Full transcript of interview with Stan

The following is the full transcript of my previously promised October 3, 2011 phone interview with Stan Sakai for The Southern Journal (see previous entry).  If I sound like a goofball at times, well, this isn’t my usual line of work.  A question mark or ellipsis indicates a word that was a little unclear to me over the phone line.  If it seems a bit short, it's because I was figuring on a limited amount of space for the article.


DM: You recently were honored with the Cultural Ambassador Award from the Japanese American National Museum.  By the way, congratulations on that – it’s certainly well deserved.  How do you see your role as a cultural ambassador, for actually the past 27 years?

Stan: You know, I’m just a cartoonist.  I do the Usagi stories because mainly that’s what I do.  That’s my job.  And I like to write stories with some kind of cultural or historical background because I think that good research only enhances a story and lack of research kills even the best stories.  And that’s why I do a lot of the research on my stories.

And I’m just gratified that Usagi is published in like twelve or thirteen languages, and it’s just incredible for me to even think about that.

DM: It’s great fun to get a sneak peak into all the tidbits on Japanese culture, particularly how you tied in the tea ceremony with Usagi’s relationship to Tomoe.  What other traditional Japanese crafts did you have in mind to cover?

Stan: Right now I’m doing a story about shoyu-making, how they made soy sauce back in feudal Japan.  Recently I did a story about Taiko drums.  In the past, seaweed-farming, pottery-making, various festivals, and sword-making.  And not every story has aspects of Japanese culture, but a lot of them do.

DM: What has it been like researching Japanese culture and history?  How much research have you done up close and firsthand versus by book reference? 

Stan: Both.  Most of them are by book.  For the tea ceremony I was privileged enough to participate in a couple tea ceremonies, but I also have about three books on chado, the Japanese tea ceremony.  And much of it is research.  However, in one of the tea ceremonies I participated in, I was second guest and the hosts were very accommodating and they allowed me to ask any questions I wanted and they explained everything in detail that was going on and I was very happy to experience that.

DM: Would you say that was one of your favorite crafts to learn about?

Stan: That, yeah, and Taiko drums.  Because I personally enjoy watching Taiko drummers.  And again, I was able to play a little Taiko from a teacher when I was in Seattle.  And I picked up the sticks with my thumbs on top, curled around it, and they said, ‘No, you don’t hold it like that.  You’ll break your fingers.’  You know, just little things like that.

DM: Do you have an intended audience in mind when you’re writing?

Stan: Yes, a very specific audience.  I have an audience of one.  I write and draw the stories that I would like to read.  And it’s just gratifying to know that so many other people share the same take(?) that I do.

DM: Maybe many Japanese are not very aware of the kinds of traditions you cover.  Have you had much feedback from Japanese readers on those aspects or on Usagi as a more American-style take on Japanese stories?

Stan: I hear more from Westerners saying that, ‘Because of your stories we’ve gotten interested in Japanese culture.’  Or a father says his kids have discovered Japanese culture and at first they might just have been interested in manga and anime.  But it’s expanded their horizon into Japanese pop art or history.

DM:  It’s not currently published in Japanese.  Is there a specific reason for that or are there plans for it to be published in the future in Japanese?

Stan: There has never been a Western comic book that has made any type of significant dent in the Japanese manga market.  They did have Spider-Man and Fantastic Four or X-Men, but these were stories were written and drawn especially for the Japanese market, and I don’t think they’re around anymore.  Even the European books like Tintin, there’s never been any type of major impact on the manga market.  I actually went to Japan for a cartoonist seminar.  This was way back in the late 90s, and I was frankly surprised that they knew who I was.  At that time and at this time too the Japanese manga market was slipping […] and they wanted Westerners take on the comic book market.

DM: Usagi himself certainly resonates with a lot of people, myself included.  He’s brave and just, but also seems more down-to-earth than many comic book figures.  What’s your take on his enduring popularity?

Stan: I have a solid core readership, especially with word-of-mouth spreads it around.  I like to think it’s because of the quality of the story and the art.  My wife says it might be the art that draws people into picking up the book, but it’s the stories that keep them coming back issue after issue.

