the not-so-great things about it, though, is that there is the early stuff to contend with, the material produced when the creator was still feeling his way around. Before he had time to grow comfortable with his art style. Before his writing could find its pace and voice.
On the left, Usagi as he originally appeared in 1984.
On the right, Usagi as he appeared in 1998.
Like with Fables (though not as grievously), I find myself conflicted when recommending Usagi Yojimbo. The first volume is really just not at all representative of the wonderful stories that fill the book’s twenty-four other volumes. The art is hard and abrupt, and there isn’t enough of a narrative to endear the reader to any of its stories. The first volume’s importance lies in its introduction of several recurring characters, including Usagi himself. My only fear is that some will approach the first volume only to give up on an otherwise stellar series.
Notes*All dates mentioned herein are rough approximations based on my own sorely used memories.
**This may be an exaggeration, but it’s not much of one.
[review courtesy of Good Ok Bad]
June 10, 2024
On my second reading of Grasscutter, I'd say it's Sakai's best work at this stage of Usagi's tale. The art is crisp, the story is serpentine and brings back many characters from past tales. The word 'epic' has lost all meaning but this is an epic tale and would have been a great way to end the series if Sakai had chosen to stop. Easy five out of five stars with the caveat of it being one of the few Usagi tales that would be impenetrable to newcomers.
August 27, 2020
Ostří trav/Grasscutter je celosvětově oceňovaný příběh v rámci Usagiho dobrodružství. Stan tady zabrousí do japonské mytologické historie, kterou dokonce pro účely příběhu převypráví. Což není tak záživné jako zbytek příběhu, ale kontext je důležitý. Zbytek je ale napínavý a potěší návrat oblíbených postav jako je Tomoe, Noriyuki, Jei a můj oblíbený generál Ikeda. Ač je Ostří trav jeden z těch epičtějších příběhů a v tomto ohledu je skvělý, pro mě to není ten nejlepší a je mnoho jiných, které mě bavily či mnou rezonovaly více. Bezpochyby se ale jedná o jeden z lepších ucelených příběhů.
April 6, 2019
4.5 stars
January 29, 2019
This is superb. It's as if the previous 11 volumes prepared the ground for one epic finish. I admit it's a bit slow at the start with all the legend backstory but after 50 or so pages it catches up and completely destroys your insufficient perception of tying up sub-plots to conclude to a grander scheme. :')
Surely, fate played a huge part of bringing Usagi to the coast when the Grasscutter emerged (now that i'm talking about the crab scene, how awesome are you Mister Stan by using Heikea Japonica Crabs?! My mind was blown fucking away when i read the backstory of them) or Jei meeting the creature carrying the sword when Usagi and Gen were after it. But i mean, we're talking about early 17th century Japan where the supernatural element is thriving, is only logical fate is the master puppeteer of the protagonists' lives. More than their own actions as you could tell that whatever they did, they would end up like there.
I also loved the Tomoe-Ikeda dynamic. Really cool to play it with mutual respect till the end. The whole story was entertaining and thrilling, one of the best sequences in comic form i've read in a long time. No surprise in winning an eisner, for sure. I was extremely tired, hammered and almost sleeping standing and still couldn't stop reading till it was finished.
And the end was beautiful in it's simplicity. With these grand tales, usually no end is good enough. This time, it was just what you needed to be even more hyped (if that's possible, which i think not :P). The story notes were full of info, apart from the comic Sakai offers us top quality information about Japan's history and culture. Extra points for that even if i think that at this point, there is no need to emphasize more on how much i like Usagi.
Go read the Grasscutter,like, now. Even if you haven't touched Usagi before, you'll still have a great fucking time.
Surely, fate played a huge part of bringing Usagi to the coast when the Grasscutter emerged (now that i'm talking about the crab scene, how awesome are you Mister Stan by using Heikea Japonica Crabs?! My mind was blown fucking away when i read the backstory of them) or Jei meeting the creature carrying the sword when Usagi and Gen were after it. But i mean, we're talking about early 17th century Japan where the supernatural element is thriving, is only logical fate is the master puppeteer of the protagonists' lives. More than their own actions as you could tell that whatever they did, they would end up like there.
I also loved the Tomoe-Ikeda dynamic. Really cool to play it with mutual respect till the end. The whole story was entertaining and thrilling, one of the best sequences in comic form i've read in a long time. No surprise in winning an eisner, for sure. I was extremely tired, hammered and almost sleeping standing and still couldn't stop reading till it was finished.
And the end was beautiful in it's simplicity. With these grand tales, usually no end is good enough. This time, it was just what you needed to be even more hyped (if that's possible, which i think not :P). The story notes were full of info, apart from the comic Sakai offers us top quality information about Japan's history and culture. Extra points for that even if i think that at this point, there is no need to emphasize more on how much i like Usagi.
Go read the Grasscutter,like, now. Even if you haven't touched Usagi before, you'll still have a great fucking time.
November 13, 2021
It seems like every 5-6 volumes, Sakai gathers up the plotlines he's presented previously and ties them up into an epic storyline. Grasscutter is one of these, and is the most epic one so far. But it does make you work for it.
The volume begins with 4 different prologues, illustrating myths and legends that set up the Grasscutter sword's history and importance. These are a different style for Sakai, but work very well. And they pay off almost immediately, as Usagi, Gen, Jei, Tomoe, Lord Noriyoki, Sanshibo, and other characters long-known or recently introduced all end up taking pivotal roles in paralleling stories that circle around the blade, and lead to some massive, long-expected match-ups. Every character gets epic moments, and the conflict has serious ramifications for the region. Every character also feels true to what they have been before, even as it leads to new challenges, dilemmas, and some impressive action. Honestly, if this had been the final volume of Usagi, it would have all been worth it. Definitely a high point of the series so far.
The volume begins with 4 different prologues, illustrating myths and legends that set up the Grasscutter sword's history and importance. These are a different style for Sakai, but work very well. And they pay off almost immediately, as Usagi, Gen, Jei, Tomoe, Lord Noriyoki, Sanshibo, and other characters long-known or recently introduced all end up taking pivotal roles in paralleling stories that circle around the blade, and lead to some massive, long-expected match-ups. Every character gets epic moments, and the conflict has serious ramifications for the region. Every character also feels true to what they have been before, even as it leads to new challenges, dilemmas, and some impressive action. Honestly, if this had been the final volume of Usagi, it would have all been worth it. Definitely a high point of the series so far.
