JoJo's Bizarre Wiki
JoJo's Bizarre Wiki
For more thoughts from Araki, see the Author's Note or JoJonium Interview pages.

1986 to 1995


Fanroad (05/1986)

--Then, please ask anything you want.

E "You have the same face as in your picture ♡ I recognized you immediately when you walked into the store."

Ara: "Oh, I see (laughs)."

--But the pictures in the comics are in black and white, aren't they?

Ara: "That's supposed to be in black and white. The Super Comics are in color.

E "Date of birth, etc...?"

Ara: "It is June 7, 35 years. I am a Gemini, type B."

E "How did you become a cartoonist?"

Ara: "In the winter of 1980, I brought my work to JUMP. I submitted a manuscript--'Armed Poker,' which was a runner-up for the Tezuka Award."

--Oh, many of the postcards collected for this feature said they were sorry they had never read the book, though they knew only the name.

Ara: "It's a western. The different ......"

Fu "The feeling is very different from what it is today.

Ara: "Yes, that's right. It was a story about a gunfighter fighting in a kind of poker game. ......31 That was my debut. After that

I had about three short stories, and then I entered the "Demon Boy Beetee" series.

--So you can't read anything from that period now?

Ara: "Oh, there are no short stories out there. I want to keep those in the dark (laughs).

They all said, "What?

E "Before that, have you ever contributed to any fanzines or coterie magazines?"

Ara: "I contributed quite a bit when I was in high school."

F "What kind of magazines?"

Ara: "Jump, after all. I liked it. ......"

--What kind of works were there in Shonen Jump at that time?

Ara "... "Detective Doberman" and...I forgot the rest (laughs). (laughs). For a magazine, something like 'Ai to Makoto' (Love and Honesty).

E "Were there any influences?"

Ara: "Based on an original story by Ikki Kajiwara."

They all said, "Ehhhh (laugh), ehh (laugh), ehh (laugh).

Ara: "What do you mean...? (laugh)"

Fu "Is Ikki Kajiwara drawing manga?"

--I know you wrote the original story for "Ai to Makoto" (Love and Honesty).

Fu "Oh, I see."

Small "What?

Ara "What? I'm from that generation! Even if I read it now, it's still interesting!

--Mr. Komiyama, do you have any, too?

Small: "Do you always come up with your own tricks for "Beetee"?"

Ara: "Sometimes I arrange things, sometimes I come up with them myself."

--Then it's time to talk about "Bao" at ....... I heard that one of the reasons for its popularity among fan-loaded readers is that, despite its short serialization, it is not a work with a half-completed ending, but one with an ideal conclusion among JUMP's works. ......

Ara: "Oh, that was just the last one I had in mind. I thought it would end like this. ......

--It's nice to finally understand the meaning of "visitors" at the end of the film. At first, I wondered why they were "visitors" when all they did was run away. ......

Ara: "That's what I thought too (laughs).

E "Hey, any sequels or ......?"

Ara: "I'd like to make it, but - ......"

F "I want to see 17 year old Sumire-chan ♡ What kind of image do you have of her?"

Ara: "Well, not too active, but feminine.

E "What is your model, Sumire-chan?"

Ara: "In reality, there is no such thing.

Fu "Ideal type or ......"

--I remember that Sumire in the second volume of the comic book had a very different look.

Ara: "I try to change my drawings as much as possible. I consider myself in training.

Fu "Who are your painting influences?"

Ara: "Sanpei Shiratsuchi ...... at first."

--I think you were in "Bao" as well. Two guys throwing bombs is a bit of a ninja thing if you use shurikens instead of bombs, isn't it?

Ara: "That's right. (laughs) I liked "Sasuke" and so on.

E "Why do you have thick eyebrows, Sumire-chan?"

Ara: "Too thick? (laughs)"

Fu "It's cute once you get used to it, but poof, when you first see it, ......"

E "At first, I thought it was for decoration."

Ara: "I like the kind of makeup from the 60's, so I did a little bit of that. (laughs) I went to school for fashion design. I have been to school.

Fu "I hear you like people with twinkle eyes. ......"

Ara: "Yes, I have twinkle eyes, and I like my lips a little thicker. I don't draw them, though."

--I think the only person who doesn't have a twinkle in her eye is her grandmother. (laughter)

Small "Why did you make Bao a parasite?"

I wanted to ask him, too! It's disgusting! (laughter)"

Ara: "That part might have been a little unpopular. ......(laughs)"

--But in horror movies, that kind of thing is common because of military secrets or something.

Ara: "I thought it was realistic, and I think it would be different in terms of intensity if the reason for the ...... transformation was churlish. I thought it was realistic, and if the reason for the transformation was too crude, it would be different in terms of power. ......

E "When I read it, I felt like a handsome "Cyborg 009"."

--I guess that's what the girls think of me. It is true that "009," "Wolf Guy," and "Chimera" all share the tragic appeal of a lonely hero who has a secret power in his body and is pursued by an organization. Oh, yes, here's a reader's question: ....... When you imprisoned "Bao," didn't you put in water instead of nepenthes solution, and didn't Bao fall asleep? I mean, .......

Ara: "That was pointed out to me by my assistant. (laughs) That's because, while the water is being filled, if it's a bao, it will comb the door and escape!

They all said, "Oh, I see!

Ara: "So Kasumi's eyes were thinking that far!"

--you weren't just blurting it out, were you?

Fu "Did you like biology or something? I hear it was your best subject. ......"

Ara: "Maybe so (laughs)."

E "And English, then? There are so many different words in the book. ......"

Ara: "English is--(laughs), I'm not good at it, so I make it difficult on purpose."

Fu "XX Phenomenon" and many other things come up, so I wrote "Manga for the exam" (laughs).

Ara: "If I write that, I'll fail for sure!"

E "What were you like as a child? Did you always want to be a cartoonist?

Ara: "I didn't aspire to do much. I played outside quite a bit, and walked around behind the older kids.

--I remember I received a postcard from a junior student at the same school in Miyagi.

Ara: "Oh, I am from Miyagi. I'm from Sendai."

--I heard that you are very tolerant of cold weather.

Ara: "I am strong against cold. In the summer, I run away to Sendai and go home.

E "When did you decide to become a manga artist?"

Ara: "I think it was after I entered design school. After graduating from high school, I entered design school, and since I didn't have a job, I thought I was in a great place, so I decided to become a manga artist and started bringing in manga. ......

E "So you are a hardworking person."

Ara: "It's more of a ...... cry than an effort. (lol) I said please ......."

All of them (laugh)

Fu "Were you gentle, Mr. Editor?"

Ara: "I'm afraid! (laughs)"

Small "But I really thought that, I really thought that. I wondered how someone like him became a manga artist (laughs).

--Is that so?

He said, "In the new year's issue of JUMP, you often see the faces of the teachers on the cover. When I saw that, I thought, "Ah. ......

--Yes, Mr. Araki said that he receives two or three large boxes of Valentine's Day chocolates from his fans.

They all said, "Wow, that's great!"

Ara: "Thank you very much."

Small: "For the teacher, not the character? That's great!"

Fu "What do people do with those chocolates?"

Ara: "I eat all of them. I even wrote some replies!"

--Oh, this was also on a postcard, but I heard that when you sent New Year's cards to manga artists and musicians at New Year's, you got a reply from Mr. Araki, and a quick one at that.

Araki "(laughs) I'm a bean!

--Fans pay attention to details, don't they?

Ara: "I bet you write one or two replies a week, don't you?"

--Is there some kind of official fan club?

Ara: "Yes, there is ......?"

They all said, "Yes!

Ara: "I may have said, 'Okay,' but ......"

Fu "Has there been any talk of an animated version of "Bao"?"

--I've heard of video animation, but nothing definite has been decided.

Ara: "I've heard about the record ......"

--There was talk of Image Records, but that drifted away.

Ara: "That's a shame."

E "Would you like to see an animated version of your work?"

Ara: "I would like to see ....... It's not exactly the same as being happy about it.

--I'm sure the voice actors must be in a lot of trouble (laughs).

Fu "Live-action version or something like that--the popular splatter ......"

Ara: "Pitter-patter." (laughs)

F "But it looks disgusting (laughs)."

Small "Then the teacher will be the star!"

They all said, "Oh, that looks good on you!

Ara "Oh no (laughs)."

--Oh, Araki-sensei says he's not good at it. He says he is not good at posing like this.

He says, "Let JAC or stunt people do the poses, but only when it's Ikuro's time.

E "I think that kind of thing will be well received overseas.

--In Taiwan, it's a comic book called "Makai Kai Visitor".

E "No, it's not, it's more major, like in the U.S. ......"

Ara: "I hope there is no language gap."

F "They say they don't use this kind of English or something (laughs)."

--I'm afraid of that. It is just like the strange Japanese words often used in American movies.

Ara: "Bao and Beetee are also coined words. When we thought about what kind of name to use, we decided on the ...... pronunciation.

--So it's not an abbreviation for something?

Ara: "Not at all. I thought "T" sounded good, so I decided to use initials--AT, BT, oh, let's use "Beetee".

--I'm sorry, but I'm almost done. Let's all get together and make a new series in JUMP as soon as possible!

All of them "Good luck ♡". [1]

Famicom Jump: Hero Retsuden's Strategy Guide (04/1989)

Troubled King: Well then. It's the Troubled King again. Making an appearance next is Hirohiko Araki Sensei, a connoisseur of little-known games.

Araki: You say that, but I don't actually have a Famicom.

Troubled King: How about playing cards or boards games!?

Araki: Yes!! Games that uses cards, for example things like poker, I like. Furthermore, I love Backgammon and Monopoly!

Troubled King: Hardly an elegant pastime, I think. What kind of things fascinates you about card games!?

Araki: Certainly, it's the thought of having another human as your opponent. Rather than being interested in the game itself, waging war against the opponent and the strategy is what's interesting. Even if it's the same game, because of the opponent, it can evolve into an entirely different kind of game.

Troubled King: Uh-huh. Certainly, it doesn't matter who you play with on a Famicom because the opponent is a computer.

Araki: Sorry, but I've hardly played on the Famicom. But, there seems to be a game where you can fight with your friends. If there's a game where you can play against other people, I'd also be interested!!

