Template:Interviews4

{{Tabber
 * Masahiko Komino (02/2016)|

Masahiko Komino (02/2016)
In February, Paris Manga had the honor of hosting Masahiko Komino, a veteran of the industry who's highly acclaimed for his various roles on the animated adaptations of Jojo's Bizarre Adventure, including lead Character Designer of Stardust Crusaders. We took advantage of his visit to Paris to meet with him for a fully dedicated Jojo interview!

'''Mashiko Komino, thank you very much for accepting this meeting! Can you tell us what brought you to work in animation?'''

Masahiko Komino : I've been interested in animation since I was very young, but it was only after a brief period abroad that I decided to join a school that specialized in animation.

Are there any artists or works that have influenced your choice of career?

In terms of manga, Ushio & Tora was a series that impacted me deeply, but anime-wise, Sailor Moon was the true turning point in my attraction to this medium. Particularly the first season and its animation, I think the staff managed to find a good balance between the different aspects of the work. It's thanks to Sailor Moon that I discovered that we could convey a lot of emotion through an anime.

'''Stardust Crusaders is the first anime where you hold the position of Character Designer. How did you go about approaching this first time endeavor?'''

To be honest, it really wasn't my first time. In fact, I was already given a shot at character design in the past without ever being credited, though Stardust Crusaders is the first series where my name is properly listed in the credits. My past experiences have given me a certain bias of the medium as I've been a long time fan of 80's-90's Shonen such as Dragon Ball, Hokuto no Ken and, of course, Jojo. The problem was that they had previously offered me the character designer role for other series, but I ended up declining them out of lack of interest. However, when I was asked to design the Stardust Crusader characters, you can imagine how thrilled I was since it brought me back to the type of shonen I love.

'''Although you were already on the staff of Jojo's first animated series, you were not the character designer. Why this change of position between the first anime and Stardust Crusaders?'''

In the original manga, Hirohiko Araki has a trait of constantly evolving with the times. Out of respect to his series, we felt that it was also necessary to signify these changes in the anime. That's why with each new animated season of Jojo, the character designer is switched out. (Spoiler for Battle Tendency) Regarding the reason that I was chosen for Stardust Crusader's design, the team had admitted to being fairly impressed with how I adapted Part 2, particularly the episode where Caesar died. From there, they wanted to see me push that experience forward.

'''Hirohiko Araki is one of those authors whose art is very personal and immediately identifiable. How did you handle recapturing it? What was most difficult?'''

Yes, its true that he has a very special design; Araki is one of those designers who really have their own style. But you know, I've read the manga since I was a kid, so I've constantly absorbed it throughout the years to a point where I find no real difficulty recapturing it. What has actually been difficult is the process. When you draw a manga, you are only responsible for yourself, whereas when you're character designer, you are responsible for a team of a dozen or even hundreds of people who are all waiting to see what they'll work on. The issue is finding a good balance between ease of animation (where the rest of the staff can work without difficulty) and keeping true to the characters. That is what is most difficult.

'''Which characters were harder to work with? Who was easiest? And who are your favorite characters?'''

The person I had the most problems with is Daniel J. D'Arby (D'Arby the Gambler). This is a man who is not really old or young, and finding the right balance to emphasize that age and animate it without distorting Araki's original design was very complicated. The easiest character was Jean-Pierre Polnareff because he was very simple to work with, even for action scenes. As for my favorite characters, the one who I prefer to draw is Jotaro, while my favorite short character was Anne as she was the one I related to most.

How was working with Hirohiko Araki?

I have never actually met Mr. Araki. Generally, I would send him my work every Thursday and then he'd make suggestions on modifications, though everything was usually accepted very quickly. I felt alot of confidence from him.

What would you say to a person who would be reluctant to watch Jojo?

Watch, and you'll understand. (Laughs)

'''JoJo's Bizarre Adventure: Diamond is Unbreakable is arriving this spring. Will you be a part of the staff?'''

For now, I still have things to wrap up with Stardust Crusaders. I have contacts for participating in Diamond is Unbreakable and I'd love to participate, but before that I'd like to finish what I have to do.

Character Designer, is it an experience that you'd like to repeat?

It's actually not one of the positions I prefer, because I like above all to live the characters, animate them and make them speak. The character design is obviously important, but I prefer positions where I can work on the animation.

Thanks to Mr. Masahiko Komino, his interpreter and manager Emmanuel Bochew, and Paris Manga for the reception.03/28/2016
 * Savage Garden (08/2016)|

Savage Garden (08/2016)
Savage Garden: Darren Stanley Hayes

'''Had you heard of this manga "JoJo's Bizarre Adventure" before? If yes, please tell us how you came to know of it.'''

I was aware that JoJo's was considered to be the coolest anime in Japan. I have many friends who love comics, anime and the show but I admit I had never watched it before! When the request came through, I did of course watch some episodes and I immediately knew the show was lovingly made and clearly adored by millions.

What did you think of your hit "I Want You" being chosen as the ending theme for the TV anime of "JoJo's Bizarre Adventure?"

I was very touched by the fact that the creator of the show had been fond of the song "I Want You" and 'Savage Garden'. When I confirmed the news on twitter, my timeline literally blew up and I was swamped with kind messages of support and welcome from the JoJo community. The last thing I wanted was for fans of the show to think the song didn't fit or wasn't appropriate. So to see the positive response, I felt very grateful.

'''The Part 4 episodes of "JoJo's Bizarre Adventure" (currently aired in Japan) are set in the year 1999, fairly close to the time "I Want You" first became an international hit. Can you share some memories from around that time?'''

1996 to 2002 was a roller coaster. In the music industry, this was a time of great excess. The entire Savage Garden period was part of a golden time in music where sales were thriving, music videos were high budget and extravagant and I loved very single minute of it. The fashion, the experimentation and the excitement of radio back then was so electric. I am proud to have been part of that period.

'''There's been an increased buzz for Savage Garden now that people are hearing "I Want You" on the broadcast of the latest "JoJo's Bizarre Adventure: Diamond is Unbreakable." What is your impression of the reaction from fans?'''

It's a privilege to reconnect with older fans and meet new fans who were just children when Savage Garden songs were on the radio. I'm meeting fans in their 20's who remember buying our music as their first album. Especially in Japan, the reaction to Savage Garden in the 90's was very special to me. I remember playing some incredible shows to the most gracious and enthusiastic audiences. I still remember my Japanese fans to this day.

'''The creator of the JoJo series has been a long time fan of Savage Garden and he is thrilled to have "I Want You" on his latest anime series. Any thoughts on the loyalty of your fans and it leading to your track being reintroduced in a brand-new anime project?'''

I'm just very appreciative that the music has occuppied a very special place in people's lives. I absolutely love the repackaged cover of the album featuring JoJo artwork - it's incredibly cool! Such an honor.

Please give us a message for our Japanese fans.

Thank you for remembering me, our band and our music. My time in Japan was amongst the most magical of my adventures in the music industry. I have fond memories of cheery blossoms, tiny Starbucks cups, incredibly thoughtful gifts, amazing food and an outpouring of love. I love Japan and our Japanese fans and I always will.
 * Yasufumi Soejima (11/2016)|

Yasufumi Soejima (11/2016)
Untranslated

（『アニメージュ』2016年11月号記事より）

'''「重ちーの後ろの億泰と間田は、一応セリフも決めて芝居させています. 「お前また鳩とか殺すんじゃあねーぞ」「そんなことやらないよ！」みたいな（笑）. '''

3人の登下校も、密かに女の子好きな億泰は「可愛い子いないかな」、仗助と康一は「あのアイスクリーム屋で新作出たから買いに行こうぜ」くらいの感じです. 」

'''「太陽のガジェットは、ジョナサンを象徴させています. '''

OP２でも本当はジョナサンを出したかったんですが、ダメと言われたので太陽にしてしまえばOKかなと（笑）. 」

Other Notes: ソエジマヤスフミさんの解説には、この他にも、OP２は『スターウォーズ／帝国の逆襲』みたいな気持ちで作っていたのに対し、OP3は『ジェダイの帰還』のような位置づけであるなど、ディ・モールト興味深い情報が「たっぷり！」語られている. また、今月号はページ後半の赤黒2色カラーページにも、仗助から辻彩、吉良吉影までの「キャラクター設定資料ファイル」が6ページに渡って掲載されているので、TVアニメ『ジョジョ』に興味のある方は雑誌の方でぜひチェックしよう.
 * MTV 80's Music (03/10/2017)|

MTV 80's Music (03/10/2017)
"Interview with Hirohiko Araki on his choices for the 80's Western Music Hits Parade on MTV Japan. Translated by twitter user @macchalion.

GUNS N' ROSES --- Welcome to the jungle

ZZ TOPS --- Legs

DIRE STRAITS --- Money for nothing

MICHAEL JACKSON --- Thriller

UB40 --- Red red wine

BRUCE SPRINGSTEEN --- Dancing in the dark

U2 --- I still haven't found what I'm looking for

DONALD FAGEN --- New Frontier

THE STYLE COUNCIL --- Shout to the top

SADE --- Smooth Operator

PRINCE ---When doves cry

DAVID LEE ROTH ---California Girls

The 80's were an exciting period for a mangaka too. The stories that were coming out were gradually becoming stronger and deeper. This feeling that was floating around at that time could be perceived in both manga and music I think. From "Welcome to the Jungle" by Guns N' Roses, I really liked that while it's an overly long song it contains a lot of different ideas.