February 5, 2018
Starts off a little slow, but quickly picks up. As for the over-arching story as a whole, things are really starting to get interesting! I can finally see a much bigger plot developing, instead of just passing references to previous adventures, which is very exciting.
And the ending!
And the ending!
February 17, 2021
Stan Sakain "Usagi Yojimbo, Vol. 12: Grasscutter" (Dark Horse, 1999) on eräs sarjakuvan pisimmistä ja kunnianhimoisimmista tarinakokonaisuuksista, johon sotketaan mukaan Japanin historiaa, myyttejä ja fantasiaolentoja, hovijuonitteluja ja aikaisemmista tarinoista tuttuja henkilöitä. Ehkä elementtejä on vähän liikaakin, voisi joku sanoa, mutta onhan tämä silti komea albumi!
September 27, 2024
Best book in the series so far and very worthy of all the praise it gets. One of my favorite comics ever.
October 4, 2021
This is a cumulative review of the 35 volumes of collected Usagi Yojimbo stories that have been published to date. They span a 37-year history, from the first published Usagi story in Albedo Anthropomorphic #2, across the first seven volumes published by Fantagraphics, across the next 24 volumes published by Dark Horse, and finally across the most recent three volumes published by IDW, bringing us to Usagi Yojimbo v35: Homecoming, published in 2021. This review does not include the volumes Space Usagi, Usagi Yojimbo: Yokai, Usagi Yojimbo: Senso, Usagi Yojimbo/Teenage Mutant Ninja Turtles: The Complete Collection, or Chibi Usagi: Attack of the Heebie Chibis.
In a land very much like Japan, in a time very much like the early days of the Tokugawa Shogunate, when legions of samurai suddenly found themselves out of work in a war-torn land trying to get back to normal, a masterless samurai - a ronin - named Usagi Yojimbo walks the path of a student-warrior. He goes wherever fate takes him, living by his honor, his swordsmanship and by the grace of the friends he makes along the way. On his endless adventures, Usagi confronts wicked bandits, cruel tyrants, sinister assassins, and dire supernatural fiends. He often encounters humble folk plying their trade in an often cruel and harsh world (and along the way, learns a bit about their work, like brewing sake or weaving tatami mats).
Along his way, he builds a vast cast of friends, allies and rivals, including the bounty hunger Gen, fellow samurai )and love interest) Tomoe, the ninja Chizu, the third Kitsune, the noble lord Noriyuki, the stalwart Inspector Ishida, and of course, Usagi’s own son (and chip off the old block), Jotaro. And just as well, he builds no small list of enemies, including the dire Lord Hikiji (the power-hungry lord who is the very reason why Usagi no longer has a master), the Neko and Komori ninja clans, the Koroshi league of assassins, and the demonic ronin Jei. Amid all this, Usagi strives to uphold the warrior ideals of bushido and find a sense of enlightenment on his journey.
The stories are often funny, exciting, smart, sharp, tight, and occasionally touched with tragedy. They offer an informed look at medieval Japan, and pay no small number of homages to all kinds of cultural references both ancient and modern, as a reflect of Sakai’s own journey to connect with his personal heritage and honor it with his stories. They are simultaneously suitable for adults and kids alike - despite all of the carnage, Sakai never descends into gruesome detail, and yet, the many scenes of battle never seem so sanitized that they lost their gravity.
The artwork is distinct and excellent. Sakai’s is a master of sharp lifework (as well as lettering), and since he writes, pencils, inks and letters every issue solo, there is a uniformity and consistency to Usagi Yojimbo that you just don’t find in many other comics or cartoons. Until the last few volumes, it is all B&W, but Sakai’s sense of depth as well as his supremely skilled panel composition, pulls you in so deeply that you forget if it’s in color or not. You are under Usagi’s spell from the first page, and along for the ride, however long it goes.
To get an idea of the length, breadth and depth of how beloved an impactful Stan Sakai’s Usagi Yojimbo series has been, look no further than the introductions to each of the collected volumes published to date. There you will find a dazzling array of some of the finest talents in modern cartooning, who have a seemingly endless variety of ways to say how much they love Usagi Yojimbo, how impactful it has been on their own careers, and how great Stan Sakai has been himself as a goodwill ambassador for both cartooning as well as of the Japanese culture he so masterfully serves throughout his stories.
For those who have not yet enjoyed these stories for the first time, a wonderful journey awaits you. Usagi Yojimbo was created during those days in the 80s when anthropomorphic martial arts characters were all the rage. And yet, Usagi Yojimbo stood apart almost immediately. He might have been a rabbit ronin in a world of talking, walking animals, but he never seemed to be drafting the Teenage Mutant Ninja Turtles or trying to comment on the martial-art zoo comic trend. From the beginning, Usagi Yojimbo, like its titular character, was determined to walk its own path, to be the best it could be, and to celebrate the things in life that are worth celebrating: devotion to one’s craft, honoring one’s family, upholding one’s obligations, serving one’s highest aspirations, accepting one’s limitations, and acknowledging one’s flaws.
The stories are largely episodic varying in length from just a few pages, to an entire collection. They often are self-contained, but just as often reference slowly building meta plots, or serve an entire, novel-length story on their own. Everything is delicately interconnected, and yet, without such a heavy continuity that one can not simply pick up any of these volumes and begin reading without skipping a beat. Such is this series, endlessly accessible and friendly to beginners, and endlessly rewarding to long-time fans for whom earned narrative developments deliver terrific dividends.
As with any series of this length, some moments in it won’t land as well with the reader as others. But there just are not that many lows with this - if you appreciate what Sakai is doing here, you’re likely to enjoy pretty much all of it. There are some volumes that really stand out, largely because they tell the biggest and most epic stories (v04: The Dragon Bellows Conspiracy, v12: Grasscutter, v15: Grasscutter II - Journey to Astuta Shrine, v17: Duel at Kitanoji, v19: Fathers and Sons, v28: Red Scorpion, v32: The Hidden, and v35:Homecoming all come to mind), but really, the entire catalog of worth enjoying on equal terms. It’s saying something indeed that the most recent volume of Usagi Yojimbo tells one of the most compelling and moving stories of the entire series. Some edges dull over time, but as a storyteller, Stan Sakai’s edge never does.