Troubled King: But Araki Sensei, I thought you were someone who was rather opposed to the Famicom...

Araki: Hahahaha!! That's not the case. Since my motto is "Don't think about your worries. Live your life freely!!" If I like the Famicom, I should play it!! If I think it's a waste of time, I should stop!!

Troubled King: I see. Well then, to wrap this up, a few words for everyone reading this!!

Araki: It's already been 2 years since JoJo has begun being serialized. However, without forgetting what it was like to be a newcomer, I'll press on!!


コ はい。またまたコマル大王です。つぎに登場の荒木飛呂彦先生は、知る人ぞ知るゲーム通。

荒 と言っても、ファミコンじゃないけどね。

コ トランプとかボードゲームですか!?

荒 そう!! カードを使ったゲーム、たとえばポーカーなんか好きだね。それにバックギャモンやモノポリーも大好きだよ!!

コ なかなかしぶい趣味だと思います。カードゲームはどんなところが魅力なんですか!?

荒 それはもう、相手が人間であるというところだね。ゲームそのものの面白さよりも、対戦する相手との駆け引きが面白いんだ。同じゲームでも相手によって全然ちがうゲーム展開になるしね。

コ …ふむふむ。たしかにファミコンでは誰がやっても相手はコンピュータですからね。

荒 あいにくボクはファミコンって、ほとんどやったことがないんだ。でも友だちどうしで戦うゲームなんかもあるらしいね。対人間で、できるゲームならば、ボクも興味はあるよ!!

コ 荒木先生は、わりとファミコン反対!!の人かと思ってましたけど…。

荒 ハハハハッ!!そんなことはないよ。ボクのモットーは「クヨクヨ考えない。自由に生きよう!!」だからね。ファミコンだって自分が好きなら、やればいい!!時間の無駄だと思えば、やめればいいのさ!!

コ そうですね。それじゃ最後にジャンプ読者の皆さんに何か、ひと言!!

荒 『ジョジョ』の連載が始まって、はや2年。だけど新人のときの気持ちを忘れずにがんばりますっ!! [2]

V Jump (02/21/1993)














 (味方)空条承太郎 星の白金 (敵)いちおう全部





体験レポートは荒木先生の他に、OVAの監督である北久保弘之、ゲームプロデューサーの林広幸、あと何故かボンビーこと榎本39歳のありました。 [3]

Jump Novel (04/1993)


第3部の小説が掲載された「ジャンプノベル」(1993年4月1日号)での対談。 noveloken_00 この号はジョジョ特集号で、小説以外にも折込ポスターや、ジョースター家四代の歴史(年表)、空条承太郎大激闘MAP(第三部冒険地図)等が載っていました。その辺の紹介についてはまた別の機会に。

お相手は音石・・・ではなく大槻ケンヂ氏です。 (※時期的には音石明が登場する直前)

オーケン&飛呂彦の奇妙な世界 THE SHOCKING BIZARRE TALK【大槻ケンヂVS荒木飛呂彦】 仄かに広がる燭台の灯の中、二人の特異な才能を持つ者が出会った――。 一人は荒木飛呂彦、そしてもう一人は大槻ケンヂ。ショッキング・ビザール・トークが今始まる・・・。



大槻 実は僕は「ジョジョ」を読んで一番思った事はあれなんですよ。何かウオ~ッとやる気になるなという。俺もやらねば~。何かやらねば~みたいな。僕はミュージシャンというか、バンドをやっているんですけども、実は本も書いているんです。で、ある雑誌に書くんで、集中しなくちゃならんと思って、4日間位マンションにこもって執筆してたんですけど、もう~・・・!僕ね、バンドをやったり、映画に出たり、テレビに出たりとか色々やっているんですけど、バンドが一番楽。もう「物語」を作るというのは辛いですね。

荒木 でもね、その壁なんですよ。辛い、っていう壁を越えると楽しいんですよね。

大槻 それでその時にちょうど「ジョジョ」を読みまして、う~むと。

荒木 でもね、私もほんと、曲からとかいっぱいヒントを得たりしますよ。

大槻 僕思ったんですけど、ディオって言うのはロニー・ジェイムス・ディオで、ジョジョは『ゲットバック』に出てくるジョジョですよね。

荒木 そうです。いっぱいいますよ、もう。何かね、ロックとこういうホラー的なものっていうのは、子供の時からビビッと来まして。僕は70年代位から聞き始めたんですけど。昔はジャケットってその曲のアーティストを撮ってたんですよね。ところが、70年代に入ってから急に悪魔的なものをジャケットに押し出すんですよ。マーク・ボランとか、キング・クリムゾンとかね。タイトルも「地獄のハイウェイ」とか「悪魔の頭脳選択」とか、そういうのがあって、何でか知らないけど、本能的にバシバシッってきちゃって。音楽よりもジャケットで買ったと言う方がいいんじゃないかという。

大槻 僕もそうですね。ジャケットで買ってました。

荒木 ワルの魅力というか、悪魔の魅力みたいなね。そういうのが、僕、きましたね。

大槻 「ジョジョ」では、どっちに肩入れしてかいているっていうのはありますか? やっぱ悪の側?

荒木 いや、一応全員に思い入れして書くんですけど、悪の方が楽しい時もありますね。何か自分が変態みたいに思われると困るんですけども、異常性とかを追求したりするんですよ、殺人鬼とか。

大槻 ああ。前の方に切り裂きジャックも出ていますよね。

荒木 ええ、出てきましたけど・・・。もうちょっと現代サイコホラー的な、ああいう異常心理を書きたいんですよ。

大槻 そういえば、去年、これは僕はきたな~って言う凄い事件が、ありまして・・・。今時、祈祷師が、悪霊がついたとかいう人をお払いだとか言って、ポカポカ叩いて、殺しちゃった事件なんですよ。

荒木 知ってます。きてますよね。

大槻 こういうのが僕、好きなんですよね。幽霊とかオカルトとか、そういうものを僕、信じていないんですよ。もうほとんど信じていないんだけど好きでしょうがない。

荒木 一応、「ジョジョ」なんかではオカルトどっぷりではなく、境目みたいな所にいるように心がけてて、完璧にあっちの世界にはいかないようにしてるんですけどね。たとえば、あのドアの向こうに誰がいるのかなとか、そういう怖さを追求するような所ですよ。

大槻 あのドアの後ろですか?

荒木 そう。窓からカーテンがチラッと動いたりすると怖いじゃないですか、ああいう感じですね。

大槻 いかりや長介がいる。(笑) たとえば、僕がそこに何があるんだと思ってバーンと開けたら、長さんがいて「ウオ~」とか。(一同大笑) 荒木 でも、そういう意外性って、「物語」を作る上で必要ですよね。



大槻 僕は宇宙人とか信じていなかったんですが、ある時、南山宏先生の本を読んでガ~ン、ときましてね。それ以来、僕、UFOオタクなんですよ。

荒木 あの写真ビックリしたなあ。火星表面のピラミッドの写真。

大槻 ああ、あれね。でも、あれ、笑っちゃいますよ。

荒木 トリックなんですか?

大槻 トリックというか、心霊写真といっしょで、何かこうクニャクニャした岩がただ顔に見えるっていうのがあるじゃないですか。Kさんていう自称科学ジャーナリストがいるんですけど、その人が、実は月はUFOの秘密基地だったと言って、月の写真をいっぱい出して、クレーターとかの上から字をなぞって、ここにUFOが何機置いてあるとか、ここに秘密基地があるとか、絵にかくんです。そういわれりゃそう見えなくもないけど、岩の写真とか、遠くからのしかもよくわかんない写真で、ここに人の顔があるかなあと思えばそう思えちゃうじゃないですか。そういう感じですよ、あれって。

荒木 やばいですよね。

大槻 そういうパラノイア的なというか、集中しまくっちゃって、その世界に完全に入っちゃって、何かもう逸脱しちゃってると言うのかな、そういう人っているじゃないですか。特に作家の方って。だから、実は僕はお会いするまでは荒木さんもそういう方だったらどうしようかと、ちょっと怖かったんですけども。

荒木 ご期待に添えませんで。(笑)

大槻 いえいえ。いやあ、安心しました。何か、いきなり「けさもディオが来てね」とか言い出されたりしたらどうしようかと。でも、あるじゃないですか。例えば、前にアニメ化もされた『幻○○○』を書かれたHさん。あの方もどんどん、うお~っていっちゃう人で、すごいんですよ。

荒木 実際の人がですか。

大槻 Hさんは「ウ○○ガイ」って作品を書いてらっしゃって、僕も大好きなんですけど、その作品の主人公がどこかで実在するような気がずっとしてたんだそうですよ。で、何とある日、家にその主人公だと名乗る人間が来ちゃったんですって。とても犬○○とは思えない普通のおじさんだったらしいんですけど。それでHさんは、最初はこいつはただのパラノイアだろうと思って、でも怖いから話してたんですって・・・。でも、Hさんは話してるうちにこいつは本物だと思っちゃったんですね。それで恐るべき事に、ある雑誌で編集者立会いの下、対談してるんです。(笑)

荒木 じゃ、今まではその・・・テレパシーみたいなものをその人から受けて書いていたと。

大槻 そう。それで僕、その話をUFO研究家の知人に話したんですよ。そしたら、そのSさんていう方が、「いや、僕も実はHさんのブレーンとして超能力とかの資料集めをしていたんだよ」とか言い出しまして、「だから、僕もその犬○○さんに会いましたよ。見て下さい。サインをもらったんですよ」と。(笑)見せてもらったら確かに『犬○○』とサインに書いてあるんですよ。どうします? ある日荒木さんのお宅にジョジョが訪ねてきたら!

荒木 今の話、すごいリアリティがありますね。

大槻 荒木さん、それはあともうちょっとですよ。ジョジョが訪ねてくるまで。

荒木 でも、犬○○は僕も好きだから、実際にいるような感じはしますよね。

大槻 そういうふうになってきちゃうんでしょうね。あと、凄いのが・・・。


大槻 でも、僕も何年か「物語」を作って数年後に終わらせた時に主人公が訪ねてきたとか言う人になってるかも知れないですね。

荒木 でも、私の所にも、どうして波紋って知ってるんですかと言う人が来ますよ。私がやっているんだって。

大槻 ほ~ら。あと数年後、ジョジョが訪ねてきますよ。

荒木 その時は紹介しますよ。

大槻 「ジョジョ」はアニメ化というのは?