DM: Actually one of my favorite short stories is “Contraband.”  Actually, as a sobering historical tale, I found it to be a little bit different from most of Usagi’s adventures that take place in a sort of Buddhist or folk mythology, quasi-historical universe. How did the idea come to do that story?

Stan: Just reading about history, such as the Jesuits priests were welcome at one time and then the Tokugawa Shogunate had pretty much clamped down(?) on any type of foreign influences and any kind of contact with foreigners or foreign objects were considered contraband and punishable by death.  And here we have a group of secret Christians and there were these secret Christians throughout Japan, and, I think, in the Shimabara Rebellion, in which the Christians were trapped within the castle and were pretty much all wiped out.  Again it’s based upon history.

DM: Do you have any plans to do future stories with Usagi meeting Westerners?  Perhaps he might be something of a cultural ambassador to them?

Stan: I do, but first of all I’m working on a story where he meets a Chinese herbalist.  The foreigners at that time were relegated to certain areas such as Nagasaki so for regular Japanese citizens it was very rare for any of them to meet a foreigner at all.  But I’ll have Usagi meeting a couple of foreigners, you know, Europeans.  It’d be neat to contrast the differences between Europe and Japan at that time.  It won’t be for a while yet.

DM: Have you been influenced much from fan feedback?

Stan: I don’t pay attention to fan feedback as far as ‘We like this character’ or ‘You should do more with him’, because I have Usagi’s stories pretty much planned out and I know where he’s going.  I’ve changed a few times.  And once in a while I’ll say I need some help with this story, some research, such as in one story, Grasscutter II: Journey to Atsuta Shrine, where I needed reference on what the shrine looks like and someone had said, ‘I went to the shrine just a couple of months ago and I have all of these photographs I can send to you.’  And I was able to use that.  The fans have helped as far as research goes, but as far as stories go, I’m pretty much on my own.  Even my editors at Dark Horse have no input as far as the story content.

DM: It’s really good that you have that kind of freedom to take control of your creation and not be subject to too much outside influence.

Stan: I’m really blessed because in the comic book industry it’s rare for someone who is not self-publishing to have that kind of control where I’m free to do whatever I want to, and the first time my editor, Diana Schultz, sees the story is when I send in the finished artwork.

DM: We’re looking forward to many more years of seeing Usagi’s adventures.

Stan: Thank you.

Interview with Stan Sakai on the Saga of Usagi Yojimbo

So the new SJ issue is out today with a Stan Sakai interview/article.  It was rather a freak incident actually that I got to talk to him, and as a big fan it was a real honor.  I was careful though not to geek out too much.

Unfortunately, unbeknownst to me the editor-who-shall-remain-nameless changed my title and added some captions that labeled him a manga artist, which, of course, he's not, but I gather that seems to be a common mistake.  Any other errors are all mine.

By the way, it's common knowledge that Stan is one of the nicest guys in the comics business and that was certainly true of our phone interview.  Due to space we didn't get to use all of the interview, but maybe I'll post up the whole unedited transcript on this blog.  You know, for posterity and all that.

If you're wondering what this has to do with Sitz im Leben of Japanese living in Houston, not only is it loaded with cultural goodies to share with others, but it makes for an easy and fun way to learn English - for kids and adults alike.

The Southern Journal - October issue

Behind you, Usagi!  あぶない！

Update: since as of 6/12 I hear SJ might not always be up at its Issuu site, I'm going to go ahead and post it here as well:


Stan Sakai on the Saga of Usagi Yojimbo

If you’re like me, a product of 80s pop culture, you probably have childhood memories of watching the honor-bound samurai Usagi Yojimbo guest-starring in Teenage Mutant Ninja Turtles cartoons, and, incidentally, beating them all. 