Usagi Yojimbo has been hailed as one of the greatest independent comics ever. And it is. But it is more than that. It is one of the greatest comics, period. Read every volume. You will be glad that you did.
In a land very much like Japan, in a time very much like the early days of the Tokugawa Shogunate, when legions of samurai suddenly found themselves out of work in a war-torn land trying to get back to normal, a masterless samurai - a ronin - named Usagi Yojimbo walks the path of a student-warrior. He goes wherever fate takes him, living by his honor, his swordsmanship and by the grace of the friends he makes along the way. On his endless adventures, Usagi confronts wicked bandits, cruel tyrants, sinister assassins, and dire supernatural fiends. He often encounters humble folk plying their trade in an often cruel and harsh world (and along the way, learns a bit about their work, like brewing sake or weaving tatami mats).
Along his way, he builds a vast cast of friends, allies and rivals, including the bounty hunger Gen, fellow samurai )and love interest) Tomoe, the ninja Chizu, the third Kitsune, the noble lord Noriyuki, the stalwart Inspector Ishida, and of course, Usagi’s own son (and chip off the old block), Jotaro. And just as well, he builds no small list of enemies, including the dire Lord Hikiji (the power-hungry lord who is the very reason why Usagi no longer has a master), the Neko and Komori ninja clans, the Koroshi league of assassins, and the demonic ronin Jei. Amid all this, Usagi strives to uphold the warrior ideals of bushido and find a sense of enlightenment on his journey.
The stories are often funny, exciting, smart, sharp, tight, and occasionally touched with tragedy. They offer an informed look at medieval Japan, and pay no small number of homages to all kinds of cultural references both ancient and modern, as a reflect of Sakai’s own journey to connect with his personal heritage and honor it with his stories. They are simultaneously suitable for adults and kids alike - despite all of the carnage, Sakai never descends into gruesome detail, and yet, the many scenes of battle never seem so sanitized that they lost their gravity.
The artwork is distinct and excellent. Sakai’s is a master of sharp lifework (as well as lettering), and since he writes, pencils, inks and letters every issue solo, there is a uniformity and consistency to Usagi Yojimbo that you just don’t find in many other comics or cartoons. Until the last few volumes, it is all B&W, but Sakai’s sense of depth as well as his supremely skilled panel composition, pulls you in so deeply that you forget if it’s in color or not. You are under Usagi’s spell from the first page, and along for the ride, however long it goes.
To get an idea of the length, breadth and depth of how beloved an impactful Stan Sakai’s Usagi Yojimbo series has been, look no further than the introductions to each of the collected volumes published to date. There you will find a dazzling array of some of the finest talents in modern cartooning, who have a seemingly endless variety of ways to say how much they love Usagi Yojimbo, how impactful it has been on their own careers, and how great Stan Sakai has been himself as a goodwill ambassador for both cartooning as well as of the Japanese culture he so masterfully serves throughout his stories.
For those who have not yet enjoyed these stories for the first time, a wonderful journey awaits you. Usagi Yojimbo was created during those days in the 80s when anthropomorphic martial arts characters were all the rage. And yet, Usagi Yojimbo stood apart almost immediately. He might have been a rabbit ronin in a world of talking, walking animals, but he never seemed to be drafting the Teenage Mutant Ninja Turtles or trying to comment on the martial-art zoo comic trend. From the beginning, Usagi Yojimbo, like its titular character, was determined to walk its own path, to be the best it could be, and to celebrate the things in life that are worth celebrating: devotion to one’s craft, honoring one’s family, upholding one’s obligations, serving one’s highest aspirations, accepting one’s limitations, and acknowledging one’s flaws.
The stories are largely episodic varying in length from just a few pages, to an entire collection. They often are self-contained, but just as often reference slowly building meta plots, or serve an entire, novel-length story on their own. Everything is delicately interconnected, and yet, without such a heavy continuity that one can not simply pick up any of these volumes and begin reading without skipping a beat. Such is this series, endlessly accessible and friendly to beginners, and endlessly rewarding to long-time fans for whom earned narrative developments deliver terrific dividends.
As with any series of this length, some moments in it won’t land as well with the reader as others. But there just are not that many lows with this - if you appreciate what Sakai is doing here, you’re likely to enjoy pretty much all of it. There are some volumes that really stand out, largely because they tell the biggest and most epic stories (v04: The Dragon Bellows Conspiracy, v12: Grasscutter, v15: Grasscutter II - Journey to Astuta Shrine, v17: Duel at Kitanoji, v19: Fathers and Sons, v28: Red Scorpion, v32: The Hidden, and v35:Homecoming all come to mind), but really, the entire catalog of worth enjoying on equal terms. It’s saying something indeed that the most recent volume of Usagi Yojimbo tells one of the most compelling and moving stories of the entire series. Some edges dull over time, but as a storyteller, Stan Sakai’s edge never does.
Usagi Yojimbo has been hailed as one of the greatest independent comics ever. And it is. But it is more than that. It is one of the greatest comics, period. Read every volume. You will be glad that you did.
February 26, 2022
Welcome back to my Throwback Thursday series, where I republish old reviews, review books I have read before or review older books I have only just had a chance to read. For my latest Throwback Thursday I return to my very favourite comic book as I look at the 12th volume in the epic Usagi Yojimbo series by Stan Sakai, Grasscutter.
The 12th volume of this series is Grasscutter, which serves as a particularly major entry in the entire Usagi Yojimbo line. Containing issues #13-22 of the Dark Horse Comics run, this volume unusually contains a single story, rather than the multiple shorter, episodic tales typical of this series. Bringing together several intriguing story threads from previous comics and reuniting several of the more distinctive supporting characters, Sakai tells his most ambitious tale, and the results is absolute magic.