荒木 今やってます。

大槻 もう始まってるんですか?

荒木 ビデオです。けど、このシナリオの出来がいいんですよ。何か僕自身が書いた訳じゃないんだけど、自分が書いたような・・・。

大槻 あ、それは見てみよう。

荒木 面白いですよ。ガンガン来る話になってて。

大槻 声の印象とかはどうですか?

荒木 そういうのは全然気にしないです。男が女の声してたらちょっとあれですけど。

大槻 それはまずいですよね。

荒木 あと、ジョジョが「ルパン三世」の声してるとか、「サザエさん」の声してるとか。

大槻 でも、それ、いいなあ。すごくいいなあ。ディオがマスオさんのあの声で「無駄無駄無駄ーッ」とか。

荒木 「ドラえもん」の声とか・・・。

大槻 でも、そういう意外なキャスティングというのも・・・。

荒木 いいけど、それはカルト作品になっちゃうよ。

大槻 例えば「サザエさん」で波平の声が「ルパン三世」の声だったりする訳ですよ。それは見てみたいなあ。

荒木 あとものまねの人にやってもらうとかもいいですね。

大槻 あっ、すごい似てる人がいるんですよ。広川太一郎のまねをする人で。ほんと、例えば、ルパンの声が広川太一郎だったりしたら。それこそがまさに日常の中の異常ですよ。何よりも。例えば、ある日テレビをつけたら、ルパン三世の声が全然違う!

荒木 いいですねぇ。

大槻 星一徹の声だったりしたら気絶しますよ、一億人がテレビの前で。

荒木 電話が殺到するでしょうねぇ。

大槻 サザエさんの大山のぶ代も見たいな。僕もいつかそういう「物語」を書きたいなあと思っているんですけどね。

荒木 書けると思いますよ。


大槻 4月に「UFOと恋人」というアルバムが出るんですよ。まあひとつよければ買っていただけたら・・・。そして僕は真剣に、あと十年二十年かかってもいいから「物語」を作りたいと。でもやっぱり小説か映画とかいう手段になるんだろうなあ。

荒木 そうですね。月並みですけど、頑張りますかな。「ジョジョ」もアニメの他にもファミコンや小説になってますけど、そのどれにも本家のマンガが負けないように書いていくつもりです。 ―本日はどうもありがとうございました。 (渋谷『タントラ』にて)

荒木先生からのビザールトーク後記!! 「マンガ家にしては普通の人すネ」とそーいーあんただってロッカーのくせにまじめな人のくせに 対談は一種の闘いだなと思った

読者プレゼントはイラスト入りサイン色紙! [4]

JoJo 6251 (12/10/1993)
Part 4's Theme:

Why did I decide to set Part 4's story in 1999, the near future? (Note: JoJo 6251 was released in 1993.) Well, it's suppose to continue after Part 3, and I figured "1999" could add some type of "turn of the century" feel to it. I was also originally thinking of depicting a world after death, but didn't think anybody could relate to it.
One of the themes of Part 4 is "describing the city, creates the city." In part 3, I came up with the idea of using a neighborhood middle aged woman selling cigarettes who attacks Jotaro and his friends. The problem was that Part 3 was a worldwide trip, so while Jotaro had to move on from the suburban setting, I couldn't. I thought, if the adventure were to happen in just one city, I could take advantage of the concept of several people you'd meet around town suddenly threatening you and lurking about. I thought, maybe I could set a hospital as a battle stage, or involve someone like a mayor in the story. I figured this would enable me to take anything people are familiar with in everyday life and do something creative with it.

As you already know, most of my character's names are named after foreign musicians. Why do I do this? Well, it makes it easy for me to name characters and easy for readers to remember them. Yep, that's it (laugh), I don't bother coming up with original names. What's worse is that the names I give can sometimes cause confusion; "Kakyoin" for example, is the name of a place that exists in Sendai, my hometown. Part 4's another story though, as I had to come up with so many Japanese names. That was tough! From the very beginning, I had already decided on the name Josuke (Also read as JoJo), but deciding the family name gave me a hard time. (東方 Jojo of the east side) By the way, for Kujo, I looked into the dictionary and found ku meant sky and figured that sounded nice. For Okuyasu Nijimura, I used Niji which meant rainbow and chose "Nijimura" specifically cause it had a nicer ring to it than Nijioka or Nijiki. (Note: mura 村 means village, oku 億 means one hundred million. His big bro, Keicho's cho 兆 means trillion) I combine my favorite kanjis with sound taken into consideration, whether it it's easier to say or not. Though I'm having trouble thinking of any other JoJo puns, so I were to start Part 5, I'd probably have a hard time. (The result ended up having every character named after Italian food.)

Jotaro's School Outfit:
I decided Jotaro must be in a school uniform due to influence from "Babiru the second," a famous manga of a boy in a gakuran having an adventure in a desert. I've always thought how cool it was to have an adventure in a school uniform. This idea boggled me. It permeated a sense of "a man's spirit of romantic adventure," and "beauty" that could only be found from a boy having an adventure in a school uniform in a desert.

Wanting a sequel to previous works.:
People sometimes ask, "Why don't you draw sequels to Baoh or BT? Well, they're already done in my mind. Similarly, I always get letters asking me to revive Kakyoin, or bring back Polnareff for Part 5. I don't think I will though, since characters with similar natures are already present in Part 4. (Note: He did end up bringing back Polnareff, though in another interview he mentions adding him in was a last minute choice.) Even though I say this, you'll likely ask, "then why did Jotaro and Joseph show up in Part 4, weren't they done too?" Well, they have the advantage of being related to Josuke. Bloodline is important. Really, I don't have anything lingering whatsoever for Part 1-3, my previous works. Although, I'm more of a "forgetting" than "moving-on" type of person (laugh). My works resemble a diary in that I don't put too much thought into what I had previously written, but more so into drawing what I'm feeling NOW. Now is what matters most.

You encounter ゴゴゴ alot in my works. This sound effect is kinda the "groove, "tempo", or "rhythm" I feel when drawing. The atmosphere of the scene is what decides when I put this sfx. Like when I'm drawing a scene where a "DOOON" (ドーン!) appears, here comes ゴゴゴ to add a more ominous, something-is-happening touch! For Dio's MUDAMUDAMUDA, I add it to give feeling to his shouting. My way of adding SFX's and choosing lines is similar to making music in a way.

How Araki works on Weekly JoJo:
First, I draw the "name" on report paper, which takes about 12 hours. (Name is Japanese, it refers to the draft storyboard.) Then I have a meeting with my editor, and after I begin drawing more elaborate sketches and eventually inking. I never start on the next page until I completely finish the one I'm working on; I work strictly on a one-page-basis. This system allows for my assistants to work on each page more efficiently. I finish the names and begin dividing them into frames on Sunday. Work begins on Monday, where we work from 11 in the morning to 12, though we do take a siesta for lunch from 3 to 4. On Tuesday and Wednesday we work as we do on Monday, and I make sure it's all finished by 6pm on Wednesday. For the rest of the time on Wednesday, I deal with determining the plot for the next chapter. On Friday and Saturday, I sit back and relax, draw illustrations, go somewhere to interview people, look for ideas or info for my works. I'm not really good at research though (laugh), or talking to people I first meet. I remember my stomach being filled with butterflies when I tried talking to the people who take care of the animals at the zoo. Either way, I'm quite strict when it comes to my schedule, and I deal with my work quite squarely. Otherwise, if we get too lazy, we never actually get any work done. During daytime, I have to give instructions to my assistants, which often stops our work, so ironically the time when I get the most work done is when my assistants go home.

At times I'm on a roll when it comes to coming up with ideas, and other times, it's hard for me to come up with anything. So whenever I am on a roll, when the ideas start cascading, I take advantage of that moment to try to write down everything for later use. I've never experienced a "slump" (the time a mangaka cannot draw anything, and gets nowhere), but there are times where I don't FEEL like doing anything. Everyone feels like that at some point, right? I always have so much work that if you ask me it it's tough, I'd say it very much is.

If you ask me who my favorite is, It'd definitely be Josuke. Definitely Josuke...and Jotaro, and Dio, N'Doul, D'Arby. I love characters that have their own aesthetics. Characters I hate are ones I really tried to make look disgusting, unpleasent e.g Vanilla Ice. I gradually felt sick while drawing them.

Which type of character is easier for me to draw, good guys or bad guys? I can't say which is easier, because good/bad are like heads and tails, they're two sides of a coin and there is a really fine line between the two. Good characters tend to be bound by rules, but it's fun to work with them because at a certain times they begin to have a weird eccentricity. Depicting good characters is fun, but I guess depicting bad ones can be more fun since I can make them do anything (illegal) or destroy everything.

My Childhood:
I began drawing by imitating Shirato Sanpei's "Watari" or Chiba Tetsuya's "Harisu no Kaze" when I was 5 or 6. It seems so long ago, back when you could watch "Ultraman" on TV. I also made original stories, like muscle men fighting villains. I loved period plays (Stories that take place in Feudal Japan). There were so many manga titles I loved back then...sports comics, ghost related, I even bought the very first issue of Jump! Among all those mangakas, the one who moved me most is Yokoyama Mitsuteru (Babiru the second). I read his comics until they were worn out.

I was quite a normal child, but I was much more cool-headed than others. I was like that kid calmly looking at others raising hell. My hobbies were manga or movies. I didn't show any interest toward plastic models or radio-controlled model cars. I was such a pushover for "Spaghetti Western movies" and "Clint Eastwood." My dad loved them too.

I commented "My parents don't understand my manga" on the cover of a comic before. They still don't understand, which is puzzling to me because I draw manga with respect to Eastwood, whom my Dad loves. Why the heck can't they get to like my work? What is at the very core of my works is same as Eastwood's. Maybe the JoJo anime will help them get interested.