How the riff vertically enters the song "When Doves Cry" by Prince and how the melody feels like rain sticking to the ground gives me a really nice effect of 'solid' and sexy. I think the sound effects in 'JoJo's Bizarre Adventure' came from my desire to incorporate the strange voice that comes out from this song in a manga. For David Lee Roth's "California Girls," I adored the excitement and happy feeling it gave me. If you link the music and images it reflects, ZZ TOPS' "Legs" reminded me of something like the Pinup Girl style.

I consider these songs similar to an oil painting; I especially consider the way Norman Rockwell used to draw them to be quite erotic. His art used to appear in calendars, but it's popular now too. I think it would be nice to listen to these songs while watching those calendars."

- Hirohiko Araki


 * Anime Boston (04/01/2017)|

Anime Boston (04/01/2017)
Naokatsu Tsuda, the creative director in charge of David Production's anime adaptation of JoJo's Bizarre Adventure, was a guest at the Anime Boston 2017 convention. The following is paraphrased from questions that he answered.

Araki had approached them when they started Part 4 to ask them to add in the foreshadowing scenes with Kira. When he was writing the part, he didn’t know who the main villain would be, and if he had known, this is how he would have wanted it to have been.

Tsuda said the color schemes for the characters were based off the Medicos palettes because those are Araki approved. They wanted to add in those color changes because 1) no other anime does that and 2) he felt like everyone reading it had different visions of the colors and wanted to include that feeling in.

His favorite openings were the first one and Great Days, and he talked about how usually directors don’t get a say in the openings but he got to choose the style of music and the feel for the openings. He also mentioned he couldn’t legally say which songs he wished he could have used for the endings but he had a lot.

Usually, anime come out before games, so the voice actors from the anime carry over to the game. However, since All Star Battle was out before the anime, what they did was they allowed those voice actors to re-audition for their roles. Since game voices are recorded alone, and anime is recorded together in a group, they cast voice actors based on how well the teams meshed together, which was why some were chosen differently for the anime. They wanted to have a team that sounded good all together.

The first opening included all the JoJos because Tsuda wanted to promise the fans that he would animate them all. He really wants to do all the parts, and said it really helps to show the companies like Warner that the audience has an interest in them by doing things like writing in. He asks everyone to please send comments in to let them know more JoJo is wanted.

When asked which part he would be most excited to animate, Tsuda replied saying Part 8. He then facetiously asked how they knew Part 8 since it wasn’t officially translated.

---

There is another interview with Tsuda by AnimeHerald at Anime Boston.

It would be difficult to overstate how profound of an effect “Jojo’s Bizarre Adventure” has had on Naokatsu Tsuda’s career. He had been a fan of the manga from Shonen Jump, which led directly to him getting the job directing the anime adaptation. David Production COO Koji Kajita asked Tsuda directly if he liked Jojo, and Tsuda responded “Yes.” Kajita wanted fans on the production team.

After being given the directing job, Tsuda needed to decide how the anime was going to look. Tsuda explained that the publisher provided feedback that they wanted to anime to stick very close to the manga. I’m not sure they anticipated just how close Tsuda was prepared to go.

Of course, the publisher may have had a good reason for wanting the anime to hem quite close to the manga:

“Jojo fans are very fanatical.” -Naokatsu Tsuda

He noted that his job is getting harder every year. The trick is making each season unique, and Tsuda himself noted that “the idea drawer is getting depleted.”

The discussion then moved into the difference between original works and adaptations. Tsuda commented on the subject, stating:

“Both are challenging, but original adaptations are much more difficult and rewarding.” -Naokatsu Tsuda

He explained his reasoning. With an original work, you need to generate a screenplay from scratch. Furthermore, with so little set in stone, directing is much harder.

I was curious if the growth of the American audience, via Crunchyroll, Amazon, and Netflix has affected his job. He responded:

“No change for me yet. We will start thinking about the future audiences for our next productions.” -Naokatsu Tsuda

He elaborated that he’s currently working on several different productions, some of original works, others of existing properties, but he wasn’t at liberty to give specifics.

He dropped a bombshell when I asked about how the industry has changed during his career. He noted that digitization had been the biggest change, but then followed:

“I feel we can do away with paper as soon as possible.” -Naokatsu Tsuda

He explained that the issue is geography. When working digitally, you can have many people working on the project from any location. I’ll come back to this in a second. I followed up, asking what he felt the greater limitation in production was: Money or time. He laughed and replied:

“Talent!” -Naokatsu Tsuda

He followed up, stating that it really depends on the position and the production. Sound directors and editors were very important areas to have quality staff. Character designers, in particular, had to fit the production. I guess that makes a lot of sense, given how much everything flows from the lead character’s design. Nailing Jojo and Dio helped propel the show into the stratosphere.

I was curious about the process for selecting what shows both he and his studio would work on. Tsuda explained that the label would send their producer out to pitch a show to Tsuda’s studio. Tsuda became a bit introspective here, and wondered if their studio might be at the point where they could do an entire production in-house. (I want to confirm that is what he meant as the translator may have struggled a bit here)

I asked him if he felt it was harder to move up in the industry today. He felt this was not the case:

“It is much easier today, with so many titles in production. Too many.” -Naokatsu Tsuda

I swear to Jojo that he said the next line exactly as you’re reading it:

“Each title eats a director.” -Naokatsu Tsuda

We moved on to the nuts and bolts of the job. He explained that he is almost never completely happy with his work. However, he has a responsibility to keep up with the schedule, so that keeps him moving forward. The most important thing are the storyboards. With those, he simply cannot move on until they get a passing mark. After that, he’ll strive to perfect them as time allows.

I was curious if he was worried about being typecast. He replied:

“I’m happy to be known as that ‘JoJo guy’, but it is not something I can rest on.” -Naokatsu Tsuda

He went on to share that he felt compelled to go work on original titles. He was concerned about stuck in one place, mentally.

“I was happy to work on Planetarian. I explored new things, grew, and took that growth back to JoJo.” -Naokatsu Tsuda

I asked him what recent works had impressed him. He replied that KonoSuba: God’s Blessing on this Wonderful World! was pretty much flawless, with nothing to complain about. Sword Art Online and Attack on Titan also impressed him, as did Erased.

He noted that he was impressed both with the Erased manga, as well as the anime. He knew they were going to have different endings, but the fact that they were both executed so well, and in such a short turnaround, that was something special. He followed with one more title:

“I liked Your Lie in April. It was good.”

I finished up by asking what he was reading these days. He said he was reading “Wave, Listen to Me”. Kind of a lucky break that it is something that is available in America, as that didn’t have to be the case.

After having some time to think about and digest everything Tsuda said, I’m wondering if the current production system is sustainable. Tsuda was clearly concerned about acquiring the proper talent for each production, and I wonder if that is going to become more difficult in the future. His push to go digital so that they can work with the best staff available, from anywhere in the world, is apt. He’s also concerned about burnout, with so many productions ongoing.

Special thanks to the Anime Boston staff, including translator Takayuki Karahasi. Thanks to Naokatsu Tsuda as well.
 * TSKR OVA Interviews (07/2017)|

TSKR OVA Interviews (07/2017)
Untranslated

◆STAFF & CAST COMMENT

左から、水橋 かおりさん、中原 麻衣さん、櫻井 孝宏さん、高木 渉さん 監督 加藤 敏幸 今回のOVAの見どころを教えてください.

「ジョジョの奇妙な冒険」でも屈指の人気キャラクターである、岸辺露伴のスピンオフ作品が初めて映像化されることになりました. いつもはスタンド使いを相手にしてますが、今回露伴が戦うのは人知を超えた存在です. それにいかに対応していくのか、TVシリーズとも違う独特の表現も含めて楽しんでいただきたいと思っています.

テレビアニメ本編でも露伴がメインになる回がありましたが、「岸辺露伴は動かない」をアニメ化するにあたって本編とは変えた点など、こだわりを教えてください.

まず背景美術の色合い、タッチがTVシリーズとも違っています. これはホラーテイストの原作を活かしたいと思って変更しました. 現実の風景のすぐそばに奇妙な世界が潜んでいる. ちょっとしたきっかけでその世界に踏み込んでしまうかもしれない、そんな特徴をはっきりと表現したいと思い変えました.

今回のOVAではTVシリーズとはデザインを一新されています. 石本さんが描かれた岸辺露伴を見た時の第一印象を教えてください.

「いい感じ！」という印象を受けました. 原作は20年前の『懺悔室』が初出だと思いますが、現在まで続いている「ジョジョ」シリーズの中では息の長い作品です. ですからその中で露伴の描写がタイトルごとに少しずつ違っています. その中から今の「露伴」のイメージを表現してもらえてると思っています.

今回登場する泉京香、一究について、その魅力や演出の上で気を付けたところを教えてください.