Following a destructive war centuries ago between two rival houses, the nation of Japan is now firmly controlled by the shogun and his court, while the emperor rules only as a symbolic figure, detached from the politics of the realm. While many are content to live within the shogun’s peace, there are some who seek power and prestige through the return of the imperial family to true power. But with the full might of the military and the samurai behind him, only one thing could possibly inspire the people to revolt against the shogun: the legendary heaven-forged sword, Kusanagi the Grasscutter.
However, this divine sword was lost generations ago in the battle that saw the Imperial family overthrown, and it now rests at the bottom of a watery strait, impossible to recover. Undeterred by the odds against them, a small contingent of rebellious lords have initiated a conspiracy to overthrow the shogun by any means necessary. Calling upon the powers of a mysterious witch, the conspirators hope to obtain the sword through sorcerous means. While they succeed in freeing Grasscutter from its watery tomb, fate ensures that the sword ends up in the mostly unlikely of hands, that of the wandering samurai Miyamoto Usagi.
Unsure what to do with the legendary sword, Usagi soon finds himself pursued by the forces of the conspirators and must fight with everything he has to keep it out of their hands. But the events of this conflict spread far beyond Usagi, and soon everyone he knows is in danger as the conspirators attempt to kill his friends Tomoe and Lord Noriyuki to stop them bringing Grasscutter to the shogun. At the same time, the bounty hunter Gen and the rogue swordswoman Inazuma as drawn from their own scuffles into the greater battle for Grasscutter, especially when they encounter the feared demon-spearman Jei. Can Usagi and his friends survive the overwhelming forces arrayed against them, or will the nation be thrown into war once again with the resurgence of the Grasscutter?
Wow, just wow! This is such an impressive comic that is so very epic in scope, storytelling and major character moments. Sakai has done a brilliant job with this cool volume, and I loved the brilliant narrative he cooked up for Grasscutter, especially as it ties into so many major moments from the previous volumes. Filled with intense action, brilliant set pieces and some beautiful art, Grasscutter is an incredible volume that, unsurprisingly, gets a full five-star rating from me.
To see the full review, click on the link below:
https://unseenlibrary.com/2022/02/26/...
For other exciting reviews and content, check out my blog at:
https://unseenlibrary.com/
The 12th volume of this series is Grasscutter, which serves as a particularly major entry in the entire Usagi Yojimbo line. Containing issues #13-22 of the Dark Horse Comics run, this volume unusually contains a single story, rather than the multiple shorter, episodic tales typical of this series. Bringing together several intriguing story threads from previous comics and reuniting several of the more distinctive supporting characters, Sakai tells his most ambitious tale, and the results is absolute magic.
Following a destructive war centuries ago between two rival houses, the nation of Japan is now firmly controlled by the shogun and his court, while the emperor rules only as a symbolic figure, detached from the politics of the realm. While many are content to live within the shogun’s peace, there are some who seek power and prestige through the return of the imperial family to true power. But with the full might of the military and the samurai behind him, only one thing could possibly inspire the people to revolt against the shogun: the legendary heaven-forged sword, Kusanagi the Grasscutter.
However, this divine sword was lost generations ago in the battle that saw the Imperial family overthrown, and it now rests at the bottom of a watery strait, impossible to recover. Undeterred by the odds against them, a small contingent of rebellious lords have initiated a conspiracy to overthrow the shogun by any means necessary. Calling upon the powers of a mysterious witch, the conspirators hope to obtain the sword through sorcerous means. While they succeed in freeing Grasscutter from its watery tomb, fate ensures that the sword ends up in the mostly unlikely of hands, that of the wandering samurai Miyamoto Usagi.
Unsure what to do with the legendary sword, Usagi soon finds himself pursued by the forces of the conspirators and must fight with everything he has to keep it out of their hands. But the events of this conflict spread far beyond Usagi, and soon everyone he knows is in danger as the conspirators attempt to kill his friends Tomoe and Lord Noriyuki to stop them bringing Grasscutter to the shogun. At the same time, the bounty hunter Gen and the rogue swordswoman Inazuma as drawn from their own scuffles into the greater battle for Grasscutter, especially when they encounter the feared demon-spearman Jei. Can Usagi and his friends survive the overwhelming forces arrayed against them, or will the nation be thrown into war once again with the resurgence of the Grasscutter?
Wow, just wow! This is such an impressive comic that is so very epic in scope, storytelling and major character moments. Sakai has done a brilliant job with this cool volume, and I loved the brilliant narrative he cooked up for Grasscutter, especially as it ties into so many major moments from the previous volumes. Filled with intense action, brilliant set pieces and some beautiful art, Grasscutter is an incredible volume that, unsurprisingly, gets a full five-star rating from me.
To see the full review, click on the link below:
https://unseenlibrary.com/2022/02/26/...
For other exciting reviews and content, check out my blog at:
https://unseenlibrary.com/
March 30, 2016
Usagi Yojimbo, on the surface is a simple concept. Anthropomorphic animals in 16th century Edo Japan - with the narrative centering around a "Long Eared Samurai", a Rabbit - the eponymous Usagi of the title. Usagi,literally means Rabbit in Japanese and Yojimbo refers to "Bodyguard". Rabbit Bodyguard. It mixes several references to the Samurai films of Kurosawa with a deliberate homage to the great samurai swordsman Miyamoto Musashi while treading its own unique path. There really isn't another comic like it on the stands and Sakai has been writing, plotting and drawing this gem for the past twenty five years or more - sticking to what must seem like a cutthroat monthly schedule. He makes it all look so easy which just proves - it probably isn't.
Usagi is a Ronin - a masterless Samurai. He wanders the land on a Warriors Pilgrimage, honing his mind and his sword. A near master swordsman, Usagi practices a unique fighting style. His gentle demeanor, humble bearing and diminutive frame often leads his adversaries to underestimate him - to their detriment.
The Kill Bill films of Tarantino center around the bloodshed unleashed by Samurai swords in the hands of a skilled wielder. The aesthetization of violence is a common theme with Tarantino and he repeatedly uses Japanese samurai motifs over the course of the two Kill Bill films. I enjoyed those films but they led me to expect the same within the pages of Usagi Yojimbo. The animal characters are mostly cute. I expected decapitated bunny heads and chopped feline limbs. Stories of the seamier side of human nature and war. Sakai delivers none of this; at-least, not in the way you would expect. The violence in Usagi Yojimbo is always tinged with regret. Usagi takes no pleasure in it, tries to avoid killing and maiming as much as possible and always resorts to defense. However, once you see the click of the sword, with the picture of Usagi flicking the blade from the scabbard it is almost certain that blood will be shed.