Other than Eastwood's, I loved the Godzilla series, or panic-filled movies. I couldn't see movies so often with the small amount of allowance I had, though.

Sports? I practiced Kendo. Group sports such as basketball or soccer were not my thing. I joined the baseball team once, but when I failed to catch, pitch or hit, everyone stared at me. I didn't like that part of group sports. Like it's ok for me run alone, but I could not do relay races; I didn't want the responsibility. I couldn't work as a team. (laugh) What I did I love was magic tricks and playing cards, I even bought a How-to book and practiced them.

I've always loved Rock 'N Roll. From the late 1960's I began to listen to "Chicago," and "Led Zeppelin." In the 80's, "Prince," which is actually what I was listening to when I was drawing the cover for JoJo 6251. Foreign music with an ancient time's atmosphere and a baroque feel stir up my imagination. I couldn't afford expensive records back then so I listened to music from the radio. I recorded songs with a gigantic cassette deck my parents bought for my studies in English. I remember trying to stay perfectly still so I'd be quiet while recording (laugh). I didn't listen to Japanese songs at all at the time, and I still don't.

I had really wanted to become a mangaka since I was very little, but I tried to keep it a secret. Once I was asked, "What do you want to be in the future?" and I replied, "mangaka." The one who asked said "Good luck," though I could from their eyes that they were really saying, "You can't become a mangaka!" So I ended up not telling anybody, not even my parents. I didn't even work on any kind of "doujinshi" either.

At some point, I began to think that I should immerse myself into the world of my stories and illustrations, so I started studying at a designer school. At the time, I had drawn two western manga, which I entered for a manga competition sponsored by Shonen Jump. I used to like Shonen Magazine too, but from the 1980's they started to focus on love-comedy. I hated that type of thing, so I didn't enter any contests Shonen Magazine sponsored. Despite entering the competitions with my "masterpieces" I never did receive any calls. I wondered why, so I went to the Shueisha HQ in Tokyo to ask their opinions on it directly. The one editor I showed it to, before even reading it, pointed out that I forgot to erase the black lines. He boggled my mind (laugh), but I learned a lesson that day. Back home, I began improving on my story, after 4 months I finished 30 pages worth. This work was called Poker Under Arms and it is what I made my debut with.

I am interested in fashion. I take Italian fashion into account when deciding what my characters wear. Versace and Moschino's clothes are so loud and gorgeous, they make my illustrations beautiful. However, they do have their weaknesses. I get bored with them if I draw them for too long (laugh). Similar to how certain clothes go out of fashion througout the years. I used to check out Japanese fashion books, but they are something different; they seem out of date.

My doubt over supernatural powers helped me come up with Stands. I doubt such powers like, "Just think hard enough and things will begin to move." I don't see anything? How can you say your "willpower" moved things? I wanted something visible that could explain these powers. For example, if a person is in the dark and something moves, you can't really see what's happening. But, if something visible pops out from the person and actually touches things and moves them, then you'd say, "Oh, I see!" Stands are proof of those superpowers, basically my way of explaining how these invisible powers work. Well, they're kind of like "pseudo" proof, but they still work as an explanation (laugh).

I called it a "stand" after "light stands," the type that sit beside your bed in a "looming" manner when you read. With stands, I thought I could describe loads of things. "What a good idea", I thought. In part 3, I connected stands with tarot cards cause I wanted each stand to be unique. I thought 22 would be enough, but I ended up running short (lol). The stand's designs were inspired by Yokai's and eerie folkcrafts. I first decided the abiity, and then the appearance with which readers can associate with the ability. What I love about stands is that I can express psychological warfare. The Stand's physical powers are not what matters most. e.g. A stand with no physical power but with the the ability to make enemies tell lies can still be very formidable (Which ended up being the basis for Talking Head.)

"Cool Shock BT." My First serialization. I worked on it in Sendai, my hometown. It was around the time the delivery service was first established, so I would send copies of rough sketches through that and talk with my editors by phone, just like Kishibe Rohan (laugh). My editor back then was so severe. After I had sent all of my work, he'd end up calling me to Shueisha in Tokyo anyways. I had to use an ashtray as a palette to practice and had to sleep on the train the next morning. That trained me as a mangaka; my editor is a man I respect as a severe teacher and also a god. He was the one that decided that Dio should be in Egypt since he loved Egypt and was very knowledgeable of it. (He was the one who tried hard to get BT serialized in Jump, when other editors were against it.)

"Baoh." I was thinking about Baoh when I drew BT during it's Jump serialization. By "the visitor," I meant "Strike Back." Back then, everyone was talking about Biotech, so I named Baoh after Biotech. I also wanted to pursue physical power.

"Gorgeous Irene." I came up with Irene's plot while pursuing physical power. I named her "Irene", which sounded cute. I started to draw Irene to see If I could actually draw girls. The result: I realized I couldn't draw girls. That's why you generally don't see that many girls in JoJo. Recently though, I've been incorporating more and more girls, and now I think I can draw them.

Starting JoJo:
I earned alot of money from drawing Baoh, which allowed me to go abroad for the first time in my life. I ended up going to England for 10 days, where I was at a loss, since I couldn't order food at restaurants due to my inability to speak English. I had a rather hard time there, but the experience inspired me to draw JoJo. By the way, two years after the trip I tried to write off the expense. The tax office refused me, so I had to pay surcharge; I've had a grudge against them ever since.

—Hirohiko Araki

Kitakubo OVA (07/1994)

K: Part 4's going to be quite long, isn't it?

A: No, well, I haven't organized it or anything.

K: How about little hints? Like when Josuke met his past self?

A: Oh, that's not related.

K: It's not related!?

A: That's just Josuke's memory.


荒 木「いや、全然構成とかしていないんですけど」


荒 木「ああ、あれは関係ないです」


荒 木「あれはただの仗助の思い出ですよ」[5]

1996 to 2005


Eureka (04/1997)


インタビュー記事⑥-ユリイカ 97年4月号- リアル脱出ゲームにハマッて以来放置していたブログをきまぐれで更新。 気づいたら20万アクセス超えてました。

ユリイカ1997年4月号の「特集 J-コミック'97 マンガ家が語るマンガの現在」より。 この企画では、荒木先生の他に楳図かずお、吉田戦車、伊藤潤二、安野モ0ヨコら15人の漫画家のインタビュー・対談が掲載されています。 荒木先生のインタビュアーは精神科医の斎藤環氏。


―― 私は本業は精神科医なんですが、精神病理的な視点から語りうる漫画は、『エヴァンゲリオン』や吉田戦車などを筆頭に近年たいへん多いのです。これに対して荒木さんの作品は一種「過剰な健康さ」が特徴と言えるのではないか。ふつう健全なコミックというのは、人畜無害のつまらないものと相場が決まっているのに、荒木さんのものは健全性と個人的な表現衝動が他に例を見ないバランスを維持しているように思います。今回は荒木ファンの一人として、そのあたりの謎に迫りたいと考えています。まあそれは後のお楽しみということで、まずはデビュー当時のお話をお聞かせください。

荒木 出身は仙台です。二〇歳の頃にデビューしました。『魔少年ビーティー』という連載を仙台で描いていて、次の『バオー来訪者』の時、一九八四年のロスアンゼルスオリンピックの時に上京しました。ジャンプの『ジョジョの奇妙な冒険』(以下『ジョジョ』)は一九八七年から連載がはじまったんです。

―― デビューされて一六年、ことしは『ジョジョ』一〇周年ということになります。代表作である『ジョジョ』サーガは単一の作品というよりは、いろんなものを詰め込むための物語装置というか、世代ごとに受け継がれて別の作品になってゆきますね。現在の第五部に至っては、シリーズで共通する登場人物は広瀬康一くらいですし。

荒木 そうですね。読者が気に入らなければ、いつでもやめなければいけないという宿命がありまして。それでも、三部くらいまではある程度テーマみたいなものがあって、現代まで来ようと。主人公も、それはあまりなかったことなんですが、変えてゆこうと。そういうことをおぼろげには考えていたんですよね。

―― 物語が「ジョジョ」という血筋=固有名の連鎖で繋がっていく形式は、非常に新鮮でした。第五部の主人公「ジョルノ・ジョバァーナ」が、「ジョジョ」一族の宿敵「ディオ」の息子であるという設定のように、血筋の流れの中で、敵味方が渾然としてますね。

荒木 人間というのは良い人でも悪い人でも認め、賛美しよう、読者に元気を与えよう、そういうテーマから始まっているんです。そうすると血とか、生き方とかが重要になってくる。主人公を描く時に必ず、親の代とか、どういう境遇で育ってきてこの主人公が今あるかたちで存在しているのかということを確立し、固めていくんですよ。そういうところからやっていこうと思ったんです。

―― 最初の設定としてはだいたい三代目まで、つまり「空条承太郎」までですか。

荒木 あの辺は結構ストーリーの進行を急いでいるんですよね。三部までいくことはもうわかっているから。だけど、三部は最後だったし、これで終わりなのかなみたいな感じでやっていたんですけれど・・・・・・。描くことがガンガン出てくるというか・・・・・・。

―― 荒木さんにはあんまりスランプってないんじゃないですか。

荒木 人によって違うと思いますが、僕は割合に波が短いんですね。

―― 漫画家というと締め切り前にドリンク剤をガンガン飲んで徹夜して、みたいなイメージがあるんですけれど、荒木さんは割とクールに昼間に仕事時間を決めて、淡々と職人的にこなしてる感じがします。

荒木 するどいですね。その通りです。

―― 以前インタヴューで話されてますよね(JoJo6251「荒木飛呂彦の世界」所収)。日曜日に構想を練って、月火水とかけて描いて金土が取材。それが一〇年続いているわけで、なおかつマンネリにならないというのがすごく不思議なんです。いまだに絵柄まで進化し続けるということが、どうして可能なんでしょうか?

荒木 多分、反省じゃないでしょうか。読み返した時にちょっと違うなとか、他の作家さんの方がいいなぁとか。そうすると、やはりその点をちょっと変えていこうかと思っている。特に意図はしてないんですが。

―― 荒木さんでも他の作家の絵柄がいいとか、羨ましいとかあるんですか?