泉はそのルックスおよび言動から見てかわいらしいキャラクターだと思っています. 露伴に不遜な態度をとりつつも、きっちりと仕事へとつなげてしまうところがタダモノではない. うるさいだけの女性に見えないよう気を使いたいです. 一究は物語のバックボーンと直接つながっていることもあって、神秘的な要素、外見共に意識して演出しています. どこか福助のようなイメージと老獪な執事を思わせるような物腰. そこに注意して映像化したつもりです.

今回は脚本はなしで、監督自ら字コンテを書かれる形で制作がスタートしたとお聞きしました. そのような手法を取った理由は何かあるのでしょうか.

「字コンテ」で制作をスタートしましたが、イメージとしては「シナリオ」に近い感じと考えています. この作業を行うことによって、改めて原作の構成や筋の運び方などを客観的に捉えることができて、映像化する際にどういう部分を重視すればいいのか判断するのに役立ちました.

新たなOPもあります. 凝った作りとなっていますが、どういうイメージで作られたのでしょうか.

今回は全巻購入特典映像という立ち位置だったのですが、ワーナーさんのご厚意によりOPのテーマ曲を作っていただけることになりました. イメージとしては、昔の『トワイライトゾーン』や『ツイン・ピークス』のようなどこか懐かしく、そして不安な気持ちになるような曲がいいと思っていました. 本編の内容を想起させる素晴らしい曲を作っていただいたので、それに合うような大人っぽいイメージになっていると思います.

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します.

BD・DVDを全巻購入していただきありがとうございます. 今回は「動かない」シリーズの岸辺露伴として作成しました. キャラクターの顔や映像など、原作の雰囲気を活かしたつもりです. 最後の方にサービスシーンも追加しました. 露伴が繰り広げる新しい冒険をぜひ楽しんでください.

岸辺露伴 役 櫻井 孝宏

久しぶりの「ジョジョ」のアフレコでしたが、いかがでしたか. 再び岸辺露伴を演じての感想やアフレコ現場の様子など、お教えください.

周りの人にはわかりにくかったと思いますが、こっそりテンション高かったです！ またジョジョできるのが嬉しくて興奮しました. 集中して一気に録り切ってしまったので、もっと味わいたかったですね.

今回は第4部のTVアニメとはキャラクターデザインの印象が少し異なっています. 演じられる上で意識したことはありますか.

その違いを味わえたのが一番の贅沢だったかもしれません. 「ダイヤモンドは砕けない」と「岸辺露伴は動かない」の間には長い年月の隔たりがありますが、それを一気に飛び越えてしまいました. お芝居で変えた部分は一切ありません. 同じ露伴です.

「富豪村」の見所を教えてください.

導入部分が好きなんです. 間違いなく何かが起きる気配が冒頭の露伴と泉京香のやりとりに立ち込めていて、そこが堪りません. ミステリっぽいドキドキを味わってください.

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します.

皆さんの期待を裏切らない素晴らしいクオリティのアニメーションです. 岸辺露伴が皆さんをスリリングな世界へと案内してくれますよ. ぜひ、見てください.

泉京香 役 中原 麻衣

「ジョジョ」のアフレコに参加しての感想をお教えください.

あまり前知識がないままアフレコに参加したので、ジョジョの独特な世界観や台詞回しは衝撃的でした. ただ、現場で諸先輩方にジョジョレクチャーをしていただきながらのアフレコはとても楽しかったです！

泉京香というキャラクターの魅力や演じる際に気を付けた点を教えてください.

無邪気で天然で、知らないからこその強さを持っているところが彼女の魅力だと思います. なので、演じるときはなるべく意図的にならないよう気を付けました.

「富豪村」の見所を教えてください.

登場人物がとにかく少ないので、それぞれのキャラクターがとても活きています. ベクトルの違った奇妙な人達の会話や世界観を楽しんでいただけたらと思います.

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します.

観てくださるみなさま、スタッフさん、キャスト、全員が熱量のある作品だと感じました. ぜひ楽しんでください！

一究 役 水橋 かおり

「ジョジョ」のアフレコに参加しての感想をお教えください.

スタジオがちょっとしたジョジョ空間になっているようでおもしろかったです. なんというか、良い意味で独特の緊張感がある現場だなと思いました.

一究というキャラクターの魅力や演じる際に気を付けた点を教えてください.

音響監督から「とにかく怪しいやつ」な雰囲気が出るようにやってみてくださいという指示がありましたのでそんな感じになるよう頑張ってみました. こんな子供が本当にいたら怪しいです（笑）

「富豪村」の見所を教えてください.

見所はたくさんあるのですが、個人的に山奥の謎の村を取材するという設定が好きです. 推理小説みたいな導入が非常にワクワクします.

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します.

本編とはまた違った、それでいて本編の世界観が垣間見えるような素敵な物語になっていると思います. 映像化を待っていた方にも、ここで初めて触れる方にも、楽しんでいただけたら幸いです.
 * Terumi Nishii (09/2017)|

Terumi Nishii (09/2017)
Graduating from the Specialized Osaka Design Course, Terumi Nishii joined, where she met. Although their shared influences make their styles similar, Nishii carved her own path by becoming a character designer for Marawa Penguindrum, JoJo’s Bizarre Adventure: Diamond is Unbreakable, and the Haikara-san ga Tooru movies. Her talent being undeniable, she is in charge of developing the designs of the future Saint Seiya 3D which will broadcast on Netflix in 2019.

During her free time, Terumi Nishii draws her doujinshi, Crown of Ouroboros, which she sells every year at the Comiket with her BBM/BKM circle. Terumi Nishii has also opened a Patreon account in case you want to support her.

Aware of the difficulties young animators are facing, she doesn’t hesitate to invest herself to help them: last March 25th, she had organized a meeting between animators to create connections, so that the newbies could meet their seniors and exchange contacts and advice.

Q: What kind of series did you like as a kid?

T: Saint Seiya! *laughs*

Q What? We’re already talking about Saint Seiya?

T: Yes, Shino Araki is like a god *laughs*

I’m a big fan of Shun, I loved the way Ryô Horikawa played him. When I was a child, nobody believed me when I claimed he was also Vegeta’s voice, it really doesn’t sound like the same person.

Q: Ah yes, I understand why you were the animation director for the episode where Shun appears in Saint Seyia Omega.

T: Yes, I asked Yoshihiko Umakoshi, and he allowed me to be the animation director for this series. I only made corrections, but I like the Nebula Chain part a lot.

Q: You have worked on the third OVA of Saint Seiya Hades, I imagine it was like a dream come true to you. However, you’ve never taken part on an episode where Shingo Araki was animation director. Have you had the chance to profit from his experience?

T: Unfortunately, I’ve never had the chance to work under Shingo Araki. At the studio, everyone knew I was a big fan of Shun. Even if I was a beginner, I’ve been given the opportunity to draw him. It was the shot where he was running in the harbor, just before he put on his armor. I am really proud I did that, since in the artbook compiling the drawings of the series, Araki has kept my scene.

Q: What is you favorite Saint Seiya scene?

T: There are a lot of those… I would answer the second movie, Kamigami no atsuki tatakai (Heated Battle of the gods), which had a lot of cult classic scenes like the one where Saori is hanging on the arch. There is also Ikki entering the scene… Seiya’s silence when he must save Saori, until the end… really, you can't do better with Shigeyasu Yamauchi at the director’s seat!

Q: Now, you’ve been chosen to be character designer for the 3DCG remake of Saint Seiya on Netflix, what you can say on the subject?

T: Actually, I cannot say much about the subject at the moment, or Tôei will scold me… It’s the first time Tôei will make a 3D series on TV, so it will be a new experience. However, I am happy to have been chosen, and I will do my best on it. I’d really like to talk about the way I approached the designs, but I don’t think I’m allowed to say anything for now…

Q: Since the official announcement of the remake, a lot of foreigners have begun to follow you on Twitter. Were you aware of the series’ popularity abroad?

T: More than abroad, I’ve heard that Saint Seiya was extremely popular in Europe, yes. In Italy, in France… I think it’s also very popular in Mexico? It’s interesting and flattering to be part of such a project, I’m under pressure. *laughs*

Q: Saint Seiya made in USA... I’m nervous that they’ll bowdlerize the plot, the franchise isn’t well known there.

T: It’ll be between the USA and Japan; over there, they’ll manage the scenario and production and here, we’ll manage the animation. I understand that those who’ve grown with the original series will be a little worried about how the Americans will adapt it.

Q: What was your experience before becoming animator?

T: Originally, I wanted to become a mangaka. During my high school period, I watched series like Evangelion or Utena. I found those series excellent and they made me want to learn more about the business. I already knew how a manga was made, but I didn’t know how an animator worked. So I followed a specialized course, then I went to Studio Cockpit where I really learned the tricks of the trade.

Q: To enter Studio Cockpit, it seems that you had to be be interviewed by Masaaki Iwane.

T: He’s an interesting fellow, there are a lot of stories about him. I knew who he was, I had already met him several times when he came to school as a speaker. The interview went well, there was no pressure.

Q: However, it was Yoshihiko Umakoshi who took charge of you.

T: No, my first tutor here was Hisashi Kagawa, the character designer for Fresh Precure. He was the one who took charge of me.

Q: However, we feel a lot of influence from Umakoshi in your style.