The fight sequences are brilliant. Sakai takes his time, worrying less about space and more about the deliberate choreography of death. People are stabbed, decapitated and killed. Most of it is left up to your imagination with almost no blood. The graphics of the death continue to toe the line between humor and morbidity - the dead lie with their tongues lolling out and creative skulls paraphrasing the end of their appearance in the comic. It makes for excellent reading - the violence isn't cool, it isn't desirable and it almost always ends in tragedy for some character. This is age appropriate violence!
A centerpiece to the entire saga and one of the major plot motivators is Bushido - the unrelenting and unbending code of the Samurai. It is a harsh discipline, focusing more on the tenets laid down by it than any sense of morality. There are several instances in the story where a common question asked is if a samurai retainer who serves an evil/corrupt lord is justified in rebelling against him. The answer is invariably no. No matter how evil/corrupt and insane your lord may be, no matter what criminal activities he may indulge in, no matter how depraved his tastes it is the duty of the retainer to follow him and remain Honorable. The concept of good and evil and self righteousness is almost done away with. Usagi is our hero just because he has the good fortune to have served under Lord Mifune, a great man just prior to his death in the Battle of Adachigahara. He seems to recognize this fact and I think this influences his approach to almost all his antagonists. Those who serve an evil lord win more respect from him than the evil lords themselves.
Sakai, through his focus on the laws of Bushido manages to evoke an atmosphere of rigidity and sacrifice that makes the book quite unique at times. When Usagi's sweetheart is married off to someone else he fails to put an end to the wedding due to his loyalty to his lord - his duty forbids him from going away. The duty of a Samurai's wife is to her husband, this prevents his love Mariko from ever being with him. Honour and duty are cages within which our characters live their life. It is a harsh law that seems to hurt much more than helps but it is his adherence to this discipline that sees Usagi through his many encounters. He is unable to avoid direct challenges to a duel as a result - he must kill, albeit with regret, if he is to regain his honor. Usagi isn't a rebel. He doesn't seek to reform or buck the system. When a peasant begs to hold on to the swords of her lover, a samurai he is quite categorical about the right thing to do - the sword is the soul of a Samurai and doesn't belong with a peasant. In another episode he tells a peasant's son that there is no hope for him to ever become a Samurai. Any historical novel seeks to impose the character of a man of our times on someone dead years ago. Stan Sakai eschews this approach by depicting a man (rabbit??!) of his time in Usagi and making him a truly sympathetic character.
This focus on honour and Bushido is not the only layer to this comic. There are several more. History lessens on the culture of Japan are interwoven into the narrative - be it pot making, kite making or the fashioning of a Samurai blade. An entire episode dedicated to seaweed farming was a highlight of the series and the Grasscutter arc elaborates on the major dieties of Japanese culture. This is a meticulously researched comic that isnt heavy handed with the historical details. It mixes humor, history, culture and pathos to make a wonderfully enjoyable comic.
Rather than speaking about the artwork in the peripheral fashion I have employed so far I think I ought to come out and say it - the artwork is fascinating. It uses simple lines and expression to convey the message. At first glance it seems simplistic but as I trace my eyes over the artwork a wealth of detail leaps out. The grass bends gently with the breeze. The folds of Usagi's kimono float lazily around him as he jumps into the air. The Sword strokes are clear, easy to follow with the use of masterfully placed after images. Sakai is a master of the quiet panel. Several pages hold only movement, expression and silence, lending a wonderful quietude to the comic until a brutal explosion of action breaks the silence. Quiet panels fused with a silhouette are even more melancholy - it forms a space in which the contemplation of the character within the panel tends to wash over the reader himself. The artwork isn't simple. A lifetime of garish coloring and the bright but shallow palette of superhero comics seems to have robbed me of what little sense I possess. The black and white lines in Usagi are pieces of art I want to revisit forever.
Like most successful comics, Usagi Yojimbo doesn't succeed through the strengths of the main character alone. Usagi has a wealth of peripheral friends and enemies who recur throughout the various stories. These plot points keep diverging and melding together seamlessly over the course of the volumes I have read. I am still about halfway through the entire run but so far the side characters are vibrant, well sketched and interesting. Gen, the bounty hunter, the crime solving Inspecter Ishida, the ex samurai turned priest Sanshobo. The women in Usagi's life are a fun bunch - his lost loves Mariko and Kinuko, his comrade in arms Tomoe and his antagonist/friend Chizu. Add to this his lion sensei - Katsuichi, his frenemy Kenichi and a pet lizard Spot, not to mention the blind swordspig Zato Ino, Sakai has amassed a wealth of characters who ought to see him drawing Usagi comics well into hist nineties.
Usagi Yojimbo is to superhero comics what a glass of single malt is to spurious liquor. It is the very pinnacle of comic book art. I agree with an another reviewer who states that in the twenty five years he has been following Usagi, Sakai has yet to draw a single bad issue. I am not yet through the entire run and I must agree - the first issues are great though Sakai is still finding is feet. Seven issues in and you will be hooked till the end. This is an excellent comic, worth reading and proof that in the right hands the comic book has a significant advantage over the prose form. It should probably be the introduction to the world of comics - and I hope that those of you who havent yet started reading comics will avoid wading through a lot of garbage like i had to and start with Usagi Yojimbo.
Believe me, its worth it.
(5 on 5 stars)
Usagi is a Ronin - a masterless Samurai. He wanders the land on a Warriors Pilgrimage, honing his mind and his sword. A near master swordsman, Usagi practices a unique fighting style. His gentle demeanor, humble bearing and diminutive frame often leads his adversaries to underestimate him - to their detriment.