荒木 ありますね。ですが、クセがあったりして、なかなか自分の思う通りにはいかないんですけれど。

―― クセというか個性が強烈ですよね。面白いのは荒木さんの亜流ってあんまり見かけませんよね。たとえばひところ大友克洋の亜流っていっぱい出ましたけれども、荒木流って見たことない。

荒木 変化するから真似のしようがないかもしれないですね。

―― 絵柄だけ真似てもしょうがないし、セリフ回しや、めまぐるしい視点の切り替え、極端な構図やパースなどの総合されたものが荒木流ですから。亜流が出てこないというのは、そういう技術的な問題でもあるでしょうね。

荒木 絵もそうですが、ストーリー展開でも登場人物の視点が、私は自分ではずいぶん切り替わるなぁと思っているんです。そういう描き方じゃないとストーリーが進行しないというのもあるし。多分一回一九ページという制約のせいで、目まぐるしくならざるを得ない時はあるかもしれないですね。

―― それと時間の流れが独特ですよね。単線的には流れて行かない。手品的なトリックを多用されていて、時間が後戻りして実はこんなことをしていた、とか。まあ「スタンド」も実際に時を止めたり、戻したりできるわけだし。

荒木 一秒のことを綿密に描いたりするんです。登場人物が落ちていく間のことを、延々と描いて、落ちている間にここまで考えるか(笑)みたいな。

―― 第四部ラストの「吉良吉影」が死ぬところは、時間にして十五分くらいの出来事を、ほぼ単行本一冊を使って描いていますもんね。このあたりは漫画ならではの時間性ですね。  荒木さんの作品は、理詰めで明快な娯楽性といいますか、それこそSF的な意味で常に説明がきちんと出来ているじゃないですか。「スタンド」にしてもトリックにしても原理がきちっとしていないと気がすまないみたいな・・・・・・。

荒木 それはあります。幽霊や超常現象にしても、目に見えないものを描いていく場合、それが科学的であろうが漫画的であろうが、ちゃんとした原理がないと満足出来ない。それで「スタンド」みたいなものが生まれたんですよね。

―― あれはすごく斬新な感じがしましたね。あれに似たアイデアって見たことないんですけれど、なにかヒントはあったんですか?

荒木 いえ、それも「願い」から出て来たことですから。つまり超能力というのはただ念じたらバーンって割れる感じを、まぁ、何か出てきて叩けば読者はわかりやすいなと。ただそれだけなんですけれど。『うしろの百太郎』を読んで、守護霊なんかが出てきても、ただ出てくるだけで何もしない(笑)。パンチでも繰り出して、悪霊をやっつけてくれればいいのにと思っていて、そういう発想で出て来たことだと思うんですね。

―― 八〇年代初頭には、一方で大友克洋ブームがあって『童夢』のような、それこそ目に見えない超常現象をみんな描きたがる傾向があったじゃないですか。あれに対するアンチというものを多少意識されたところはあるんですか?

荒木 そうですね。超能力のわかりにくさというのをなんとかしてやろうというのはありましたね。でも大友先生の空間の描き方にはすごい勉強させていただきましたよ。コップの割れ方とかね。よく見て描いていくとちゃんとわかるんですよ、理論的に描いていて。ちゃんとこう、パズルみたいに破片をきっちり描くんですよね。水の散り方も、写真に撮ったりしてスローモーションを見て描いているんじゃないかと思うような、そういうのがすごい緻密で。好きで読んでいましたが、ただ超能力の部分がちょっとわからない、納得いかないんですね。じゃあ、わしらは叩きに行くんだ!みたいなね。そのへんが願いとして出てきたということなんだと思うんですね。

―― 独特のセリフ回しというのはいろいろなところで指摘されていると思うんですけど、翻訳調というか、翻訳ものを読んでるような感じを持つことがあるんですが、それは意図してやっておられるんですか。

荒木 いや、本を読んだ影響が残っているんじゃないかと思うんです。そういうふうに喋っている時もありますね。なりきっちゃってね(笑)。

―― 海外の小説はやっぱりキングがいちばんお好きなんですか?

荒木 そうですね。他のサスペンス系の作家をあまり読んでいないだけかもしれないですけれど。

―― 擬音についてはどうでしょう。あの一部で有名になったキスシーンの背景音がありますね、「ズキュウゥーン」という(笑)。キメの場面では必ず「バーン」とか「ドドドド」とか、独特の効果音が出てきますが、あれも内面からほとばしってくるわけですか。

荒木 何かリズムみたいなもので「このシーンにちょっと欲しい」とか。映画の影響だと思いますよ、やっぱり。たとえば殺人鬼が後ろに立つと急に音楽が鳴るじゃないですか。「キュンキュンキュンキュン」とか、「ズンズンズンズン」とかさ(笑)。なんなんだろうね、あれは。あれが欲しいんですよ。

―― やはり映画的に展開しようというのはありますか?

荒木 ありますね。視点とか、カメラの目で想像しながら描いたりしますもん。カメラがモノに寄っていったりするのがちょっと恐いなとか。何の変哲もない水の入ったグラスでも、ゆっくりとカメラが寄っていくと、毒が入っているんじゃないかなと思うじゃないですか。もちろん漫画の画面という制約はありますけど。

―― 映画はかなりお好きのようですね。

荒木 だいたい話題作は観ていますね。監督ではクリント・イーストウッド、コッポラ、デ・パルマ、スピルバーグあたりが好きですね。リンチやキューブリックは、僕はちょっと駄目なんです。もちろんいいところはあるんですが、自分のものとして採り入れようという気にはならない。

―― キャラクターもですが、ともかくスタンドの造形が見事だと思うんですよ。ウルトラマンをデザインした成田享さんが書いてますが、化け物をきちんと描くのは難しくて、かなり技術のある作家でも、化け物だけは奇形やせいぜいキメラ的な造形になりがちなんです。 荒木さんの描く化け物は、デザイン的な整合性もさることながら、ちゃんと健康で自律した生命を持っていますね。だからぜんぜんグロテスクには感じられない。

荒木 グロテスクなものは、もしかしたら描けないかもしれない。まあ作品中でもあまり残酷なシーンは描いていないと思います。例え血まみれになるような場合でも、出血はあまりリアルじゃなくデザインするし。ただスタンドの造形にはそんなに苦労しないですね。民芸品や人形の使えそうな部分をちょっとずつ持ってきたりして。それにスタンドの能力を加味して考えます。

―― 「エコーズ(広瀬康一のスタンド)」なんかも無造作に出てきた感じですか?ちょっと工夫した感じもしますが。

荒木 「エコーズ」はちょっと考えたかもしれない。はじめて成長するタイプのキャラクターを試したので。スタンドも卵から孵って変化するという。

―― 広瀬康一は好きなキャラクターなんですよ。

荒木 まあ彼の運命いかんで再登場となるかもしれませんね。でも本当にあまり計算はしていないですね。一見計算しているように思われるみたいですが。ストーリーの計算も最初の頃はやっていたんですが、ある時ね、なんか日記みたいにして描いていてもいいんじゃないかなって、今日思ったことを綴っていこうかなという気になったことがあるんですよね。ただ、方向性をはっきりさせているんで。

―― 過去のキャラクターにはあまり思い入れはない?

荒木 考えもしませんね。別れた友達みたいな感じで、懐かしいなというだけで。次の週のことで頭がいっぱいで忘れるんですよ。この世界は振り返っている暇がないんじゃないかな。

―― 以前、寺沢武一さんが荒木さんのことを、最後までストーリーを練ってから描くタイプだと解説されていましたが。

荒木 いや、それはもうないです。もう来週のストーリーがわからないですから。『バオー』や『ジョジョ』の第一部の頃はそうでしたが、それをやっていると持たない。  ただキャラクターに対して明確なイメージがあれば、その人の「運命」で行くんです。人と同じで、動かざるを得ないというか。主人公の動機付けがはっきりしていれば、こういう気持ちだからこう行く、というのは必然的に決まってきます。

―― その辺がスランプのなさというものにつながるんでしょうかねぇ。

荒木 いや、スランプはありますよ(笑)。

―― ないと言い切ってしまうのも問題でしょうけれど、ほかの方との比較で。漫画家も絵が上達するにつれて、どんどんイラスト的な比重が高くなって、物語を動かせなくなってしまうというパターンもあると思うんですが、荒木さんの場合、全然それがないですね。絵柄の変化と物語の進行が相互に加速し合っている。このテンションで一〇年続いている漫画って他にありましたっけ? 『ジャンプ』でも『こち亀』が二〇年で、『ドラゴンボール』が一〇年ぐらいでしたか。ただ『ドラゴンボール』ですらパターンの反復は避けられなかった。トーナメント方式で、どんどん強い敵が現われていく。荒木さんは、こういうトーナメント方式に対して、疑問を持っているように思うんですが。

荒木 バブル的だなと思うんですよ。あの後どうするのかなと不安になるというか、自分がそれをやれと言われる時は、えーっと思うんですよ。トーナメントは完全に否定しているところはありますからね。

―― 『ジョジョ』に関しては、どうもトーナメント式に誤解されている方がずいぶんいるみたいなんです。批評家までがちゃんと読まないで、あれはトーナメントだと断言したりするのは本当に残念です。物語が何部かに分かれているところや、あとスタンドの能力が一つしかないということで、強さよりも質で差別していますよね。こういう設定によって強敵のインフレーションを防ぐという意図はあったわけですか。

荒木 トーナメント方式は読者には受けるので、編集者がやっぱりやろうか、と言う時もあるんです。でもその時は「うーん。でもこの敵が終わったら、その時僕はどうすればいいんですか?」みたいなね。実は、第四部の杜王町の時に、これで終わりかな、と思ったことがあったんです。また違う漫画を描かなきゃいけないのかなぁと。ところが、編集部が「休みは駄目だよ」と言うから(笑)。それで仕方なく、無理やりキャラクターを作って始めましたが、でも描いているとキャラクターに情が移ってきて。