T: Certainly, because we both originally appreciated Araki’s style. However, even if we have a similar style, his influence is more personal as a man and as an animator. He taught me the way to see things, that we must always look further. In instance, to make a character laugh, the average animator will have two or three patterns, but he is able to draw ten variants. He also taught me how to handle the shot reverse shot technique as well as volume. His teaching have served me well.

Q: Is that why you frequently work with him on his projects?

T: I’ve begun to work with him on Jubei-chan, but then he asked me to work with him on Mushishi and Casshern Sin. I had the chance to be surrounded by talented animators during my entire career.

Q: However, you’re not working on Boku no Hero Academia.

T: I am a little at the moment, I’m finishing the Haikara-san ga Tōru movie which is scheduled for November.

Q: By the way, how did you become character designer for the Haikara-san movies?

T: The producers at Nippon Animation had contacted me because they had chosen me at the start of production. They asked me to draw some illustrations to see if my style would correspond to the series.

Q: For the designs of the outfits in Haikara-san, you weren’t alone, you’ve been helped on this.

T: NaSka had the same role as a costume designer for a play or a movie, she’s been urgently assigned to this key role.

Although the original work happens during the Taisho era, during the 20s, the publication has been made during the 70s and there was a mix between the trends of the two periods. I wasn’t comfortable with that and so by readjusting this aspect, we’ve reduced the anachronisms in the work.

Q: The first series where you were an animation director on a regular basis was Fushigiboshi no fugato hime, which wasn’t designed by Umakoshi.

T: I had been director several times on Doremi. It’s because of the job, animators rotate between several series. I’ve then worked with him on Mushishi.

Q: Among other disciples of Umakoshi, there is Marie Ino, with which you work a lot. How is working with her?

T: In fact, she is my kouhai, not his, so it’s an indirect influence *laughs*

In shorts, the lineage is Masami Suda, then Junichi Hayama, Yoshihiko Umakoshi, me and Mari Ino *laughs*

By the way, Hayama hasn’t finished his scene on Haikara-san, he won’t be here tomorrow at the Comiket. *laughs*

Ino is really talented and conscientious, so when I work with her, I trust her and give her leeway.

Q: You’ve also regularly done work for Studio Gainax at the beginning of the 2000s on series like Diebuster or Gurren-Lagann.

T: I am of the same class as Shouko Nakamura, who is at Production I.G and who’s participated on several anime produced by Gainax. It was her who called me to work with her on her projects.

Q: On Mawaru Penguindrum, Shouko Kanamura was in charge of a lot of things when she was only an animator. What was her exact role here? During a previous interview, Kunihiko Ikuhara has been vague on the subject.

T: There were a lot of problems during the production, we were short on staff and she had to accumulate several jobs. No doubt this is why Ikuhara didn’t want to talk about it. Normally, he’s a real chatterbox *laughs*

Q: What kind of director is Ikuhara?

T: He’s a director who’s more out of the studio than behind our backs to give directives, so we have a large margin of maneuver.

Q: What were the difficulties to rework the designs of the characters created by Lily Hoshino?

T: Her designs are difficult to animate. I have to take that into account to adapt them. I have to mind the hair, etc… Maybe I’ve found it difficult because it was my first work as character designer. If I had to rework these characters with my current experience, I may find it easier but at the time, I had it rough.

Q: I think Shingo Araki also had it rough at the time, for the hair in Saint Seiya. *laughs*

T: Since it’s in 3D, it won’t be my concern. *laughs*

Q: How did you come to work on the 4th part of JoJo’s Bizarre Adventure, Diamond is Unbreakable?

T: Every JoJo part has its own character-designer and thus its own style, the production team simply thought that my style would fit with this part. Personally, I wasn’t particularly a fan of the series, but like everyone else, I read it when I was in Middle School. What I really remember about the series were Part 3 and 4. My favorite part was 3, but I am happy to have participated in part 4, because Jotaro was there. After all, JoJo is Jotaro, isn’t it?

Q: Hirohiko Araki’s style from this period was still very rough, how did you work to smoothen it.

T: It is from Part 4 onward that Araki’s style has begun to evolve. I don't swing that way, but I had to make it so the art pleased the “Boy Love” (Yaoi) fans. However, I just drew with my regular style.

Q: JoJo is known for its poses. How do you work to create these still moments in animation without ruining the scene?

T: Since it was the third season, I think that those who already worked on it was accustomed to the universe of JoJo. These pose shots were well managed by those in charge of the storyboard. It is them who placed the poses at the right moment. When I was young, scenes where characters stayed still and took poses were common. With the coming of the "moe" type series, we don’t get as many examples of that now. I really like the end of episodes which froze on a "pencil sketch", it was beautiful.

Q: With your doujinshi, we can say that you’ve realized your childhood dream, to be a mangaka somewhat.

T: Well, it’s more peaceful than being an animator *laughs*

Q: Why is Yendaman in English?

T: The character reminds people of American comics, so I’ve been suggested to translate it. I don’t speak English, so I’ve asked something to translate it for me. Personally, I use an app to answer some of my fan’s messages? *laughs” However, I try to learn English when I have free time. On the social media, a friend is translating my messages in Spanish. In Japan, there are less and less children, so less and less readers. I think that mangaka must now aim for foreign markets.
 * Escape Interview (10/2017)|

Escape Interview (10/2017)
Summary

An interview with the director (Kano Koji) of the 'Escape From JoJo's Bizarre Mansion' event.

The event was made because it was the 30th Anniversary of JoJo. The director chose Stardust Crusaders as the setting as it was the first part to introduce Stands. The game itself will have 6 players, 5 People (Humans) and 1 Animal (similar to the Stardust Crusaders). The director stated that it might be a bit too tough [to be Iggy]. He thinks that since this event is smaller than the amusement park, it will be fun if everyone gets to become a character and quote JoJo during the game.

Escape from JoJo amusement park was good because people were enthusiastic about Morioh and the world around it. However this time, since the event takes place in a Egyptian Mansion, it will be easier to take in the total worldview of JoJo inside of it such as the decoration of the mansion. The tension for this event will be different than the amusement park since there is a time limit of one hour.

As for the creation of the original character, Dija Maker... At first, it was going to be DIO, but since those who have read JoJo already knew the ability of DIO's stand and how to defeat it. It was difficult to make it a mystery. The director went with an original character as there would be more dynamic mystery ideas. He was set on it with the compatibility of problem solving. After that, he first created the personality and the background of the character and then asked Hirohiko Araki to supervise. Araki then told him, "I want you to make more configurations" in this way. Initially, in addition to the height of weight of the character, it was about his personality being "Seemingly soft and polite, but inside is sly and cunning". When thinking about Dija Makers' favorite music, the director chose 'Anton Bruckner's Symphony No. 7 in E major' because it would be interesting if his favourite song would be as long as he lurks.

Untranslated

「みんな脱出すればいい（笑）」承太郎一行になりきって、運命を乗り越えろ！

ディレクターに聞く『ジョジョの奇妙な館からの脱出』の見どころ


 * 1) リアル脱出ゲーム #中国・四国 #九州 #北海道 #北陸 #東北 #東海 #関東 #関西

――2017年11月2日から、「リアル脱出ゲーム × ジョジョの奇妙な冒険 スターダストクルセイダース『ジョジョの奇妙な館からの脱出』」が全国で順次開催されます. まず、本公演の内容について、お教えください.

コンテンツ・ディレクター 鹿野康二（以下、鹿野） 『ジョジョの奇妙な冒険 スターダストクルセイダース』（以下、『ジョジョ』第3部）が舞台となっていて、宿敵DIOの館へ向かう旅の途中での主人公・承太郎一行の話になります. 承太郎たちは、DIOの館に着く前に訪れたホテルでスタンド使いから襲撃をされ、ホテルの中に閉じ込められてしまいます. そこから1時間以内に脱出をしないと、スタンド能力によって消滅…つまり、死んでしまう、という設定です. プレイヤーの方々は、それぞれ5人と1匹の承太郎一行になりきってもらい、その館から脱出する方法を探っていくという大掛かりなゲームになっています.

――『ジョジョ』第3部のキャラクターになりきって楽しむんですね. 犬のスタンド使いで、ボストンテリアのイギーになる人は難しそうですね（笑）.

鹿野　イギーをやる方は、ちょっと苦戦するかもしれません（笑）.

――今回のコラボが実現した経緯は？

鹿野　集英社さんとは『ワンピース』や『キングダム』など、これまでもさまざまな作品でコラボをやらせていただきましたが、今年が『ジョジョ』30周年ということで実現に至りました. お客さんへの「どんな公演をプレイしてみたいですか？」というアンケートで、「『ジョジョ』とコラボしてほしい」というのはいつもめちゃくちゃ多かったので、ついに来た……！という感じでした（笑）. リアル脱出ゲームのファンと『ジョジョ』のファンは、重なる部分もあるのかもしれません.

――『ジョジョ』の魅力のひとつには頭脳戦や心理的駆け引きのバトルがあるので、リアル脱出ゲームファンが『ジョジョ』を好きなのも納得です. 先立って今年の夏には、『ジョジョ』第4部とコラボした遊園地公演『ジョジョの奇妙な遊園地からの脱出』（以下、『遊園地からの脱出』）も開催されていますね.

