This issue of Usagi Yojimbo is different from the norm because, despite the cover, the title character does not make a single appearance in the book. Ame Tomoe, loyal retainer of Lord Noriyuki and sometime love interest of Usagi, takes center stage for the beginning of Stan Sakai’s latest epic, “The Treasure of the Mother of Mountains.” A plague has struck the outskirts of the Geishu province and Ame Tomoe is sent to investigate at the insistence of rival and court sycophant, Lord Horikawa. Also, Tomoe’s cousin Noriko, a fellow female samurai, is introduced in a short flashback that holds ominous tidings.
Ame Tomoe is a fan favorite who has been featured in the pages of Usagi almost from the very beginning. She is based on a real person, Tomoe Gozen, a famous Japanese warrior from the 12th century. Like her namesake, Ame Tomoe faces many hardships in the phallocentric society she was born into. Because she is a woman, Tomoe must work harder to gain the respect of her fellow samurai while walking a fine line to ensure that she does not act in a manner thought to be unbecoming. While Tomoe has some prestige based on the reputation of her family and her skill with the sword, her position as chief retainer to a powerful daimyo speaks volumes towards her abilities while still making her a target for potential rivals
The output that creator Stan Sakai puts into every issue of Usagi Yojimbo is absolutely phenomenal. Between the meticulous research he does on the history and culture of medieval Japan and the arduous task of being responsible for every aspect of art and writing, it is astounding that Sakai adheres to an almost monthly schedule. While many dismiss this title as children’s fare because of the anthropomorphic cast, their actions are so human that the reader forgets that these are rabbits, rhinos and felines. For example, observe the malicious glee that exudes from Lord Horikawa when he manipulates Tomoe into both apologizing for an imagined slight and being sent to the far reaches of the province.
My only criticism of Sakai’s work is that within these big epics the action often moves very slowly at first. Which is why I prefer to buy the trades that collect the entire story. However, there are many issues, such as the previous one, that feature single stories that are just as good as the long ones.
For my closing statement, I have to give Sakai credit for doing his own thing in an industry dominated by spandex and superheroes. It is very refreshing to have a title that is completely unique and guided by a singular vision that has been in production for two straight decades.
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