―― 広瀬康一がうまくバトンタッチをしたという感じで、読んでいるほうは何も違和感というか、本当に作為が感じられなかったですよ。

荒木 あそこは結構作ったなと自分では思っています。でもだんだんキャラクターに入っていくところから、そういう感じがなくなるのかな。


―― 荒木さんはいろんな意味で、漫画の王道を行っている感じがしますね。

荒木 でも勘違いされて、マイナー系の人だなと思われているところもあるんです。自分では昔からある少年漫画の精神を受け継いでいるつもりなんですが。

―― それは本当にそうですね。要するに漫画の批評が荒木さんの作品について語る言葉を持っていない。私は今日、それを力説したくて来たようなものなんですけれど。これはあきらかに不当な過小評価だと思います。初期のころは「セリフや擬音が面白い」とか、そういう些細なところで持ち上げておいて、いまやマンネリとか言ってますけど、私はテンションはかえって高まっていると思います。実験性が目につかないせいでしょうかね。わかり易い実験をしないというか。いまのところ、正当な評価と思われるのは宅八郎の批評(『イカす!おたく天国』所収)だけですね(笑)。

荒木 読者が『ジャンプ』の読者ですから。そういうのに鍛えられているせいなのかもしれないですね。でも何かそれも過大評価じゃないかという(笑)。

―― いや、この王道を行きながら実験的であるというのはすごく稀有なことで、現在のあまりにも不当な評価を多少なりとも逆転させようという使命感を持って、今日は来たようなものです。  荒木さんの作品は生命賛歌といいますか、健全というのともちょっと違いますが、すごく健康的なんですよね。私は一方では吉田戦車の漫画について語ったりもしているんですが、あれはいろんな意味で病理的に語れるところがあって、逆に語り易いんですよ。ああいう漫画はどう思われます?

荒木 好きですね。ああいう人間の病的な部分をえぐり出す感じも面白いですよね。ああいう漫画を読んでアイデアが浮かんだりするけれども、僕の漫画のテーマの根本は、人間を賛美しようというところにあるんで、ちょっとそこに視点を移しちゃうだけなんですよね。ただ、僕の漫画も裏返せばああいう漫画になるとは思いますが。  前の編集者には、「もっと人間の悲しさを描こうよ」とかいうことも言われたんですよ。そうすると、うーん、描けないなという時があるんですよね。「わしの資質が違うかもしれん」とかね。そういう時はやっばり悩みます。描いてみたいと思うんですよね。  小説でいうとS・キングのホラーとか、ああいう”生まれてきた悲しさ”みたいなのもやっばり「人間賛歌」だと思うんですよ。だけど、それはちょっとなかなか行けない。だから、そこを中心に語ってしまうとへボな作家だなみたいな感じだと思うんですよね。あまりそこに焦点がいくとね。映画でいうと『セブン』のように地獄に突き落として終わるようなみたいな、あのへんは行けないと思いますね。どこかで救ってしまうんですよね、わしは。でもああいうのもいいんですよね。いいと思うんですよ。いずれは挑戦しようかなと、テーマがビシッと合った時にトライしてみたいとは思うんですが。

―― 第四部というのは少し流れが変わってサイコパスものというか、『羊たちの沈黙』とか『セブン』とか、あの辺のテイス トがちょっとあるんですね。

荒木 そうですね。時代ですかね。『ジョジョ』の第三部あたりは神話的なストーリーの様相があったんですけれど、四部あたりで少し日常のものに移ってきたというので、主人公がそういうふうになったんですよね。

―― それは積極的に採り入れた感じですか。それとも日常を描こうとしたら、必然的にそうなったという感じですか?

荒木 そうですね。宮崎の事件とか、ああいう感じで。敵の象徴が何かなと考えた時に、ディオもいろんなものの象徴として描いているんですけれど、やはり日常の、隣に住んでいる人が何をしているかわからないというのがいちばん恐いなと思ったので。で、いまの第五部の敵は内部にいる、自分の上司が敵ということになります。これは自分を守ってくれるはずの政治家や警官が敵かもしれないという意識に重なりますね。

―― 第四部の「杜王町」は例外として、あまり世界が箱庭的にならないようにということは考えますか?オタク的な閉じた空間のなかで敵が出てくると、それこそトーナメントみたいになってしまうということで。

荒木 必要とあればそれもやらないことはないと思います。でも一週間で描いている時は、本当にここだけなんですよ。一秒のあいだだけ、この空間だけでどういう攻防があるんだろうなということを考えています。そういう感じですので描いてる時は狭いですよね。あとから見るとその世界はでかくなっていますけれど。  それと毎週アイデアは一個しか出さないというのがあって、ニ個出すと読者はわからなくなるというのがあるんですよ。描くことは一個だという漫画の描き方があるんです。編集者がそういうことを言うんですよね。アイデアが二個あると、編集者は「そんなに考える必要はない」「ニ個あると駄目だよ、読者はどっちを読んでいいのかわからないだろ」と。一個でいい。


―― 血筋の話ですから家族が出てくるわけですが、だいたい父親が死んでしまったりとか、ヨボヨボになっちゃったりしますよね。女性を守るためといっても、それは母親を守るため、助けるために闘う場合が多いようですが、この辺も一種の健全さとして受け取ってしまうんですけれど。

荒木 うーん。読者がこれはちょっと変だなと思うようなことは避けようとすると、どうしてもそうなってしまうというか。恋人を守るためだったら、ちょっと気高くないかなという・・・・・・。もうちょっと欲望の部分、自分の損得の感じが入っていたりするけれど、それがちゃんと愛になるまでいろいろ描かなけりゃいけないですよね。だけどお母さんとか肉親だったら何の動機もいらないと思うんです。女性を守ったりすると違う話になってしまうんですよ。なぜその女性を守らなければいけないのかの話を描かなければいけなくなってしまう。話がずれていってしまうんですね。まあ女の子があまり描けないというのもありますが。何度か試してはみたんですけどね。  闘いの漫画を描きたいのに、読者はそれまでに我慢しなければいけないわけですよ。熱心な読者は読んでくれるかもしれないですけれど、『ジャンプ』の読者は闘いが見たいのに、そんなところを延々と描かれていたんじゃ……。だったらお母さんにして、そこのところはパーンと流すというやり方というのはあると思うんですよね、打ち合わせの時にまどろっこしいやり方は却下したりとかね。だからパズル的な作り方の時もありますね。ここにこうはまるとか、それは駄目だなぁとか。ここでちょっとあいつを助けようかとか、そんなのはかったるくないですかとか。ジェームズ・キャメロンのようにゴーンと行かなきゃ駄目だという時があるんですよ。キャメロンは骨太に行くところが好きですね。余計なところはあまり描きませんよね。でも背後に物語がある。

―― 実写映画が撮れたらなと思うことはありますか?

荒木 自分で撮れたらなという希望はありませんが、映画というのは芸術としてすぐれた伝達方法なんだなと思う時はありますね。映画は認めて尊敬してます。でも漫画が映画みたいな芸術になるのかなというところは疑問があったりもしますけれども。アニメはあんまり眼中にないし。

―― 加藤幹郎という評論家が、寺沢さんとか荒木さんなどの漫画を総称して、マニエリスム、つまりきわめて高度な技術で絢爛たる引用をちりばめた漫画だと指摘していますが、それは意図的になさっていることなんですか?

荒木 そうならざるを得ないというところですね。

―― 引用はされるけれどパロディはあまりされませんよね。シリアスなタッチでもアニメ的なおちゃらけがないといいますか。

荒木 あの、多少馬鹿馬鹿しいと思っても、照れずにやるというのは基本なんですよ。ちょっと照れはあるんだけれど、そこを突き破っていくんですよ。そういうテクニックってあるんですよ。あえてやる!みたいな(笑)。決心がいるんですよね、あれはね。

―― やっばりおちゃらけてしまいたいという誘惑はあるんですか。

荒木 ははは。あるんですよ。描いていてちょっと、なんかやばいんじゃないかなと思うこともあるけれど、それを見抜かれると読者がしらけるから。でもあれもジャンプの伝統なんですよね。車田正美先生とか、なんでここまでノレるかなという、すごい人がいますからね。

―― あれは『ジャンプ』ならではという感じですよねぇ。

荒木 よく考えると、なんで宇宙に飛んでいくみたいなね(笑)。だけど、完全に読者の上をいってしまうから、ああーってなると思うんですよね。

―― ちなみに技の名前を叫ぶのは車田正美先生ですね。

荒木 ですね(笑)。

―― 車田先生はパンチシーンの構図はだいたいいつも一緒でしたけれど、荒木さんはその辺は描き分けておられますよね。

荒木 だんだん時代も進化してくるわけですからね。うん。だから僕の漫画はやはり伝統に則っていると思います。

―― 最近こいつはいいと注目しておられる漫画家の方はいますか?

荒木 うーん。いっばいいるけれども認められないなという部分もあったりとか。オタク系の漫画家というのは、ちょっと理解できないけれども、うまいとは言わないけれども、やっばり独特の魅力があるのかなと思うんですよ。みんな熱狂的にその絵がいいといって支持しているわけでしょう。だけど自分にはわからない部分もあったりして。なんでこうペラペラに描いていいのかなとかね。同じ顔ばっかりでいいのかなとか。  望月峯太郎さんは好きですね。『ドラゴンへッド』は読んでます。『バタアシ金魚』はよく判らなかったけど、『座敷女』のころからいいなと思い始めて。『ジャンプ』では、うすた京介『すごいよ!マサルさん』。あとあの『カイジ』の福本伸行さん(『ヤングマガジン』連載)。『カイジ』はわし好みじゃないですか、そんな感じしませんか。絵はちばてつやを記号にしたみたいな感じで、そんなにうまくないけど。あれはいいんですよ。去年燃えたのはあれですね。本屋に走っていったのは久々ですね。

―― 今日のお話を聞いてますます確信しました。やっばり我々がすごいと思っている部分を全部軽い気持ちで出しておられるというのがわかりましたので(笑)。これはもう天才性の証ということで。

荒木 天才じゃないですけどね(笑)。でもあまり重要じゃないと思うんですけどね。

―― 我々の見方も間違っているのかもしれませんけれど、でも他の漫画と違うところに目がいってしまうんです。意図して違わせてるのかなと思うと、そうでもないわけですよね。自然に出てくるもので。