鹿野　私は『遊園地からの脱出』でも、ディレクターを担当しました. もともとSCRAPのコンテンツチームでライターをやっていて、ディレクターをやったことはなかったんです. でも、『ジョジョ』が大好きなので. コラボが決まった時に、僕が社内で一番最初に「えっ!!」って反応したんです. そうしたら、「よし、お前がディレクターをやれ」って. やっぱり、「好きこそものの上手なれ」じゃないですけど、作品への愛を尊重するところがあるので. 企画としては『ジョジョの奇妙な館からの脱出』が先に挙がったんですが、 今年の夏に第4部が原作の実写映画『ジョジョの奇妙な冒険 ダイヤモンドは砕けない 第一章』が公開されるということと、 毎年夏に遊園地公演をやっていることもあって、『遊園地からの脱出』が先に開催されることになりました.

――どの部も人気がある『ジョジョ』ですが、今回第3部を題材にした理由は？

鹿野　やっぱり、「『ジョジョ』といえばスタンド」というところがあると思います. スタンドが初登場したのが第3部なので、第3部をやりたかったんです.

ジョジョのポーズになりきりグッズ…あなたも承太郎になれる！

――それでは、『ジョジョの奇妙な館からの脱出』の注目ポイントをお教えください.

鹿野　リアル脱出ゲームの公演に、どうスタンド能力を落とし込むのか？というところは議論を重ねてきたので、ぜひ注目していただきたいです. 今回、シルバーチャリオッツだったら「レイピアで突く」という風に、それぞれスタンド特有のアイテムを使ったアクションを謎解きに組み込んでいます. 『ジョジョ』はバトルマンガなので、実際に体を動かしてもらって、バトル感や自分がスタンドを使ってる感じを体験してもらいたいです. 思いっきり「シルバーチャリオッツ!!」とか「スター・プラチナ!!」とか叫べます（笑）.

――SCRAPさんの公演で、作品の既存キャラクターになりきるスタイルはちょっと珍しいですよね.

鹿野　少ないですね. 『遊園地からの脱出』も、自分がオリジナルのスタンド使いになるって感じでした. なので、みなさんにはキャラクターになりきってもらって、ゲーム中に『ジョジョ』の名言をいっぱい言ってもらえると楽しいと思います.

――『遊園地からの脱出』でも、“ジョジョのポーズ”をする場面もありましたね.

鹿野　チェックポイントで“ジョジョのポーズ”をして進む、という感じ. 謎を解くには無駄な部分なんですけど、僕は絶対に必要だと思っているんです. アクションで体を動かしたり、名言を言い合ったりするようなことが意外に楽しかったりするので. ほかにも、公演中には『ジョジョ』ファンならニヤッとしてしまう小ネタもちょこちょこ入れているので、楽しんでもらいたいですね.

――承太郎一行として、「To Be Continued」の矢印と一緒に“ジョジョのポーズ”を決めて写真を撮りたいですね（笑）.

鹿野　承太郎やジョセフといったジョースター一族の「星型の痣」タトゥーシールといったなりきりグッズもあるので、ぜひ（笑）.

――ちなみに、『遊園地からの脱出』と『館からの脱出』はどういったところに違いが？

鹿野　遊園地公演は実際にアトラクションに乗って謎を解くほか、次の目的地までの道のり自体が謎になっていたりと、かなり謎の質が違います. また、遊園地などのオープンフィールド型と、ホール型のリアル脱出ゲームでは世界観の作り込みも違うと思います. 『遊園地からの脱出』はフォトスポットのアンジェロ岩など、『ジョジョ』第4部の舞台・杜王町の世界観にうまくハマったのが良かったです. 今回はエジプトのホテルという館が舞台になっているので、館の装飾や館に閉じ込められるという設定など、『ジョジョ』で大事な世界観をトータルで作り込むことができました. あと、これは『ジョジョ』に限らずですが、ホール型は1時間の時間制限があるので、その緊張感も全然違うと思います.

荒木先生のコメントで活き活きとしたオリジナルキャラ

――『ジョジョの奇妙な館からの脱出』で注目したいポイントとして、公演オリジナルキャラクターであるスタンド使いのディジャ・メイカーの存在が明かされていますね.

鹿野　敵キャラのスタンド使いなんですけど、特に第3部の『ジョジョ』っぽさを意識してキャラクターを作っていきました. 外見もそうですが、身長や体重、性格だったり、好きな映画や好きな音楽、またDIOの手下でもあるので、DIOとの関係性など、いろいろな方向から考えましたね.

――なぜオリジナルキャラクターを登場させることに？

鹿野　承太郎一行になりきってもらった時に、敵キャラはどうしよう？　ということになったんです. 最初はDIOを敵として考えたんですが、『ジョジョ』を読んだことがある人はDIOの能力や倒し方などを知っているので、謎を作りにくいというのがありました. 一方で、オリジナルキャラクターであれば、よりダイナミックな謎のアイディアも出てくるだろうということもあり、謎解きとの相性を考えてオリジナルキャラクターを設定しました. 最初、こちらでディジャ・メイカーの性格や生い立ちといった資料を作って、荒木飛呂彦先生に監修をお願いしたんですが、先生からは「もっと設定を作ってほしい」という風に伺いました. というのも、最初は身長や体重のほか、性格も「一見、物腰柔らかで丁寧だが内面は陰険で狡猾」といったぐらいだったんです.

――現在公開されている公式サイトのキャラクター情報よりも、情報量がかなり少なかったんですね.

鹿野　ですので、そこから好きな映画や音楽だったり、公開はしていない裏設定なども考えていきました. そうすると、自分の中でキャラクターのイメージがすごく湧いてきて、勝手に動きはじめてくれる感じがありました. 公演のストーリー展開やシナリオを作る際にも、「このキャラだったら、こういうことはしない」「こいつは、ここで多分逃げ出すだろう」というのが見えてきました. オリジナルのキャラクターを作ったことに加えて、改めて原作を読み込んで、「『ジョジョ』だったら、どうなるだろうか？」という、『ジョジョ』っぽい展開も意識して考えることができたんです. そして、「これは『ジョジョ』とは違うな」という部分は排除して、制作してきました.

――好きな音楽の理由が「聞き終わる頃には1時間経過しているため」という設定も面白いです.

鹿野　好きな音楽の設定を考える時に、きっとディジャは1時間どこかに潜んでいるから、音楽でもその1時間を測っていたら面白いね、という話になったんです. その曲を聞き終えたら、1時間経過して敵を始末したことがわかる、っていう. コンテンツチームは妄想癖のある人が多いので（笑）、みんなでわいわいブレストした中から良いアイディアを採用していきましたね.

――一方、キャラクターづくりで苦労された点は？

鹿野　外見ですかね. なるべく『ジョジョ』第3部に出てきてもおかしくない、クセの強い外見にしたかった. 例えば、原作ではすごく変な小さなメガネをかけたアレッシーや、目からシマシマの線が出ているダービーだったりと、クセの強い外見のキャラが登場してきます. その雰囲気をデザイナーさんにイメージとして伝えるのは難しかったです. ただ、それもいきなり外見から考えるんじゃなくて、こういうキャラクターだからヒゲを生やしているのかとか、メガネをかけているのか、っていう風に考えていきました. デザイナーさんが設定からビジュアルのアイディアをすごく膨らませてくれて、「カギのイヤリングはどうか？」とか「ルービックキューブ模様の柄はどうか」といった意見を出してくれて. そうやって一緒に作り出していった感じです.

厳しい運命を乗り越える体験を

――ほかに、公演全体を制作する上で苦労した点はありますか？

鹿野　『ジョジョ』の公演を作るとなった時に「ほかのコラボと何が違うのか？」ということを考えました. その時に、『ジョジョ』の“すごい強い敵に工夫して勝つ”とか“運命を乗り越える”といった感じを出したいな、と思ったんです. それこそ、荒木先生は原作の単行本などで「人間賛歌をうたっていきたい」、つまり『ジョジョ』は人間と勇気の素晴らしさを描いているということを書いているので、そういった部分が出せたらな、と. なので、ぜひ「運命を乗り越えて、絶対勝つぞ」という気持ちで来ていただけると嬉しいですね. あとは、SCRAPの社長・加藤もジョジョ好きなので、打ち合わせをしていても『ジョジョ』談義が止まらなくなっちゃうんですよ（笑）. 「あのシーンはヤバい！」とか、「一番良いシーンは…」とか話し出して、ブレストが進まなくなる、みたいなのは本当にありましたね.

――『ジョジョ』ファンなら、かなり楽しめそうな公演になりそうですね.

鹿野　実は、原作から考えると承太郎一行が全員揃うのって、DIOの館に乗り込む直前の数時間しかないので、世界観的には少しifの世界になってしまうんですけど、ファンの方には5人と1匹が揃った感じを楽しんでもらいたいですね.

――反対に『ジョジョ』をそんなに知らない、というリアル脱出ゲームファンの方も楽しめますか？

鹿野　もちろん楽しめると思います. 今回は先ほど言ったレイピアなど、紙ものを含めてアイテム数が多くなっています. なので、ただひたすらパズルを解くというのではなく、アイテムを使って立体的に謎を解くという方向性で制作をしています. そういったギミックが好きな方は楽しめると思います. それこそ、『館からの脱出』を体験した後にでも、原作・アニメに触れてもらって『ジョジョ』を好きになってもらえるとすごく嬉しいです.