The Kill Bill films of Tarantino center around the bloodshed unleashed by Samurai swords in the hands of a skilled wielder. The aesthetization of violence is a common theme with Tarantino and he repeatedly uses Japanese samurai motifs over the course of the two Kill Bill films. I enjoyed those films but they led me to expect the same within the pages of Usagi Yojimbo. The animal characters are mostly cute. I expected decapitated bunny heads and chopped feline limbs. Stories of the seamier side of human nature and war. Sakai delivers none of this; at-least, not in the way you would expect. The violence in Usagi Yojimbo is always tinged with regret. Usagi takes no pleasure in it, tries to avoid killing and maiming as much as possible and always resorts to defense. However, once you see the click of the sword, with the picture of Usagi flicking the blade from the scabbard it is almost certain that blood will be shed.
The fight sequences are brilliant. Sakai takes his time, worrying less about space and more about the deliberate choreography of death. People are stabbed, decapitated and killed. Most of it is left up to your imagination with almost no blood. The graphics of the death continue to toe the line between humor and morbidity - the dead lie with their tongues lolling out and creative skulls paraphrasing the end of their appearance in the comic. It makes for excellent reading - the violence isn't cool, it isn't desirable and it almost always ends in tragedy for some character. This is age appropriate violence!
A centerpiece to the entire saga and one of the major plot motivators is Bushido - the unrelenting and unbending code of the Samurai. It is a harsh discipline, focusing more on the tenets laid down by it than any sense of morality. There are several instances in the story where a common question asked is if a samurai retainer who serves an evil/corrupt lord is justified in rebelling against him. The answer is invariably no. No matter how evil/corrupt and insane your lord may be, no matter what criminal activities he may indulge in, no matter how depraved his tastes it is the duty of the retainer to follow him and remain Honorable. The concept of good and evil and self righteousness is almost done away with. Usagi is our hero just because he has the good fortune to have served under Lord Mifune, a great man just prior to his death in the Battle of Adachigahara. He seems to recognize this fact and I think this influences his approach to almost all his antagonists. Those who serve an evil lord win more respect from him than the evil lords themselves.
Sakai, through his focus on the laws of Bushido manages to evoke an atmosphere of rigidity and sacrifice that makes the book quite unique at times. When Usagi's sweetheart is married off to someone else he fails to put an end to the wedding due to his loyalty to his lord - his duty forbids him from going away. The duty of a Samurai's wife is to her husband, this prevents his love Mariko from ever being with him. Honour and duty are cages within which our characters live their life. It is a harsh law that seems to hurt much more than helps but it is his adherence to this discipline that sees Usagi through his many encounters. He is unable to avoid direct challenges to a duel as a result - he must kill, albeit with regret, if he is to regain his honor. Usagi isn't a rebel. He doesn't seek to reform or buck the system. When a peasant begs to hold on to the swords of her lover, a samurai he is quite categorical about the right thing to do - the sword is the soul of a Samurai and doesn't belong with a peasant. In another episode he tells a peasant's son that there is no hope for him to ever become a Samurai. Any historical novel seeks to impose the character of a man of our times on someone dead years ago. Stan Sakai eschews this approach by depicting a man (rabbit??!) of his time in Usagi and making him a truly sympathetic character.
This focus on honour and Bushido is not the only layer to this comic. There are several more. History lessens on the culture of Japan are interwoven into the narrative - be it pot making, kite making or the fashioning of a Samurai blade. An entire episode dedicated to seaweed farming was a highlight of the series and the Grasscutter arc elaborates on the major dieties of Japanese culture. This is a meticulously researched comic that isnt heavy handed with the historical details. It mixes humor, history, culture and pathos to make a wonderfully enjoyable comic.
Rather than speaking about the artwork in the peripheral fashion I have employed so far I think I ought to come out and say it - the artwork is fascinating. It uses simple lines and expression to convey the message. At first glance it seems simplistic but as I trace my eyes over the artwork a wealth of detail leaps out. The grass bends gently with the breeze. The folds of Usagi's kimono float lazily around him as he jumps into the air. The Sword strokes are clear, easy to follow with the use of masterfully placed after images. Sakai is a master of the quiet panel. Several pages hold only movement, expression and silence, lending a wonderful quietude to the comic until a brutal explosion of action breaks the silence. Quiet panels fused with a silhouette are even more melancholy - it forms a space in which the contemplation of the character within the panel tends to wash over the reader himself. The artwork isn't simple. A lifetime of garish coloring and the bright but shallow palette of superhero comics seems to have robbed me of what little sense I possess. The black and white lines in Usagi are pieces of art I want to revisit forever.
Like most successful comics, Usagi Yojimbo doesn't succeed through the strengths of the main character alone. Usagi has a wealth of peripheral friends and enemies who recur throughout the various stories. These plot points keep diverging and melding together seamlessly over the course of the volumes I have read. I am still about halfway through the entire run but so far the side characters are vibrant, well sketched and interesting. Gen, the bounty hunter, the crime solving Inspecter Ishida, the ex samurai turned priest Sanshobo. The women in Usagi's life are a fun bunch - his lost loves Mariko and Kinuko, his comrade in arms Tomoe and his antagonist/friend Chizu. Add to this his lion sensei - Katsuichi, his frenemy Kenichi and a pet lizard Spot, not to mention the blind swordspig Zato Ino, Sakai has amassed a wealth of characters who ought to see him drawing Usagi comics well into hist nineties.
Usagi Yojimbo is to superhero comics what a glass of single malt is to spurious liquor. It is the very pinnacle of comic book art. I agree with an another reviewer who states that in the twenty five years he has been following Usagi, Sakai has yet to draw a single bad issue. I am not yet through the entire run and I must agree - the first issues are great though Sakai is still finding is feet. Seven issues in and you will be hooked till the end. This is an excellent comic, worth reading and proof that in the right hands the comic book has a significant advantage over the prose form. It should probably be the introduction to the world of comics - and I hope that those of you who havent yet started reading comics will avoid wading through a lot of garbage like i had to and start with Usagi Yojimbo.
Believe me, its worth it.
