This month, let's dwell upon critters. But not just any critters, mind you. I'm talking about the toughest critters in comicdom: a bunny, a duck, and a foot-tall dinosaur. (An aardvark would have made the list, but I've already talked about CEREBUS back in the July 1997 LWYBM. Check it out.) They may look cute and cuddly, but they're no pushovers. These critters are definitely at the top of the food chain.
 

USAGI YOJIMBO Volume I #1-37 (Fantagraphics Books)
USAGI YOJIMBO Volume II #1-16 (Mirage Publishing)
USAGI YOJIMBO Volume III #1-12 (Dark Horse Comics)

The most fearsome warriors in Japan around 1600 were the samurai. Dedicated to the bushido code of honor, a samurai would proudly give his life to serve his master. When his master died or released him, the samurai would become a ronin. Many ronin " . . . turned to banditry to survive; others found work with the minor lords or emerging merchant class; a small number . . . traveled the musha shugyo (warrior pilgrimage) to hone their spiritual and martial skills." (UY V3#1, p. 2.) Out of that small number emerged the greatest ronin of this age: a rabbit named Miyamoto Usagi.

 Wandering a Japanese countryside populated with anthropomorphic animals, Usagi has taken on the role of protector to the weak and downtrodden. His deeply entrenched moral system and adherence to bushido do not allow him the luxury of passing by those in need. Yes, he's a Japanese Lone Ranger with big floppy ears tied into a topknot. His role of protector is stated right in the title of the book: USAGI YOJIMBO literally translates as "rabbit bodyguard." His big heart and huge sympathetic ears are backed up by his deadly skill with the sword. Usagi has persevered against demons, brigands, ghosts, assassins, trolls, ninja, and fellow ronin.

 Don't let the furry, fuzzy, funny animals fool you into thinking this comic is just fluff for children. In Usagi's world, death is very much a reality. The swordfights are bloody and brutal. Characters die -- often in batches of five or ten, when foolish bands of assassins or bandits think they have Usagi outnumbered.

This book is written for all ages, but I think it's largest appeal must be to an adult audience which can fully appreciate the complex storytelling and themes. Creator/writer/artist Stan Sakai is one of the modern masters of the comic book short story. About two-thirds of all USAGI YOJIMBO issues are self-contained stories with a definite beginning, middle and end. Sure, you can predict that Usagi's going to draw his sword and get into a fight in almost every issue, but Sakai manages to come up with a fresh and exciting concept every time, keeping the book from becoming stale. Sakai's plots are tightly woven, containing only those elements essential to the tale at hand and a few panels to lay the groundwork for future stories. Most of the subplots involve political intrigues by various lords against the ruler, the shogun, of Japan. Occasionally, these subplots come to fruition in 4-6 part epics, wherein Usagi finds himself gathering allies against the forces of darkness. Whatever the length, each story is infused with enough humor to offset the violence and melodrama.

 Usagi's allies and enemies make up the rich supporting cast of USAGI YOJIMBO. My favorite is the roguish rhinoceros Gen, a ruthless bounty hunter with few morals. He claims to be Usagi's best friend, but will gleefully skip out of an inn if it means sticking Usagi with the bill for their meal. Usagi's teacher, or sensei, is a gruff and aloof old lion named Katsuichi. The frequent flashbacks to young Usagi's training are always a joy, thanks to Katsuichi's rough but rewarding methods. Usagi's romantic interests are all strong female characters, including the ninja Chizu, the warrior Tomoe, and the thief Kitsune. Foremost amongst Usagi's foes is the supernatural executioner Jei, a living embodiment of death. Jei must kill everyone his twisted mind deems evil -- including Usagi, who interfered with Jei's plans in the past.

 Sakai's art supports his storytelling abilities perfectly. His crisp linework and deceptively simple layouts tell each story as concisely as his dialogue. His mastery of anthropomorphics allows him to give a variety of animal faces the full range of human emotions. The characters' costumes are rich in detail and authenticity. The duels and fight scenes are always thrilling and dynamic. Sakai's tone and style are obviously influenced by Japanese samurai manga (comic books), best epitomized by Kazuo Koike and Goseki Kojima's LONE WOLF AND CUB. However, by moving that tradition into a funny animal format, Sakai has produced something which is uniquely his own. (Sakai pays tribute to USAGI YOJIMBO's roots in UY V1#24 with the story "Lone Goat and Kid.")