――原作を先に読むか、後に読むか. オススメはやはり読んできてもらえるといい、という感じですかね.

鹿野　ぜひ原作を読んで、名言を覚えてきてもらえると. 『ジョジョ』の名言を使うポイントもきっとあると思うので、「絶対に『やれやれだぜ』を使うぞ」といった気持ちで来てもらって、キャラになりきっていただけたら、楽しさは何倍にもなると思います. それと、今特設サイトでは謎を解くとアブドゥルがタロット占いをしてくれる「アブドゥル占い」もやっているので、それをやって気持ちを高めていただいても面白いかな、と. アブドゥルからのコメントもちゃんと『ジョジョ』の原作に合ったものになっていますよ.

――それでは最後に、公演を期待している読者へメッセージをお願いします.

鹿野　『ジョジョの奇妙な館からの脱出』に来てもらって、その一時間はキャラクターになりきって、思いっきりスタンド名を叫んでもらえたらな、と. それで、みんなで運命を乗り越えてもらいたいです. ……もうみんな、脱出すればいいですよね（笑）.

まぁ、運命を乗り越えるのはそんなに簡単じゃないと思うので、脱出率はいつも通り厳しいんですけど（笑）.

リアル脱出ゲーム×ジョジョの奇妙な冒険 スターダストクルセイダース「ジョジョの奇妙な館からの脱出」
 * Anime Expo (06/2018)|

Anime Expo (06/2018)
Q: So, what's your day to day activities like when you aren't directing anime?

Tsuda: I sleep, wake up, get ready for work, work, come back home, and sleep, really.

'''Q:Really? That's it?'''

Tsuda:Really, it's true.

Q:What are the secrets to creating an opening and ending sequence for JoJo's?

Tsuda: The opening sequence should serve as the intro to the show but also get the audience hyped up. The ending sequence, though, needs to leave audiences feeling like, “Aw man, it's done?”

'''Q: I like how in one opening sequence during Stardust Crusaders, the opening sequence was interrupted by Dio's stand. It's that kind of thinking outside of the box that's really unique.'''

Tsuda: I'm glad you bring that up, actually. I'm glad that the title includes the word “bizarre.” It really gives us free license to do what we want to do.

Q: What is your favorite Stand and what Stand would you hire to work at the studio?

Tsuda: My favorite Stand is Gold Experience because its really strong. When it comes to what Stand I'd work with, I think “Heaven's Door” is what I'd pick. It'd be very convenient for meeting deadlines.

Q: What directors have influenced you?

Tsuda: Actually, a lot of American movie directors, like Ridley Scott, Guillermo del Toro, and Stephen Spielberg.

Q: How closely did you work with Araki on the music choices in the opening and ending sequences?

Tsuda: We didn't work with Araki so much on the opening sequences but definitely a lot in the endings. He was heavily involved in providing the art and music choices.

Q: When it comes to “Roundabout” by Yes, I bet they had an increase in sales after their song was used and were pretty confused when that happened.

Tsuda:I think that song was not well known by Japanese people but when they heard it, they thought “Wow, who sings this? It's cool!”

Q:So what inspired you to transfer the sound effects from the manga directly into the anime series?

Tsuda: Well, the idea came from the manga. I think the world of JoJo's Bizarre Adventure would be incomplete without the sound effects there.

Q:What do you want viewers to know about this new anime season of JoJo's Bizarre Adventure?

Tsuda: I think this one has the heaviest themes, so I hope you'll please watch it with all of us in Japan until the very end.
 * Araki's Motivation (08/2018)|

Araki's Motivation (08/2018)
「これ以上、王道の漫画はない」――荒木飛呂彦が「ジョジョ」を描き続ける理由 8/17(金) 9:26 配信

ツイート Facebookシェア はてなブックマーク Pocket 8月24日から東京の国立新美術館で「荒木飛呂彦原画展 JOJO　冒険の波紋」が開催される. 国立美術館としては、手塚治虫以来28年ぶりとなる漫画家の個展. 週刊少年ジャンプ黄金期を支え、30年以上も続く「ジョジョの奇妙な冒険」が主役だ. 単行本は通巻120巻を超え、スピンオフ作品も生まれた. 各界を代表するクリエーターや漫画界でもファンを公言する人が多い. 独特の絵柄とストーリー展開から「ジャンプでは異端」の作品と呼ばれながらも、荒木さんは「これ以上、王道の漫画はない」と断言する. キーワードは「信じる道を歩むこと」. そして「切り開く力」――. （石戸諭／Yahoo!ニュース 特集編集部）

王道に反する「異端」

いつもの作業机でペン入れをする荒木さん（撮影：殿村誠士）

58歳になる荒木飛呂彦さんは窓際にある大きな机でペンを走らせていた. 机上には作画の参考にした馬のフィギュアと折り紙のカエルがある. 物として手に取るためだ.

細部の「リアリティー」が作品の生命線であり、世界を支える. そんな強いこだわりが垣間見える机だ.

「僕にはこの机さえあればいい. そうすれば漫画が描けるから……」

描いているのは、連載中の「ジョジョの奇妙な冒険」第8部に当たる「ジョジョリオン」の最新話だった. 原画展を前に、ミステリアスな物語は終盤に差し掛かっている.

「ジョジョ」第7部でカギとなる馬のモチーフとなったフィギュア（撮影：殿村誠士）

人気がなければ容赦なく打ち切られる少年漫画誌を中心に、荒木さんは30年以上にわたって「ジョジョ」の物語を描いてきた. 今でこそ多くの人がファンを公言しているが、長く「異端」の存在だった. クラスの大半が話題にしあう作品というよりは、数人がひっそり集まって「実は『ジョジョ』好きなんだよね」「俺も」と打ち明け合うような、そんな漫画だった. その理由は独特の設定とストーリー展開だ.

連載開始は1987年. その4年前に連載が始まった「北斗の拳」がテレビアニメ化されて大ブレイク. 3年前には「ドラゴンボール」が、2年前には「聖闘士星矢」がスタートしていた. 荒木さんいわく、「少年漫画に集まった天才たち」による大ヒット作が次々に生まれた時代だ.

荒木さんが面白いと思った漫画の数々が、本棚の最上段に並ぶ（撮影：殿村誠士）

主人公が敵を倒す. するとさらに強い敵が現れ、その先にさらに強い敵が現れる、いわゆる「トーナメント方式」でストーリーが展開される漫画こそが少年漫画の「王道」で、部数も人気も集中した. 読者が共感しやすいように、主人公は日本人の少年か青年であることが多い. 舞台設定は、学校や身近さを感じさせる町だった.

「ジョジョ」は、いずれの点でも王道に反していた.

30年以上続く物語は、こう始まる. 舞台は19世紀、1880年のイギリス. 父の死をきっかけに名門貴族ジョージ・ジョースター卿の養子となった貧民街出身の少年ディオ・ブランドーは、ひそかにジョースター家の乗っ取りを計画. 少しずつ、ジョージの一人息子、ジョナサン・ジョースターを追い詰めていくが――.

「ジョジョの奇妙な冒険」第1部「プロローグ」から. ジョナサン（上）とディオの出会いのシーン ©荒木飛呂彦/集英社

しかし、と荒木さんは断言する.

「これ以上、王道の漫画はない」

それはなぜか？

「トーナメント方式」全盛時代を乗り越える 初代「ジョジョ」担当にして、デビュー前から荒木さんの作品を見てきた編集者、椛島良介さんは当時をこう振り返る.

「早々に打ち切りを覚悟したし、設定にも懸念があった」

さまざまなジャンルの資料が並ぶ、仕事場の本棚（撮影：殿村誠士）

根拠はあった. 荒木さんの「ジョジョ」以前の連載はいずれも短命に終わっている. 椛島さんは理由をこう分析する.

「魅力的なキャラクターが足りなかった. 主人公がいくら立っていても、それに並び立つようなライバルや敵キャラがいなければ成立しない. そこにきて次の作品は19世紀のイギリスを舞台に貴族が主人公だと言う. 心配になりました. 外国人の主人公が成功するわけない」

しかし、荒木さんは折れなかった.

「だったら、とスタートしました. ストーリー展開はもともと高く評価されていましたから、当時の編集長からもOKが出た. これまでと違うと思ったのは悪役です. ディオという悪役が実に良かった」

椛島さんは、少年漫画のキャラクターで魅力を高めるのは悪役なのだ、と語る.

「貴族のジョナサンは間違ったことができず、常に紳士でないといけない. 正論ばかり言う『良い子キャラ』では共感を得られない. 人間を超えたいと願う悪役のディオが対比して置かれることで、ストーリーが輝く」

それでも、「ジョジョ」の人気はなかなか出なかった.

「ジョジョ」の描画を支える道具たち（撮影：殿村誠士）

ここで荒木さんは、椛島さんも驚く手を打つ. 主人公の交代だ.