(5 on 5 stars)
July 23, 2023
Simply one of the absolute best Usagi Yojimbo stories ever. Admittedly, "Grasscutter" does start a little scattered with its four prologues that are astonishingly exposition heavy, but it ultimately sets the stage for one of the most epic arcs in the series. The story follows from the "Conspiracy of Eight" story from an earlier volume, where a group of eight feudal lords conspire against the shogun by hoping to reinstate the emperor as their personal puppet leader. To give the emperor legitimacy, lead conspirator Lord Kotetsu plans to recover the legendary lost blade of the emperor, Kusanagi-no-Tsurugi or "Grasscutter" as it is more known colloquially. However, the conspirators are in a race against time when they realize that their secret may be outed to the shogun before they get their hands on the blade, and thus set forth assassination hits on Lord Noriyuki and Miyamoto Usagi who both stand in their way of achieving their coup. Things only get more complicated for Usagi when the demonic warrior Jei makes his return once more while Noriyuki is once again waylaid on the road. Many characters from previous arcs return, such as Gen, Inazuma, Sanshobo and General Ikeda (who was first shown in the "Patience of the Spider" story in the previous volume), further raising the stakes of this arc. Indeed, prior to "Grasscutter", the only arc that matches this level of scale was "The Dragon Bellow Conspiracy", but this arc dials up the stakes by another level of magnitude.
Why "Grasscutter" is such an achievement in Stan Sakai's magnum opus series is how it manages to balance every strong aspect of the series into one condensed arc. A lot of Usagi Yojimbo stories are one-off adventures that serve mostly to flesh out different corners of Sakai's anthropomorphized version of the Edo period, much like Koike and Kojima did with Lone Wolf and Cub. Often these standalone yarns would introduce or re-introduce various characters to knit things together, but they were usually compressed enough that they could be read in any order. But "Grasscutter" acts as a culmination of several shorter arcs into one much more grandiose piece. While many Usagi stories can be read in any order, I think the richest reading experience for "Grasscutter" requires reading every preceding issue first.
Additionally, "Grasscutter" is the perfect nexus between the various narrative styles Sakai implements. The story leans heavily on both mysticism and lore, but also is rooted firmly in more down to earth concepts like political intrigue and bushido. Much of the story unfolds in the backdrop of an earthquake, showing that the events of "Grasscutter" isn't simply about maintaing the political balance of the land but that the turmoil is rooted on an even deeper level. This is the crowning achievement in Sakai's legendary run, and if anyone wonders why Usagi Yojimbo is such a lauded series - this is Exihibit A.
Why "Grasscutter" is such an achievement in Stan Sakai's magnum opus series is how it manages to balance every strong aspect of the series into one condensed arc. A lot of Usagi Yojimbo stories are one-off adventures that serve mostly to flesh out different corners of Sakai's anthropomorphized version of the Edo period, much like Koike and Kojima did with Lone Wolf and Cub. Often these standalone yarns would introduce or re-introduce various characters to knit things together, but they were usually compressed enough that they could be read in any order. But "Grasscutter" acts as a culmination of several shorter arcs into one much more grandiose piece. While many Usagi stories can be read in any order, I think the richest reading experience for "Grasscutter" requires reading every preceding issue first.
Additionally, "Grasscutter" is the perfect nexus between the various narrative styles Sakai implements. The story leans heavily on both mysticism and lore, but also is rooted firmly in more down to earth concepts like political intrigue and bushido. Much of the story unfolds in the backdrop of an earthquake, showing that the events of "Grasscutter" isn't simply about maintaing the political balance of the land but that the turmoil is rooted on an even deeper level. This is the crowning achievement in Sakai's legendary run, and if anyone wonders why Usagi Yojimbo is such a lauded series - this is Exihibit A.
July 8, 2022
I have a BookTube channel where I review books, give reading suggestions, and more! Check it out here: https://www.youtube.com/dragonarmybooks
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Usagi Yojimbo, Vol. 4: The Dragon Bellow Conspiracy was the last epic storyline told through a number of issues, compiled in one volume. Now, Grasscutter. It truly feels as though everything has been leading up to this moment. All of the characters we've been introduced to along the way, all of the worldbuilding and groundwork explodes onto the scene in some climactic moments as the fabled god-sword, Grasscutter, is recovered after 400 years of absence. The Conspiracy of Eight want the sword, the evil Jei wants the sword, even Usagi's friend, Gen, wants the sword (to sell, of course). But when the sword ends up in the hands of Miyamoto Usagi, he must quickly decide how to keep it out of the hands of evil and use it for the good of the people.
As other reviewers have noted, this volume starts slowly. There are a total of four prologues where only one was crucial for the plot. But when the plot gets rolling, there is epic moment after epic moment, bringing many of our beloved characters from previous volumes back into the limelight. In previous issues, I mentioned loving characters like Ikeda, Inazuma, and Sanshobo, not knowing if I'd ever see them again. To see them all return with such important roles in Grasscutter was a delight. The last chapter in this volume is probably the best entry here. We get a lot of solid conclusions with one open-ended, dreadful plot point that will certainly be integral to the future of Usagi Yojimbo.
What continues to amaze me is that all of this is Sakai. Sakai does the illustrations. Sakai does the lettering. Sakai does the characters. Sakai does the story. This man is a powerhouse of creativity and it has been so much fun absorbing his work. While I don't expect each proceeding volume to be as excellent as this one, I trust that I will continue to find enjoyment as I wander along with the Ronin wanderer.
---
Usagi Yojimbo, Vol. 4: The Dragon Bellow Conspiracy was the last epic storyline told through a number of issues, compiled in one volume. Now, Grasscutter. It truly feels as though everything has been leading up to this moment. All of the characters we've been introduced to along the way, all of the worldbuilding and groundwork explodes onto the scene in some climactic moments as the fabled god-sword, Grasscutter, is recovered after 400 years of absence. The Conspiracy of Eight want the sword, the evil Jei wants the sword, even Usagi's friend, Gen, wants the sword (to sell, of course). But when the sword ends up in the hands of Miyamoto Usagi, he must quickly decide how to keep it out of the hands of evil and use it for the good of the people.
As other reviewers have noted, this volume starts slowly. There are a total of four prologues where only one was crucial for the plot. But when the plot gets rolling, there is epic moment after epic moment, bringing many of our beloved characters from previous volumes back into the limelight. In previous issues, I mentioned loving characters like Ikeda, Inazuma, and Sanshobo, not knowing if I'd ever see them again. To see them all return with such important roles in Grasscutter was a delight. The last chapter in this volume is probably the best entry here. We get a lot of solid conclusions with one open-ended, dreadful plot point that will certainly be integral to the future of Usagi Yojimbo.