Usagi Yojimbo (兎 用 心 棒  - literally, “Rabbit Bodyguard”) is the formidable creation of Japanese-American cartoonist Stan Sakai.  Over a 27-year span, Sakai’s wayfaring rōnin rabbit who rights wrongs in Edo-era Japan has been recognized with numerous prestigious awards, including three Eisner Awards, the highest prize in American comics.  Most recently, Sakai was honored with the Cultural Ambassador Award from the Japanese American National Museum in Los Angeles. 

In an interview on October 3rd, every bit as modest and down-to-earth as his furry warrior companion, Stan was kind enough to share with me his thoughts on Miyamoto Usagi’s enduring popularity and on bearing such a respected role.  “You know, I’m just a cartoonist.  I do the Usagi stories because mainly that’s what I do; that’s my job. And I like to write stories with some kind of cultural or historical background because I think that good research only enhances a story and lack of research kills even the best stories.”

Lack of research strikes when you least expect it.

Usagi draws on a long tradition too.  Some of the first narrative scrolls in Japanese history, the light-hearted Chōjū-jinbutsu-giga, depicted ‘funny animal’ comics around the 12th century.

Almost all of Stan’s books are in black-and-white, and for good reason.  There’s something of a cinematic, Kurosawa-esque scope to the angles and pacing of scenes, and the crisp, almost understated line-work.  He encompasses the boiling pot of human drives, reminiscent of chambara and Zatoichi films, dealing with the life of the street hucksters, pickpockets, and avaricious gangs, balancing the knife’s edge with sudden, wrenching pathos.  And through it all we find our lovable, long-eared wanderer, ever ready with a jaunty smile beneath his kasa.

Despite the feudal subject matter and musha shugyō genre (similar to our knight-errantry), the storytelling style is still Western.  The research involved in tying together Usagi’s adventures with traditional Japanese arts and crafts makes for an added bonus.  Far from coming across as pedantic or bogging down the reader, all the detailed research and cultural appreciation interplays beautifully with the atmosphere: a story of emotional restraint between two people with chadō (tea ceremony), a thunderous tale of dire urgency counterpoised with Taiko drumming.

“I personally enjoy watching Taiko drummers,” Stan commented on the firsthand side of his studies.  “I was able to play a little Taiko from a teacher when I was in Seattle.  I picked up the sticks with my thumbs on top, curled around it, and they said, ‘No, you don’t hold it like that.  You’ll break your fingers.’  You know, just little things like that.”

“Right now I’m doing a story about shōyu-making, how they made soy sauce back in feudal Japan.  In the past, seaweed-farming, pottery-making, various festivals, sword-making.  I was privileged enough to participate in a couple tea ceremonies.  I was second guest and the hosts were very accommodating and they allowed me to ask any questions I wanted and they explained everything in detail that was going on and I was very happy to experience that.”

All of which practically ought to qualify him to be designated a Living National Treasure of Japan, right?  (Unfortunately, he’s not a Japanese citizen).  Yet ironically, Sakai is not well known in Japan, dominated as it is by the monolithic manga empire.  “There has never been a Western comic book that has made any type of significant dent in the Japanese manga market,” he pointed out.  “I’m just gratified that Usagi is published in like twelve or thirteen languages, and it’s incredible for me to even think about that.”

“I hear more from Westerners, saying that, ‘Because of your stories we’ve gotten interested in Japanese culture,’” he added.  “Or a father says his kids have discovered Japanese culture and at first they might just have been interested in manga and anime.  But it’s expanded their horizon into Japanese pop art or history.”

With Usagi being a cultural ambassador of sorts in his own right, Stan revealed a glimpse of what is to come down the road with the prospect of his contact with foreigners.  “I’m working on a story where he meets a Chinese herbalist.  The foreigners at that time were relegated to certain areas such as Nagasaki, so for regular Japanese citizens it was very rare for any of them to meet a foreigner at all.  But I’ll have Usagi meeting a couple of foreigners, you know, Europeans.  It’d be neat to contrast the differences between Europe and Japan at that time.”

Indeed.  So far, Usagi’s stoic, Bushido determination had handled anything and everything from mystery to humor to horror to slice-of-life vignettes.   There’s even a spin-off series called Space Usagi – and we all know rocketships + dinosaurs = the universal formula for awesomeness.