ジョナサンが主人公の第1部から、第2部はジョナサンの意思を受け継ぐ子孫、ジョセフ・ジョースターを主人公にした明るい冒険活劇で物語を盛り上げた.

これが同時に、トーナメント方式を回避するという効果をもたらした. 以降、「ジョジョリオン」に至るまで8人の主人公を通して「ジョジョ」は描かれてきた.

荒木さんが振り返る.

「当時はバブルに向かうころでしたから、時代の空気は上へ、上へと向かっていたんです. トーナメント方式を採用したマンガは時代の空気と重なっていました. 僕はその空気に乗れなかった. 上に行ってもいずれ頭打ちになったら、どうしたらいい？って考えてしまうんです」

だからこそ、時代に流されず、自分が描きたい漫画を描くことが大事だったのだという.

「僕はサスペンスを描きたいのであって、それ（トーナメント方式）は描きたい漫画ではない. 自分が描きたいものがぐらついたら漫画は終わりです」

（撮影：殿村誠士）

そして「スタンド」でブレーク 信じたものを描き続けることで、やがてブレークの時がやってくる.

ロードムービーの手法を取り入れ、ジョースター家の血統を継ぐ日本の高校生・空条承太郎が仲間とともに、よみがえった一族の宿敵・DIO（ディオ）を倒すべくエジプトに向かう第3部が転機になる.

「ジョジョ」の世界観を象徴する、超能力を擬人化した「幽波紋（スタンド）」というアイデアが初めて使われた. 椛島さんは「これでヒットだ」と思ったという.

「1部と2部で使っていた『波紋』という超能力は地味で、荒木さんのストーリーの面白さを引き立てるのに、これではダメだと思った. だから3部では新しいアイデアにしてくれ、と言いました. そうして誕生したのがスタンド. 誰も見たことがない発想だし、3部にして主人公も悪役もハマっている」

スタンドが初めて詳しく語られるシーン. 第3部「空条承太郎 その③」から©荒木飛呂彦＆LUCKY LAND COMMUNICATIONS/集英社

スタンドの能力は人それぞれ違う. 力と力がぶつかり合い、力が強いものが勝つという少年漫画のパターンをなぞるのではなく、能力同士の相性や知恵を使う頭脳戦というメソッドを確立した.

弱すぎるがゆえに逆に手ごわくなる敵キャラクター、トランプやテレビゲームまでバトルのなかに取り入れた. 頭脳戦は今でこそ、多くの少年漫画が採り入れている方法だが、その道を切り開いたのは「ジョジョ」だ、と言えるかもしれない.

荒木さんは言う.

「波紋はダメだと言われたので、どうしたらいいのだろうと考えました. 超能力を漫画で表現するという発想の延長で擬人化はどうだろうと思い付いたのです. ジャンプでは、他の先生方のアイデアを使ったと思われることもNGでしたから、絶対にやってないことをやろうと思った. それもあってか、はじめはスタンドとは何かがほとんど理解されなかった. 『スタンドってなんなの？』ってよく聞かれましたよ」

第8部『ジョジョリオン』まで、「ジョジョ」シリーズは30年以上続いている（撮影：殿村誠士）

承太郎たちがエジプトに向かうまで、インドなどをすごろくのように訪れ、そこで戦う. トーナメント方式のように次から次へ強いキャラクターやスタンドが出てこなくてもストーリーはうまく展開する.

荒木さんは戦いに「必然性」があればいいと考えていた. 力が強い敵が単純に出てくるより、能力を生かした敵のほうが「怖い」. 怖さがあれば、物語は前に進んでいく.

大人気となった第3部でもDIOを倒して、物語は潔く完結する. 第4部では設定も大胆に切り替え、日本の杜王町という小さな町を舞台にした. 高校生の主人公・東方仗助が町に潜む連続殺人犯を探し出すという、サスペンス色を強めた展開を採り入れた.

荒木さんは、2000年に出版された画集『JOJO A-GO!GO!』のなかで、好きなキャラクターの1位に東方仗助を選んでいるほど思い入れが強い.

「第4部は初めて日常を描くことができたって思ったんですよね. それまでは神話を描いているような気分だったんです. 承太郎はクールで、ある意味で完成されている. でも仗助はその辺（空いている椅子を指さす）にいるような感じ. すぐそばにいるキャラクターなんです」

第4部の主人公・東方仗助. 普段は温厚だが、髪形をけなされると「プッツン」する. 「ジョジョの奇妙な冒険」第4部「空条承太郎！東方仗助に会う その①」から©LUCKY LAND COMMUNICATIONS/集英社

日常に潜む恐怖を描ける力を付けたことで、「ジョジョ」の型は完成し、第8部まで新しい要素を貪欲に取り入れながら物語は進む.

「常に前向きでなくてはいけない」 主人公も設定も変わるのに、なぜ一本の漫画として続けているのか. それは「人間賛歌」という一貫したテーマがあるからだ. 過去の著作で荒木さんはこう語っている.

「『人間は素晴らしい』という前向きな肯定です. 何かの困難に遭ったとき、それを解決し、道を切り拓いていくのは人間の力によるのであって、そこで急に神様が来て助けてくれたり、魔法の剣が突然落ちてきて、拾って戦ったら勝ってしまった、という都合のいい偶然は『ジョジョ』ではけっして起こりません」（『荒木飛呂彦の漫画術』から）

作品を貫くテーマがあり、少年漫画のルールにのっとっているからこそ、ジョジョは「王道」なのだと荒木さんは語る.

（撮影：殿村誠士）

「僕が『ジョジョ』を王道だと呼ぶのは、主人公、悪役であってもキャラクターの志は前向きだからです. そこに悩む人物は描かない. 人生に悩むのは普通のことなので、退屈になってしまう. 前向きな志同士がぶつかり合うことで、化学変化やサスペンスが生まれると思って描いています. 登場人物のベクトルは常にプラスに向かっていないといけない. 大原則は成長すること. 闘うことに悩まないこと. そして、闘うときは孤独であることです」

「ジョジョ」の登場人物は主人公であれ、悪役であれ、「血統」や「運命」といった自分の力ではどうすることもできない現実に直面しながら、それに抗い、自らの力で道を切り開こうとする.

「少年漫画の登場人物は常に前向きでなくてはいけないというのがルールです. 後ろ向きになる、闘うことを悩み続けるというマイナスな要素を入れ込むと、読者はうんざりしてしまう. 『ジョジョ』はこのルールに忠実にのっとっている. だから、王道だと言ってきました. 主人公たちを過酷な状況に追い込み、成長しながら道を切り開かせる. 闘うときに、偶然や誰かに頼っているようでは『ジョジョ』は成立しません. 1人で立ち向かわなければいけないのです」

第8部『ジョジョリオン』が進行中（撮影：殿村誠士）

悪役さえ前向き 荒木さんは、悪役であってもこのルールを適用している.

「例えば第4部のボスである連続殺人犯、吉良吉影がそうです. 吉良がやっていること自体は許されないのですが、彼には反省も迷いもありません. 自分自身を認めているんですね. 自分自身の平穏な生活のために、主人公たちに追い詰められてもなお闘いに挑み、自分で道を切り開こうとする. だからスタンド能力も成長していくんです」

スタンド「キラークイーン」を駆使する殺人鬼・吉良吉影. 第4部「シアーハートアタック その⑨」から ©LUCKY LAND COMMUNICATIONS/集英社

善か悪かは実のところは「表裏一体」なのだと荒木さんは言う. 敵には敵なりの信念があり、闘うべき理由がある. 第7部最大の悪役である大統領も彼には彼なりにアメリカという国を繁栄させたいという私欲を超えた動機があった.

「最終的な善悪の判断は読者の視点次第でいくらでも変わります. キャラクター次第で変わり、それが激突する. 『ジョジョ』の登場人物はとにかく成長したいと思っています. 陰湿な敵であっても自分の信念を貫いていたり、高潔だったりすれば読者からの共感は得られる. ここが重要なんですね. 前向きだと怖いんです」

主人公とベクトルが同じ前向きな悪役を配置することで、「ジョジョ」の世界観に不可欠な恐怖感は増す.

（撮影：殿村誠士）

「ただし善悪を分ける、守るべき一線はあります. 『ジョジョ』の悪役は自分の理念を実現するために他人を利用することをよしとする. いくら高潔な理念があったとしても、これは許されないという視点で描いています. 連載開始時よりも悪役を複雑に描けるようになりましたが、その一点はぶれていないですね. 理念を実現したいなら一人であってもやらないといけない. 他人を利用してはいけない」

ジョジョは常に主人公側の勝利ばかりが描かれる漫画ではない. 敗北もまた勝利と同じくらい重要なシーンとして描かれる. そこにジョジョに込めた、もう一つのテーマがあると荒木さんは言う.

「敗れはしても、決して負けていないと描いています. 僕が描きたいのは勝利のカタルシスでは無いんです. そのほうがウケがいいのかもしれないけど、僕が描きたいものからはずれてくる. 戦う過程のなかで、その人間が何を選択するのかに僕は興味がある. 人は死んで終わりではない. 残された人に意志を残し、受け継がれていくというのが『ジョジョ』のもう一つのテーマなのです. 敗北したとしても、誰かが意志を継いでいく. 僕はそれを人間の美しさだと思っています」

漫画家も「画家」である 「王道」とセットで荒木さんがよく使う言葉がある. それは「サスペンス」だ. サスペンスとは、荒木さんが考える「良い物語」「おもしろい物語」の基礎にあるもの. いったい、この後どうなってしまうのか. 読者がドキドキしながら、ページをめくらずにはいられなくなる要素だ.