 USAGI YOJIMBO has a rich publishing history, spanning four publishers. Usagi first appeared in the second issue of the anthology ALBEDO (Thoughts and Images) in 1984. Then he spent a few years making regular appearances in another anthology called CRITTERS (Fantagraphics Books). Finally, Usagi graduated to his own title in July of 1987. (Happy 10th anniversary!!) In the last decade, Sakai has produced over 70 issues of USAGI YOJIMBO for Fantagraphics Books, Mirage Publishing, and Dark Horse Comics, including four specials in full color. (By the way, while volumes one and three were black and white, all sixteen issues of the second volume of UY from Mirage Publishing were also in full color.) Sakai's durability and productivity are surpassed by few in the world of independent publishers except Dave Sim, whose CEREBUS has covered 220 issues in 20 years.

 Despite the ten years of back issues, it is easy to join USAGI YOJIMBO anytime, thanks to Sakai's extensive use of short stories and his expert techniques for summarizing backstory and reintroducing characters. The first twelve issues of the Dark Horse Comics run contain only one two-part story. If you prefer longer stories, in issue #13 Sakai will begin one of his infrequent epics, an eight-part story about a legendary sword called "Grasscutter."

I have high hopes for "Grasscutter," and I'm positive I'll enjoy the amazing short stories which are sure to follow it. If you want rock solid entertainment, USAGI YOJIMBO is hard to beat.
 
 

_____

Grade: A

(Watch for USAGI YOJIMBO Volume III #17 in next month's PREVIEWS under Dark Horse Comics! In the meantime, USAGI YOJIMBO Volume III #1-8 are resolicited this month in PREVIEWS on page 59! And a trade paperback reprinting some of Usagi's Fantagraphics adventures is resolicited on page 269!)

(The official Usagi website is at http://www.newdream.net/~yojimbo/usagi.html. It is huge! Mammoth! Comprehensive! Loaded with artwork! Frankly, the "Usagi Yojimbo Dojo" is the best comic book website I have ever come across. Webmaster Todd Bustillo deserves some major kudos.)

Back to Index...

UNCLE SCROOGE ADVENTURES IN COLOR #1-26 (Gladstone)
WALT DISNEY'S COMICS AND STORIES #601-616 (Gladstone)

One day while lounging around Scrooge McDuck's money bin, one of his young nephews asks, "How did you make all this money, Unca Scrooge -- in the banking business?" Scrooge McDuck replies, "Banking? (Snort!) I made it on the seas, and in the mines, and in the cattle wars of the old frontier! I made it by being tougher than the toughies, and smarter than the smarties! And I made it square!" ("Only a Poor Old Man," UNCLE SCROOGE FOUR COLOR #386, 1952, reprinted in UNCLE SCROOGE ADVENTURES IN COLOR #1, Gladstone, 1996, p. 15.)

Not only is Scrooge McDuck the richest duck in the world, he's the toughest. Far from being a dilettante playboy with an inherited fortune, Scrooge has scraped his knuckles and built up some calluses in his pursuit of wealth. Every coin in his money bin has a story behind it. From his first dime, Old Number One, to the newest penny, Scrooge remembers how it was earned through sweat and ingenuity. Scrooge's huge bin of money is simply a testament to his abilities. Not one to rest on his assets, Scrooge continues to accumulate wealth in the globe-spanning adventures he has with his nephews: Donald Duck, Huey, Dewey, and Louie.

 Thanks to the efforts of two men born decades apart, Scrooge McDuck is one of the three most entertaining ducks in the world, right up there with Daffy and Donald. Scrooge's durability and popularity are demonstrated by the coming of his 50th anniversary. He first appeared in a Donald Duck story with a cover date of December 1947. Created by writer/artist Carl Barks as a one-time character for a Donald Duck Christmas story, Scrooge took on a life of his own. Barks refined and popularized Scrooge throughout the fifties in the various Uncle Scrooge and Donald Duck comics. When Barks retired, his stories went into continuous reprinting, dominating the Scrooge books for decades. Forty years after Scrooge's creation, Don Rosa's first Scrooge story appeared in UNCLE SCROOGE #219 (Gladstone). Writer/artist Rosa quickly rose in popularity with Scrooge fans and created new excitement in the Uncle Scrooge titles.

 Carl Barks was known to fans as "The Good Duck Artist" -- but not just because he drew well. Y'see, most of the stories he wrote and drew did not include his name. Due to corporate policy, "Walt Disney" was the only name placed on stories featuring Disney's stable of characters. Without a name, fans could only refer to Barks as "The Good Duck Artist," showing that they recognized his style and realized he was superior to the other artists working on the Disney Ducks. Eventually, fan fervor and diligent investigation brought Barks out of anonymity. He has such a following that Gladstone has dedicated itself to reprinting Barks' entire body of work in a series of full-color albums.