荒木 それしか行けないですね。

―― そのノリで今後も一〇年、二〇年と。

荒木 わかりました。頑張らせていただきます。つらいですけど(笑)。 [6]

『Comnavi』Vol.3 「Interview」(02/1998)


子供の頃からマンガは好きでした。マニアじゃないけれどね。 時代は手塚治虫先生の全盛で、もちろん手塚先生の作品も読んだけど、どちらかといえば、劇画が好きでしたね。劇画時代の始まりの頃でしたしね。特に梶原一騎先生の作品。白土三平先生の作品もよく読みました。  学校に行っていた頃といえば、ロックもよく聴きました。僕の一番のお気に入りはレッド・ツェッペリンですが、さまざまなバンドを聴いてましたよ。子供の頃はお金がないから、友達同士でアルバムの貸し借りをやって、テープにとっておくんです。僕のマンガに出てくるスタンドの名前は、昔好きだったグループの名前やアルバム名から取ったりしています。例えばローリングストーンズのアルバムでスティッキーフィンガーズというのがある。ジャケットがジーンズになっていて、中央にジッパーが付いているわけ。当時話題になったジャケットなんですが、そのジャケットを見ていて、いろんなところにジッパーを付けて開け閉めすることができたらおもしろいのにな、なんて思ったんです。そんな発想から生まれたのが『スティッキィ・フィンガーズ』というスタンドです。  '70年代、というのは今考えると凄い時代だった。時代そのものにもインパクトがあったし、活躍したアーティストの個性も光っていたと思います。マンガでいうところの「キャラクターが立っている」という感じ。これはミュージック・シーンに限らず、映像などにも感じますね。  マンガ家になろうと本気で作品に取り組み始めたのは高校になってから。初めて出版社に持ち込んだ原稿は「カウボーイもの」だったんですよ。だって、カウボーイマンガなんてマンガ本に載ってなかったから、目立つかなって(笑)。だけどね、編集の方からやっぱりいろいろ注意されましたよ。「枠線からはみ出した線はしっかり消さなきゃダメだよ」といった基本的なことから始まって、内容的なこともさんざん突っ込まれる。そこで降りちゃう人もいるようですが、僕は「次はがんばろう」って感じで。だからその次の持ち込みの時はもう、自分で考えられる限りカンペキにして持っていきましたね。質問や突っ込みに対する答えも含めて。それでももちろん言われることはたくさんあるわけですが、こっちが注意されたことを直そうとしていることは伝わって「ああ、この子は本気なんだな」と認められたんじゃないかな。  デビューまでが短かったせいもあって、僕にはアシスタントの経験がないんです。だから、アシスタントをやってれば誰でもすぐわかるようなことを知らなかったの。例えば黒いバックに星を描くなんていう時に、星の形に残してベタ塗ってたりとかね(笑)。他のマンガ家さんから教えてもらって「なんだ、そうか」と。  『ジョジョ・・・』の最初の単行本が出る時、週刊少年ジャンプの先輩、秋本治先生は『こちら葛飾区亀有公園前派出所』をすでに51巻も出しておられたんです。凄いですよね。そう思っていたら、『ジョジョの奇妙な冒険』ももう55巻を数えるまでになりました。とても秋本先生のようにギネスに挑戦、とはいかないと思うけど、感慨深いものがあります。  『ジョジョ・・・』に出てくるスタンドは、守護霊からヒントを得たものなんです。守護霊というのは人間を守ってくれるものでしょう。それがもう少しアクティブになって、守っている人間を襲ってくる者があったら、えいっと拳を出して攻撃してくれたらいいのにな…っていうところから生まれました。さまざまなスタンドを描いているうちに、もう強くなり過ぎちゃってカンペキなスタンド、みたいなのができちゃうことがある。「ああ、これじゃあ倒せないよ、困ったな」なんて(笑)。でも結局何かがどうかなって倒せるんですけど、それを理論的に説明するナレーションをコマの中に入れるんです。少々強引でも納得できちゃうような、ね。とても不可能なことを科学的に検証する、という本がありますけど、ああいうのが好きなんです。  僕自身が気に入っているスタンドは、第4部に出てきたクレージー・ダイヤモンドですね。破壊されたものを何でも直しちゃうの。そういうのがついててくれたら便利(笑)。 現在、連載は1本。マンガは週4日描いて、ネームに1日かけています。徹夜はできませんね。仕事は5日に収めるようにしています。  マンガ家というのは家ですわって仕事をしているから、楽に見えるかもしれませんが、実は非常に重労働。バトルシーンなんか描いている時って肩にもの凄い力が入ってます。若い時じゃなきゃできない仕事なのかな。他のジャンル、例えば青年誌なんかに描いてみないの? なんていう声もあるんですが、僕にとって『ジョジョ・・・』は全身全霊で描いている作品。今、他のマンガを描いても、みんな『ジョジョ・・・』になっちゃいますよ、きっと。  オフの日は映画を観たり音楽を聴いたり、できるだけ自分の勉強に当てています。毎日進歩していかなければ、いくら人気のある作品でも2~3年で飽きられてしまう時代。常に前に進んでいくことを自分に課しているんです。  映画は趣味であると同時に、貴重な研究材料でもあるんです。僕はミステリーが好きなんですが、ミステリー映画というのには造り方のセオリーがあって、よくできた作品は、すべて緻密な計算の上に造られているものです。カメラの視点の位置、カメラワーク、場面構成など、作品を描いていく上で、何よりも参考になるんです。『ジョジョ・・・』の中に、ツメのアップのシーンを描いています。指の先から何かが出てくるといった場面の説明で、指先のアップを描くというのは、ミステリー映画にあった手法。映画のカメラワークを参考にして構図を決めることがよくあります。  でも最近は映画も作品が小粒になってきた印象を受けますね。びっくりするような作品が観たいなあ。  このところ、イタリアにはまっています。ルネッサンス美術には感性を刺激されますね。食べものもおいしいし。『ジョジョ・・・』も現在イタリアを舞台にドラマが進行中です。激しいバトルを通じて生命の尊さをテーマに作品を描いていきたい。それはずっと変わりません。

WSJ N°9 (1998)

One question and one answer from Araki-sensei, "Feelin JOJO" final episode special!!


"Jojo's Bizarre Adventures is headed in to it's 12th year! And as it's the last episode of "Feelin JOJO", we've had Araki-sensei himself appear!! He'll point blank answer some of the questions in JoJos!!

Q: Who's the strongest in the Passione?
A: Abbachio. (If we're talking about fist fighting...)

Character part Q1: Who is the first character you came up with in the allies of part 5?
A: It's Giorno! By the way, the characters I'm most fond of is Giorno if we're talking about allies, and Pesci if we're talking about villains.

Q2: What is that thing on Abbachio's head?
A: It's a hat that acts like a hairband. The thing on Bucciarati's head is a hairpin brooch, and Mista keeps a lot of things in his hat. Mista is the kind of guy that wants to keep both hands open at all times, so he adds things to it pretty often. It also seems that he feels like it's a pain for him to carry things around too. Side comment: The thing on Abbachio's head wasn't an eggshell after all...

Q3: Who spends the most money on their clothes?
A: Mista. His sweater is cashmere, and his pants are zebra striped leather pants! (it's suspected that it breaks the Washington Convention)

Q4: Before they met Giorno, how did Bucciarati's gang earn their livelihood?
A: They received money for protecting restaurants, controlled ports, and what you would call gang work. They didn't affiliate with gambling and drug business. Of course they didn't go to school.

Q5: Do all of them have girlfriends? Also, who is the most popular and the least popular in the gang?
A: They don't have girlfriends. They are so popular it seems like they're always running away from girls. However, it seems like all of them think that "I'm the most popular"...

Q6: When looking at Fugo's pants, it looks like there's no way he could be wearing underwear but.... Does he not have underwear on?
A: It can be assumed that he's wearing the t-back like sexy things that are popular now a days. Side comment: When you look around his waist it really does look like he's not wearing any underwear.

Q7: When they're interrogating Zucchero, what was up with Narancia and Fugo starting to dance to the music that Narancia put on?
A: They are dancing to gangster rap. As they are a gang... Side comment: Even though we know what they are dancing to, why they started dancing is still a mystery...

JoJo's Bizarre Adventures celebrating 11 years of being published.

Q: Who is riding in Aerosmith?
A: It's Smith-san. Side comment: Check the cockpit! The person riding in here is Smith-san!!

Q8: What does Jotaro intend to do with Giorno?
A:I haven't thought of it yet. It might be that he's just simply curious about him...?

Q9: Is Trish based off of the super model Trish Goff?
A: Good job! I'm surprised that you know this. As you thought, I'm a big fan of hers.

Stand part

Q10: Will Fugo die from the abilities of Purple Haze?
A: He would die.

Q11: What is the name of the stand that you put the key in the turtle to activate? Also, what is the name of the turtle?
A: The turtle has no name. The name of the stand is "T-Rex"... or at least I think that's what it'll be.

Q12: Can the Sex Pistols only be used with the gun that Mista has?
A: Any gun that has been fired by Mista is OK! Also, Mista is able to always hit his target with one shot, and so he doesn't need machine guns and such.

Q13: Wasn't it a rule that there's only one stand per person? There's a few that have appeared since part 4 that are a number of stands such as Harvest and Sex Pistols...
A: No, these are still just one ability, and so they're counted as one stand.

Misc. part

Q14: "JOJO" has a lot of animals(a turtle, frogs, snakes, mice, spiders and such) that appear, but how do you pick what living creatures will appear?
A: For the most part I choose animals that "Look like they're not very intelligent and seem like they're not thinking of anything."

Q15: Do they really air "Captain Tsubasa" in Italy?
A: They do! At the very least I was it being aired 2~3 years back in Italy!! Side comment: Tsubasa playing in the turtle! Of course this isn't in Japan, it's in Italy.

Q16: If you could pick one stand to have Araki-sensei, what would you pick?
A: Hmmm, maybe Harvest because I want money... No, I want Heaven's Door instead! I'm not very good with research interviews...

Q17: What's the meaning of the "Romance horror! The crimson secret legend!"?
A: It was something the first editor added, and there's no deep meaning to it. I actually feel like we can remove it after all this time...