第8部もドキドキの展開が続く（撮影：殿村誠士）

「漫画家としてデビューしたころにトリュフォー（1950年代末からのフランスの映画運動「ヌーベルバーグ」を代表する映画監督）がヒチコックにインタビューをした本『映画術』が出たんですよ. そこで、サスペンスの巨匠であるヒチコックが自分の映画を一作ごとに細かく解説しているんです. カメラの位置から心理描写のテクニック、映画の撮り方が本当に細かく書いてある. これを読みながら、ビデオや名画座でヒッチコックの映画をまた見て勉強しましたよ」

（撮影：殿村誠士）

サスペンスを描きたい. その一心で好きな映画から理論を抽出し、自身の漫画に取り入れた. 普遍的な「おもしろい」ものを求めて今でもインプットは欠かさない.

荒木さんはレオナルド・ダビンチらによるイタリア絵画の影響も公言している. ルーブル美術館全面協力のもと、ルーブルを舞台にした作品を描いたこともある.

「漫画家も『画家』です. 絵を描いていますからね. 絵として見てほしいんです」と荒木さんは言う.

「印刷された漫画とはまったく違うものが見えてくると思います. 原画には印刷されたものとは違う魅力があります. もともと、印刷されるという意識で僕は描いていないんです. どんな形で印刷されるかに関係なく、きちんと描いてきました. 原画からその魅力を感じ取ってもらえると思います」

ファンがこぞって真似する独特のポージング「ジョジョ立ち」も原画で見るとかっこいいですよね、と言うと、荒木さんは間髪をいれずにこう返す.

作業机の傍らには、お気に入りのカレンダーが. 女性の姿はどことなく「ジョジョ立ち」風に見える（撮影：殿村誠士）

「ありがとうございます. 本当に細かいところまで見てほしいです」

時代に流されず、しかし、しなやかに変化を取り入れながら30年以上にわたって荒木さんは新しい漫画を描き続ける.

最後に、いよいよクライマックスに突入しそうな第8部「ジョジョリオン」の展開を聞いてみた.

「僕は細かく展開を決めながら物語を描くことはありません. 最初からゴールを決めるのではなく、描きながら考えています. 全体の構成も、一つ一つの闘いも同じ. これから第8部の舞台は病院に移っていきます. いよいよ物語が収れんしていくと思います」

まだ決まっていないクライマックスに向かい、荒木さんは今日も考えながら机に向かい、ペンを走らせている.
 * NYT Japan (11/2018)|

NYT Japan (11/2018)
[...]

In May, Araki took on a new challenge. He left his usual studio to paint 12 large scale original artworks at a temporary workshop set up in Tokyo. The works were being produced as the main attraction for the “Hirohiko Araki JoJo Exhibition: Ripples of Adventure” that would mark the culmination of 30 years of work since the birth of JoJo. When we visited the workshop, the artist explained to us that he was painting a life-sized JoJo character, while adding brush strokes into an unfinished work.

“The venue for the exhibition is The National Art Center. It’s much larger than any other venue in which I have exhibited my artwork, so I felt I needed something that could stand its own ground in a large space. The painter Akira Yamaguchi has once said ‘if you can draw something of the size of a manga, you can also draw something large’ and I thought this would be a good occasion to try that. And since it was going to be large, why not make the characters life-sized? I wanted to make paintings that made people feel a sense of unity—as if they were sharing the same place with the characters.”

I glance at the desk on the workshop. Disposed on it were felt-tip pens, G-pens, brushes, and copious amounts of black and colored inks and acrylic paints. For Araki, it was important that these enormous paintings were painted by hand, and not digitally or by employing new methods, just like with his usual original artworks. “I like the ‘chemical reactions’ that happen when you draw manga. You could call it contingency. For example, the unexpected contrasts or bleeding that occur when you paint two different colors next to each other. I enjoy being surprised by what happens. Manga presents many appeals be it the story, the characters, or the general world-view, but I’d like to add ‘enjoying hand-drawn original artworks’ to that list. And not only that, I’d like those original artworks to be produced precisely to be enjoyed as original artworks, and not for being printed as it is usually the case.”

In addition to the large original artworks, the exhibition also includes numerous original artworks that are presented to the public for the first time, as well as works produced in collaboration with artists who are fans of JoJo, such as sculptor Motohiko Odani, and designer Kunihiko Morinaga of the fashion brand Anrealage. These works open our eyes anew to JoJo’s multifaceted allure: the “Stands” that materialize super-powers, the poses struck by characters inspired by Renaissance era sculpture and fashion magazines that came to be known as “JoJo dachi” (JoJo standing), or the memorable character quotes. But how did Araki conceive of this work with such expressive breadth?

The answer to this question was connected to Araki’s comment, that he wanted to “thank the manga world,” made in relation to the exhibition. “Gratitude to the manga world is directed to the young manga artists who are bringing excitement to the industry, and of course to my predecessors too. The idea for JoJo was born of the desire to depict something different, something that doesn’t resemble the works of Osamu Tezuka, Fujiko Fujio, Tetsuya Chiba, or Katsuhiro Otomo—all great masters that I used to read. It simply wouldn’t have been possible without such predecessors.” The expression ‘something different’ does not imply that Araki is against the past masters. It rather points to the fact that the origin of JoJo lies in the process of creating ‘something new’ within the lineage of manga’s classic appeal, expression, and style, which Araki scrutinized in a highly logical manner. “Looking back, so many manga artists of the 1970s and 1980s were geniuses. It was also an era in which new forms of music and fashion emerged incessantly. Maybe making a debut and beginning to work on JoJo around that time was good for me.”

Araki mentioned horror films as another one of the sources of inspiration from that era. The 1980s are known to be a period of rapid development for horror film, as low budget experimental works were produced one after another. “I even imported videos of films that were not released in Japan. I was particularly attracted to zombie films. In zombie films, dead people come back to life and everyone is equal as there are no bosses, so the basic philosophy and rules of human society are turned on their head.” He also acknowledges that the various aspects of the bubble economy had an impact. That was translated into the rejection of the tournament format, which was at the time regarded as a crucial element of a popular shōnen manga. In a tournament format, the protagonist defeats a strong opponent and then goes on to fight an even stronger one. This would ultimately lead to an inflation of power, and the collapse of the narrative. Araki, instead, adopted a method where the protagonist encounters enemies during his journey, fights them in a more unpredictable sugoroku (a table-top game similar to snakes and ladders) format, and employs wit rather brute force.

Araki thus seems to have succeeded in creating a sense of contemporariness and reality that directly links to the world we live in by incorporating elements from philosophy, economy, and the natural sciences. “When you draw a tree, it ends up looking weird if you don’t thoroughly observe how the branches are attached. To draw is, in that sense, something like a chemical experiment. In many ways, I learn by drawing. My ideal is to portray the world of JoJo based on an idea or theory that unifies everything from the natural sciences, to philosophy and economy. Manga pertains to fantasy, to the fictional. But when it is drawn based on a unified idea or theory, the characters, in a strange way, begin to feel as though they truly exist there. That’s what’s really fun, and that’s what I always seek when I draw.”

There was one thing I really wanted to ask Araki, and that was about the turning points in his career as a manga artist. I felt that the answer to that would provide a hint as to how the work of JoJo is linked to Araki’s own life. His answer was unexpected. “Maybe it’s when I was hospitalized for gastroenteritis.” He said that being forced to swallow a gastric camera was the most shocking experience of his life. “It made me aware that the period in which one is physically invincible doesn’t last forever. And it made me want to enjoy my daily life more, going travelling or cooking. My attention was no longer exclusively devoted to manga after that.”

His favorite cuisine to cook is Italian. For an online article in the past, he presented his pasta dishes, but he says “I kept working on these recipes and I finally have a few dishes that I feel are perfected.” What is it that draws Araki to cooking? “For example, slicing or chopping garlic changes its flavors and aromas. The order in which you mix lemon juice, salt, and olive oil also has an impact. This is similar to the ‘chemical reaction’ that happens when drawing, and I enjoy researching that. When you make Spaghetti Naporitan [a popular dish in Japan], the key is to put ketchup in two phases, once during the stir-frying and once at the end. In the case of drawing too, overlaying pink in the same manner enhances its beauty.”

The expression ‘chemical reaction’ captures Araki’s idiosyncrasy well. The ‘chemical reaction’ that happens in his drawings that are regarded as art. The encounters and collaborations with fashion and art are also one of the ‘chemical reactions.’ Countless fans visited to enjoy Araki’s large scale original artwork that the artist wished “would be looked at in detail.” The ‘chemical reactions’ must have happened in each of the viewers too.

-BY MASANOBU MATSUMOTO, PHOTOGRAPHS BY MIE MORIMOTO, TRANSLATED BY NAOKI MATSUYAMA NOVEMBER 25, 2018 }}