Stan Sakai is the creator of “Usagi Yojimbo,” a graphic novel series featuring a samurai rabbit named Miyamoto Usagi living in 17th-century Japan; the new installment, Space Usagi: White Star Rising, is due out from Dark Horse in May. Usagi books have been published in 18 languages and adapted for the screen in Netflix’s Samurai Rabbit: The Usagi Chronicles. Sakai has won 12 Eisners, the Japanese American National Museum’s Cultural Ambassador Award, two National Cartoonists Society Silver Reubens, and an American Library Association Award; in 2021, he was inducted into the Eisner Hall of Fame. LJ talks with Sakai about samurai warriors, blending genres, and his enduring career.

Space Usagi: White Star Rising reimagines characters from “Usagi Yojimbo” in a futuristic, sci-fi setting. What inspired you to merge samurai tradition with space opera, and how did you approach balancing these genres?

I developed a number of Usagi descendants, including a pulp version set in the 1940s, one during World War II, and a contemporary investigative writer in a whodunnit mystery. The Usagi lineage follows the ownership of the original’s daisho, his twin swords. Space Usagi is a descendant whose adventures take place in the far future. I chose to do Space Usagi’s adventures first because I like drawing dinosaurs almost as much as I also enjoy drawing Usagi. I wanted to merge those two, and the only way I knew how was to have an Usagi adventure that takes place in the far past or one set in the far future. The latter seemed more fun, and, in the first story arc, Usagi visited a dinosaur planet.

Many of your stories are rooted in themes of honor, loyalty, and sacrifice. Why do these themes resonate so strongly with you, and how do you approach adapting them to different settings?

Usagi’s philosophy is deeply rooted in Bushido, the path of the samurai. “Samurai” literally means “one who serves,” and these three virtues are the cornerstones of the bushido tradition. I developed Usagi to be the epitome of what a samurai warrior should be. He is very idealized, but he has his flaws like we all do. He tries to do the right thing according to his code but he, at times, has to choose the correct path even if it means going against his teachings. This struggle often makes for a better story. His stories take place at the [start of the 17th century in] Japan, a time of great turmoil. The Tokugawa Shogunate had just been established and the time of civil wars had just ended, so there were a lot of unemployed samurai whose only job skill was the sword. Many turned to banditry, others joined the rising merchant class [that] was coming into power just as the warrior class was declining. Add to this the arrival of the Europeans, who brought not only trade goods but a different way of thinking, including a new religion that ran contrary to traditional beliefs.

Can you talk about the challenges and joys of writing a long-running series such as “Usagi Yojimbo” while exploring side projects like Space Usagi: White Star Rising?

After 40 years, I still enjoy working on “Usagi Yojimbo.” I have enough stories to last for another 10 years or more. I am fortunate in that I own the IP and can write and draw whatever interests me. I especially enjoy writing about the more obscure aspects of Japanese culture, traditions and folklore—seaweed farming, pottery making, various festivals, etc. I am currently developing a story about dorodango, the fine art of mud ball making. Sometimes I take a break and work on different iterations of Usagi, such as Space Usagi or Chibi Usagi. I also do work on completely non-Usagi stories for other publishers. Those side projects keep me fresh, but I can’t wait to get back to my regular series.

Your work often explores complex moral dilemmas. How do you approach crafting these moments, and how do you balance ambiguity with clear storytelling?

For me, the writing is much more difficult than the drawing, though drawing takes much longer to do. I introduce various types of conflict, including inner conflict in which Usagi is confronted by a moral choice to do what his teachings tell him to do or to do what is right. “Usagi Yojimbo” has been published since 1984, and it is one long epic of an individual’s journey through life. You can see his growth as a person as he tries to travel down the right path but is often side-tracked by others or his own code of life. I also like to end my stories with a twist, in the tradition of O. Henry, so that the reader is left with a bit of a surprise.

What have been the most rewarding and challenging aspects of creating and sustaining a career as an independent cartoonist?

I love meeting my readers. “Usagi” is published in many languages, even in countries that did not exist when I started reading. I am amazed that so many people around the world can relate to my samurai rabbit. I enjoy traveling and meeting these fans. I am truly blessed.

Are there any graphic novels or graphic novelists you find particularly inspiring or have enjoyed lately?

My taste runs more towards independent, creator-owned stories. I really enjoy Jeff Smith’s “Bone” series. I particularly appreciate his storytelling and his clean art style. David Petersen does incredible worldbuilding with his excellent “Mouse Guard.” Mike Mignola is another worldbuilder with “Hellboy,” as is Sergio Aragonés and his hilarious and meticulously drawn Groo the Wanderer books. I am also a fan of many European and Japanese series.