 UNCLE SCROOGE ADVENTURES IN COLOR is reprinting in chronological order all the wonderful Barks tales that appeared in the earliest issues of the UNCLE SCROOGE comic book series. Everything from the short humor pieces to the longer adventure stories is included. Scrooge's battles with the Beagle Boys and quests for lost treasures are lovingly preserved in a beautiful package. Barks' magnificent linework and perfect layouts are further enhanced by the glorious new coloring of Susan Daigle-Leach. The stories are old, but Barks' snappy dialogue and wild plots make them timeless classics. Highlights from the albums so far include treasure hunts for the Golden Fleece, the seven cities of Cibola, the lost crown of Genghis Khan, the mines of King Solomon, a golden river, a golden moon, the Flying Dutchman, and the gold mines of the Incas. The latest album, #26, reprints the 1959 sequence which is cited as an inspiration for the temple scene at the beginning of "Raiders of the Lost Ark." To double your fun, Gladstone releases two albums a month. Just beginning reprints from the 1960's, Gladstone expects to reach Barks' final story from UNCLE SCROOGE in album #56.

 Don Rosa is the new "Good Duck Artist." My opinion may get me into trouble with other Duck fans, but I think Rosa is even better than Barks. Barks' art is smoother, sure. A master of economical perfection, Barks never wasted a single line. However, Rosa's thinner lines and extensive detailing is closer to the John Byrne/George Perez/Jim Lee style of art which strongly appeals to me. Also, Rosa's writing really sets his stories on fire. Rosa's major innovation was to bring continuity to the Uncle Scrooge/Donald Duck canon of adventure stories. His epic biography, "The Life and Times of Scrooge McDuck" (Grade: A+), several sequels to Barks' tales, and the large number of artifacts from previous adventures worked into the background of his new stories all make the world of the Ducks more coherent -- a substantial departure from Barks' technique of starting each adventure with a clean slate. While both artists are perfectly capable of balancing a copious amount of humor with a thrilling adventure yarn, Rosa's adventures seem more energetic, kinetic, and frenetic, pulling the reader along on a rollicking rollercoaster ride. One of Rosa's greatest strengths is his astounding ability to give an air of credibility to a story while making extensive use of crackpot science and playing loosey goosey with historical fact. Don't let this Rosa/Barks comparison put you off of Barks, however. If this were a horse race, it would be a photo finish measured in a fraction of an inch.

 The best source for a regular Rosa fix is the revamped WALT DISNEY'S COMICS AND STORIES (WDC&S). Each issue since #601 has featured at least eight pages of Rosa material, usually serialized chapters of long Uncle Scrooge adventure tales. "The Treasury of Croesus," which ran from #601-603, is a paradigm of the treasure hunt adventure. Wacky science and magic are the basis for three hilarious adventures revolving around a universal solvent, antigravity, and shrinking. Issues #614-616 feature a madcap tale of aliens hijacking Scrooge's money bin into outer space.

 Technically, these WDC&S Rosa stories are reprints, since they first appeared in Europe. Though Rosa is American, Gladstone's small budget for original material forces Rosa to sell his stories to the European market first. After the stories have been translated for German and Dutch audiences, Gladstone then picks up the rights for the English "translation." It's a funny system, but as long as I get Rosa stories, I don't care what it takes.

 For instance, I try not to care that the rest of WDC&S just doesn't measure up to Rosa's contributions. Consisting of reprints drawn from over 60 years of Disney comics and comic strips, WDC&S is a pretty uneven anthology. I cringe whenever the editors subject me to the insipid rhymes of a Bucky Bug story. The saccharine sweetness shown in the stories about Scamp, Li'l Bad Wolf, and Chip 'n' Dale helps keep comics stuck in the kiddie book ghetto. Mechanical adaptations of second tier movies like "The Sword in the Stone" and "The Fox and the Hound" also detract from the title. Thank goodness for the funny Donald Duck comedies by William Van Horn that kick off each issue. Also raising the property values are reprints of classic Mickey Mouse newspaper comic strips drawn by Floyd Gottfredson and Mickey Mouse comic book reprints showcasing the art of Paul Murry.