What continues to amaze me is that all of this is Sakai. Sakai does the illustrations. Sakai does the lettering. Sakai does the characters. Sakai does the story. This man is a powerhouse of creativity and it has been so much fun absorbing his work. While I don't expect each proceeding volume to be as excellent as this one, I trust that I will continue to find enjoyment as I wander along with the Ronin wanderer.
February 22, 2025
This epic tale in the life of Miyamoto Usagi, the rabbit ronin hero, centers on a legendary sword called "Grasscutter." Four prologues give the history of the creation of Japan and the sword used by an ancient emperor to fight his enemies. The sword was lost in the sea over a thousand years ago. In Usagi's time, several different factions hope to gain the sword and thereby control in Japan. The Conspiracy of Eight has a member who uses a witch to locate and raise the sword from the seabed. Things do not go according to plan and Usagi winds up with the weapon. At the same time, several other previous characters (some of whom seemed to be in one-off stories) become involved in the pursuit of Grasscutter.
The presence of so many familiar faces give the story a huge, sprawling feel. This one story fills the whole volume and is the best story I have read yet. Sakai did a lot of research into the history of the sword (it isn't made up!) and lays it out clearly for the reader. So many little payoffs are made with previous characters and storylines, as if the past eleven volumes were building to this moment. The story is highly compelling and the art, so detailed and so evocative, makes it all the richer. Happily, the story goes on and I can't wait to read more.
Highly recommended.
The presence of so many familiar faces give the story a huge, sprawling feel. This one story fills the whole volume and is the best story I have read yet. Sakai did a lot of research into the history of the sword (it isn't made up!) and lays it out clearly for the reader. So many little payoffs are made with previous characters and storylines, as if the past eleven volumes were building to this moment. The story is highly compelling and the art, so detailed and so evocative, makes it all the richer. Happily, the story goes on and I can't wait to read more.
Highly recommended.
May 9, 2021
Read as a standalone. I've read some Usagi Yojimbo before, but it never grabbed me.
In this adaptation of an old Samurai tale, multiple interested parties are out to retrieve Grasscutter, the sword of the gods. We get four prelude stories regarding the origin of the sword, and then we see some of the machinations in the present of the story to retrieve the sword. Usagi finally shows up around page 70.
I like that it's black and white art, and that all the grays are done with hatching. I like that Sakai doesn't skimp on the backgrounds. But I had trouble telling some of the characters apart, so I had trouble following the story.
In this adaptation of an old Samurai tale, multiple interested parties are out to retrieve Grasscutter, the sword of the gods. We get four prelude stories regarding the origin of the sword, and then we see some of the machinations in the present of the story to retrieve the sword. Usagi finally shows up around page 70.
I like that it's black and white art, and that all the grays are done with hatching. I like that Sakai doesn't skimp on the backgrounds. But I had trouble telling some of the characters apart, so I had trouble following the story.
August 1, 2022
This book is one complete story. It begins with 4 prologues that tell the legends of the sword of heaven, Grasscutter. The rest of the book follows characters we are familiar with and multiple story lines. One is about a conspiracy to use the Grasscutter sword to over throw the government. Another is about Tomoe and Lord Noriyuki on the run from assassins. Another one is about the creepy demon killer Jei and his little girl companion. Usagi finds the sword and then ends up caught up with everything.
December 3, 2025
I took a pretty long break after reading Vol. 11. Stan Sakai's artwork here is as good as ever and once the story gets going (after a long prologue setting up the mythical/historical back-drop) it's really great.
One complaint with the series is that our protagonist Usagi Yojimbo is usually very passively apart of the story, getting involved accidentally. Here he stumbles into a plot to recover an ancient sword that could tip the scales of power by allowing a military coup to reinstate the emperor.
One complaint with the series is that our protagonist Usagi Yojimbo is usually very passively apart of the story, getting involved accidentally. Here he stumbles into a plot to recover an ancient sword that could tip the scales of power by allowing a military coup to reinstate the emperor.
April 18, 2021
This volume balances multiple plot lines with a fairly significant number of characters and it all makes sense. Assassination attempts, a sacred sword, supernatural possession, and redemption all factor into the story by the one man team of Stan Sakai.
A really enjoyable story that feels complete while leaving some threads for future volumes. Also, some nice historical footnotes for anyone interested in exploring more about the period the story is set in.
A really enjoyable story that feels complete while leaving some threads for future volumes. Also, some nice historical footnotes for anyone interested in exploring more about the period the story is set in.
June 17, 2021
Wow that was a lot. Lots of bits. Lots of details. Lots of preludes. A complicated plot. Plots. And starting in the middle I really don't know who is only in this book and who is a character in the larger series. Compelling and confusing. The animals didn't do anything for me, but they really didn't detract either. Good enough art. Interested to hear why we read this book and not an earlier one. Or a later one. Pretty cool though.
June 11, 2023
I do like that we get to see this world's version of the Shinto Creation myth and their is a lot of build up for the big battle as we see five different groups fighting over the Kusangi even if in my opinion their is a little to much build up as the path up to the final battle was kind of boring as it was just each group bumbling around until one of them gets the sword and but the final battle when Jei gets the sword and him abusing the sword was pretty cool and worth.
January 3, 2022
What started slow and plagued by the usual Usagi tropes (see: never ending waves of completely inconsequential enemies) picked up the pace greatly around half of the book and ended with some actually solid stories and heart wrenching moments. An enjoyable read to be sure and a great hope for the series as a whole!
October 11, 2018
The Usagi yojimbo grasscutter is awesome, every people in this book were fighting over the grasscutter sword because they want to be government to rule the worl in Japan. My best of Usagi yojimbo is when he found the grasscutter sword.
August 7, 2017
More interesting in reciting mythology than in telling me a story.
January 25, 2018
Best of the series of great books.
October 11, 2018
I thought this was the first one! Really good either way.
January 28, 2019
Amazing
July 29, 2019
My first Usagi Yojimbo and I loved the art and storytelling.
February 18, 2020
Masterful. Nearly all the recurring characters come together in this epic story about a legendary sword.
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