Whatever part of Japanese culture happens to be your cup of tea, it’s a journey you don’t want to miss.

The Tricky Turns of Conversation Exchanges

It's a risk, but, hey, there's little commitment.  And you're both a little desperate.

Whether online or up close and face-to-face, 'conversation exchanges' are a lot like going into a blind date.  You can e-mail a bit before hand, but when it comes down to it that first real life conversation is almost always awkward as all get out.  (Am I talking too much?  Should I just nod and pretend like I know what she's saying?  "You like music?  Me too!")  Needless to say, not the best scenario to loosen you up for language practice.

Of course, it's often true that you get what you pay for.  And for cheapskates like me, that usually means the free exchange is destined to be a short-lived one.

I've tried conversation exchanges a few times and experienced what you might expect: 1) The other person had little to no training or skills in language teaching and basically ended up confusing me more than anything else, and 2) it was simply too unstructured for a beginner like me to be able to participate on an enjoyable level.  One minute he or she would talk to me on a baby level and the next thing rattle on as if I were an old childhood chum.  Oh, and I also tend to notice that 3) she usually isn't as pretty as I pictured in my mind.

But hey, who says all translating trysts have to crash and burn so miserably as that?  Here's a few pointers that I think can help salvage your linguistical one-night stand.

First of all, exchange photos.  Take the 'blind' out of 'blind date.'  Reading is hard work; go ahead and judge a book by its cover.  For a girl, this might be a little more risky and lure in some unsavory freaks and geeks types, but as a guy I would like to know a little more information about my potential student/tutor.  And you know who to look for at Starbucks.  Of course, if you're only going to meet through Skype this is a non-issue.

Once you've got an idea of the person from their photo, lay down some simple ground rules so you know each other's expectations.  Go over your preferred learning styles.  Some people prefer to be gently corrected (not interrupted) on the spot and others would like to finish through with their comments until coming to a convenient pause for any corrections.

Incorporate a real-life activity into your time.  This could be role-playing or actually going to a restaurant, let's say a reasonably-priced sushi bar, and ordering in the target language.  Focus on functional phrases or colloquialisms ("Sheesh, 'do you mind' saving some of that saké for me?"  "Well, 'as a matter of fact'...").  Whatever activity you end up doing provides plenty of relatable topics for conversation so the table talk time together feels less like an interview or examination - or interrogation.  Try out each other's hobbies and you'll be learning various vocabulary as you go.

The idea is to avoid straight-up academic exercises (like giving book reports) which can easily become forced and boring without one or both parties being a naturally-gifted teacher to guide things.  This isn't to say that you can't or shouldn't do pronunciation drills or controlled speaking practice, but just be sure it's done with a good dose of levity.

Since you're not paying for lessons and don't have to worry about being intimidated by the other person's status as a professional, be frank and honest.  If the exchange is not working out for you, say so and try the next available partner (Ooh!  Me!  Me, please!  Over here!).  But try not to burn any bridges.  Half of this crazy conversation exchange whirligig is just practicing being a good friend.  Though having a few breath mints on hand never hurt anybody either.

Unless you're this guy (not me!).  In which case all bets are off.

"You like music?  Me too!"

         

※ Some more or less free sites for your perusal:

http://www.conversationexchange.com/
It's a basic, straight-up way to find people.  I've used it once or twice.  Luck of the draw.

http://www.livemocha.com
Offers the benefits of a conversation exchange with a chat function along with traditional lessons.  Look me up.

http://www.lang-8.com
I just started using this.  It's basically just for getting your writing entries proofread by native speakers.

http://www.edufire.com
Also, just started using this.  Can't say much right now, but looks like a flexible way to find a tutor or class.

I haven't really used these following sites as much, but last time I checked I think they were more or less the same.  Sorry for the lack of a real, in-depth review...
http://www.mylanguageexchange.com
http://www.sharedtalk.com/
http://www.italki.com/
http://www.languageexchange.org
http://www.polyglot-learn-language.com/