 Stories by Rosa and Barks pop up irregularly in the various Uncle Scrooge and Donald Duck comics produced by Gladstone. Whenever you see their names listed in the credits, you're assured of receiving a quality yarn. But to see their stories consistently in high-grade formats, your best bet is to subscribe to UNCLE SCROOGE ADVENTURES IN COLOR and WALT DISNEY COMICS AND STORIES. Once you read Rosa's and Barks' interpretations of Uncle Scrooge, you'll understand why he's the toughest and richest duck in the world.
 
 

_____	UNCLE SCROOGE ADVENTURES IN COLOR	Grade: A
_____	WALT DISNEY'S COMICS AND STORIES	Grade: B
_____	Anything by DON ROSA	Grade: A+

(UNCLE SCROOGE ADVENTURES IN COLOR #35-36 are solicited this month in PREVIEWS on page 284! WALT DISNEY'S COMICS AND STORIES #621 is solicited this month in PREVIEWS on page 284! )

(Surf on over to http://www.primenet.com/~bhc/gladstone/index.html, and you'll find the Gladstone home page. An alternate homepage is maintained at http://wso.williams.edu/~dgerstei/gladstone/home.html. For a good fan page which includes lots of Don Rosa artwork and Rosa's own annotations of his "The Life and Times of Scrooge McDuck" story, cruise to the $crooge McDuck Page at http://www.win.net/~homebrew/scroohome.htm. Finally, there are some nice profiles of Rosa, Barks, and many other Disney comics creators at http://www.update.uu.se/~starback/disney-comics/creators/index.html.)

Back to Index...

GON #1-4 (DC Comics: Paradox Press)

 Godzilla is the largest, butt-kicking dinosaur on the planet, right? So, how about the smallest? After all -- as the cliche goes -- size doesn't matter. Well, I'm certainly not going to nominate Godzilla's little buddy, Godzookey. Or the Flintstones' Dino. Usagi Yojimbo's pet, Spot, might have had a chance, but he got himself killed. No, the title definitely goes to Gon, a foot-tall dinosaur of the butt-kicking order.

 Like Godzilla, Gon is a Japanese import. The brainchild of writer/artist Masashi Tanaka, Gon is one of the more unique manga I've seen in a while. The high-level concept: Gon wanders around the world beating up much larger predators. There seem to be no other dinosaurs on the planet. Also, there are no humans and no dialogue. It's just Gon and the very realistically depicted world of nature.

 Basically, Gon is a bully -- a very fickle bully. His ways might be mistaken as noble at first, as he seems to hate any predator which preys on smaller or defenseless animals. Indeed, he goes out of his way to humiliate lions and tigers and bears. (Oh, my!) He also picks on dingoes, sharks, and snakes. Despite his size, Gon's indestructibility, intractable tenacity, and monstrous bite make him the runaway winner in any of these predator confrontations. Yet, he'll occasionally befriend predators like wolves or eagles. And he's also as likely to focus his temper on smaller animals. However, if he decides to hassle a chipmunk or a tick which has annoyed him, his fearsome abilities turn into so much slapstick. In the end, I guess he's forced to bully predators because of his inability to tackle anything smaller. And I guess some predators are better than others. And, mostly . . . there doesn't seem to be any rationale behind Gon.

 This is a series carried entirely by the art. Gon's antics are tolerable simply because he's so darn cute. The lack of dialogue is not noticed because the narrative flow of the pictures is easy to follow. The depiction of the other animals in Gon's world is breathtakingly realistic. If you put your thumb over Gon in any given panel, you might think you were browsing a comic book nature documentary with very expressive animals. I might buy a book like that. While I'm sure Gon's presence makes this book commercially viable to the rest of the world, I found myself quickly resenting him after the third story. The most beautiful artwork in the world couldn't make Gon any less a jerk.

 So my limit for Gon is about one book. Of the four books released, I'd recommend #2, GON AGAIN. It features wolves, penguins, and beavers -- three of my favorite animals. GON #1 has one pretty good story about a noble dingo who won't give in to Gon's bullying and keeps a shred of dignity in face of utter humiliation. I really like the way Tanaka draws. Too bad Gon had to wear his welcome out so quickly.
 
 

_____	GON (#1)	Grade: C+
_____	GON AGAIN (#2)	Grade: B+
_____	HERE TODAY, GON TOMORROW (#3)	Grade: C
_____	GOING, GOING GON (#4)	Grade: C
_____	Overall	Grade: C+

(GON #1-4 and GON SWIMMIN' are resolicited this month in PREVIEWS on page 112.)

Back to Index...