The road leads on to a new adventure!! [7]

Jump Remix P3 Vol.11 (03/2002)


エジプトを目指す旅にしたのはどうして?  当時の担当が、エジプトにものすごく詳しかったんですよ。エジプトの古文書とか遺跡とかの文字も読めるくらい。「これはいい!」と。それと、やっぱりエジプトって神秘的な感じがしたからですね。最終目的地はエジプトというのを先に決めて、それからルートを決めていきました。『スターダスト・クルセイダース』の後に、『電波少年』で猿岩石が旅したルートも大体同じでしたね。だから、間違ってはいなかったのかな?取材でエジプトやアジアの国なんかにも行ったけど、あまり好きじゃあないんです(笑)。マンガにも描きましたけど、エジプト人は見るからに怪しいし。ホントにスタンド使いみたいでした(笑)。  う~ん、好きな国はやっぱりイタリアなんですよ。イタリアにさえ行ければ、他の国にはもう金輪際、行けなくてもいいくらいです。イタリアは、やっぱり美術館にいけるのがいいんです。印刷物とは違って、有名な絵画の実物がある!これは何度でも足を運ぶ価値がありますね。他の人が、演劇とかに行くのと同じ感覚だと思います。でも演劇は、そのときどきに違ったりするけど、美術館はもう、絵画の究極の姿があるわけだから、何度でも行きたくなります。ダ・ヴィンチとか、ロダンとかが好きですね。  よく自分の絵柄は独特だといわれるんですけど、自分からすると基本に忠実な絵だと思っています。ルネッサンスが絵画のオリジナルですから、僕はそれに忠実に描いているだけです。自分からすると、他のマンガ家さんのほうが異端だなぁと思いますね。

どうして承太郎を学ランにしようと思ったのか?  何度も行ってますけど、やはり『バビル2世』のイメージが強い。学生服で砂漠に立っているというインパクト。今考えても、『バビル2世』のあのコマはすごい。もしあの絵をリトグラフとかで売ってるんだったら、ぜひとも部屋に飾りたいですね。日常と非日常が同時に存在している、というところがいいんですよ。  承太郎のは、普通の学生服だとつまらないんで、いろいろアクセサリーを付けたりしてみました。ホントはあんな学生服ありませんけどね。僕も中学高校は学ランでした。でも、承太郎みたいなあんな長ランは着てません(笑)。

ジョセフはどうして連続登場した?  ジョセフは第2部『戦闘潮流』との橋渡し役なんですよ。毎回、部が変わるごとに、橋渡し役と出すようにしています。『戦闘潮流』の頭にはスピードワゴン、そしてジョセフ、承太郎、康一・・・というようにね。それに、ジョースター家は短命で、一生涯一人の女性しか愛さないと言われてるけど、ジョセフだけは例外だという設定にもしたかったんですよ。性格的にもジョースター家の中では異端ですしね。

アブドゥルはいったいどんな役割?  アブドゥルは参謀役ですね。本当は、一番年のいったジョセフがそんな役回りをやるんだろうけど、ジョセフの性格じゃあできないだろうと思ったから登場させました。スタンドという新しい概念も登場させたので、スタンドの事について詳しい解説役でもあります。

花京院の死の直前に生い立ちが明らかになったのは?  花京院には戦う動機というのを、ちゃんと考えてあげたかった。花京院が仲間になってからずっと、それは考えていたんですよ。承太郎、ジョセフはホリィを助けるためだし、ポルナレフは妹の件があったりする。でも花京院には何もなかったから、その理由をつけてやりたかった。命を賭けてまで戦う理由を・・・死ぬ間際にそれを描く事が出来てよかったです。このことは、第5部『黄金の風』の仲間たちも同じなんですよ。ブチャラティやナランチャたちの戦う理由をちゃんとつけてあげたかった。だから、それぞれ過去の話、どうしてギャングになったのかをちゃんと考えたんです。

ポルナレフは『黄金の風』に登場すると思っていた?  まずポルナレフは、承太郎と対称的なキャラクターにしたかったんですよ。承太郎はクールでどっしり構えていて、あまり走らせたりもしないと決めていたので、走りまくる、直情的なキャラクターが欲しかった。静と動ですね。ポルナレフは、かなり描いてて楽しかったし、動かしやすかったですね。だから結果的に、かなり活躍してます。あと、髪形もよかった。他の仲間たちがぺしゃんこな頭ばかりだったので、コマの中にポルナレフがいるとメリハリも効いて絵になるんですよ。『スターダスト・クルセイダース』が終って、第4部『ダイヤモンドは砕けない』になってから、ポルナレフはどうしているのという読者からのはがきがとても多かったんです。だから『黄金の風』ではポルナレフが『スターダスト・クルセイダース』の後、どうしているかも描く意味で登場させました。承太郎と同じように、彼も戦っていたんだよ、というのを描いてあげたかった。

犬をどうしてスタンド使いに?  僕は、弱そうなヤツが実は強いというのが好きなんですね、基本的に。ちっちゃくてブサイクな犬が強いというのは面白いんじゃないか?と思って、イギーを登場させました。助っ人として現れて、人間だったら普通じゃないですか。それが犬だったら面白いな、とも思いましたね。『ダイヤモンドは砕けない』では、さらにそこにこだわりました。本体は弱そうでも、スタンドは強い。ドブネズミのスタンドとか、重ちーとかもそうですね。

ホル・ホースを仲間にする気はあった?  ホル・ホースは、仲間にしようかと思ったりもしました。でも、仲間になるヤツばっかりだと面白くないなと思い直して・・・仲間になりそうでならないヤツがいてもいいんじゃないかと。ホル・ホースの性格を考えると、仲間にはならないですよ。けっこういいかげんな性格で、あっちへふらふらこっちへふらふら。コウモリみたいなヤツ。でも、ホル・ホースはもっと登場させたかったですね。ポルナレフと同じくらい、動かしやすいキャラだったし、描いてて面白かった。あと何回か、登場させてあげたかったですね。

DIOはいったいどんな存在?  『ファントムブラッド』の頃から、3部構成で・・・ということは考えていて「3部の最後はDIOを倒すんだろう」とは漠然と思っていたんですよ。『警察署長』というTVドラマにもなった小説があって、代々警察署長の家系の話なんですよ。それでも、最初におきた事件を子孫が解決したりしている。それをやりたかったんです。善のジョースター家に対して、シリーズ全て通して悪の存在がDIO。圧倒的な悪。『スターダスト・クルセイダース』でDIOは倒されましたけど、その後の物語でも、DIOの悪の精神は残っていて・・・ジョースター家は代々、その邪悪な精神と戦っているんです。『ストーン・オーシャン』でも、DIOは出てきませんが、DIOが残した邪悪な精神と徐倫は戦っています。DIOを描く時は、いつも気合が入りましたね。DIOが出てくると、雰囲気もなんか変わるんですよね。マンガの中の空気がこう、張りつめるというか・・・。生き物本来の弱肉強食の世界からすると、DIOのやってることは正しいことなんです。人間が生き延びていきやすくするために作った 、社会の常識ということからは外れてますけどね。弱肉強食の世界から考えると、DIOは普通の行動をしている。DIOを描く時は、自分もDIOの気持ちになってます。・・・こんなこというと、反社会的だっていわれるかもしれないけど、ある意味DIOは自分の憧れの存在です(笑)。[8]

Men's Non-no (07/2002)


People are often surprised by this, but I used to play little-league baseball. Although, there was one absurd aspect of the team I didn’t like. I used to think, “Why does that kid keep getting put in when I’m the better player?” Maybe I was being selfish, but it meant that I didn’t have a space where I was able to be myself. Despite that, I still kept playing, but I still don’t even know why I suppressed those feelings to do so. Starting in middle school, I began doing Kendo. I decided, “I’ll never take part in another team sport like baseball ever again” (haha). Around that time, I noticed that my personality wasn’t really meant for groups. I read books by myself, looked at art, drew, and I noticed that doing these things alone made me feel pleasant. Being immersed in that world by myself was fun.

Twin Sisters

Now that I think about it, the fact that I liked being alone was probably in part because of my family. I have two little twin sisters that are 4 years younger than me, but their presence is considerably large. This is when we were children, but if I were to give you an example, there was one time that my mother was preparing for us three pieces of cake as an afternoon snack. Since my sisters usually get back home faster than I, they usually eat first. So, they must’ve been thinking, “(If we eat big brother’s piece) He won’t know, right?” My sisters conspired to eat my piece of cake. Well, if they would’ve just asked I wouldn’t have minded (haha). I wonder how many times they tried to trick me like this. We fought, but they would both start crying at the same time, and, even though I wasn’t a bad kid, it made me feel bad. I always felt like I was getting blamed for something I didn’t do, so I ended up not liking coming back home. I saw this strong bond between my sisters, and it made me a feel a strange sort of alienation. Mentally I was an only child (haha). That’s why I think I ended up liking doing things by myself. Nowadays our relationship is normal, my sisters and I (haha).

Manga and stories you were passionate about

Those days I was really into Star of the Giants and other manga by Ikki Kajiwara. They taught me more about life, I think. A little bit later I got into things like Ashita no Joe. Of course, I loved Tezuka-Sensei’s manga too, but the manga I ran to buy every week was Kajiwara-Sensei’s. Now that I’m thinking about it, I think Kajiwara’s manga had an influence on me wanting to start Kendo in middle school. Besides manga, I read a lot of Edogawa Ranpo’s book series and the Sherlock Holmes series. I wonder if I was already starting to draw stuff like manga around that time. I might’ve been trying to reproduce the coolest and most popular characters from those series, but I don’t remember. From the beginning, this was the world I drew from.

High School Days

During one’s high school days*, your path in life and your future start to gradually feel more real. Due to my personality, I thought that the lifestyle of working in someplace would be impossible. Around that time, I started thinking about the power of manga. It had the power to make readers keep flipping pages, the power to make the reader anxious for new developments in the story, the power to make readers run and buy the newest chapter on the very day it’s released… I think the power of manga is incredible. From that point on, I had a strong feeling that I wanted to become a mangaka. In terms of manga I was reading at that time, I really got into Yokoyama Mitsuteru-Sensei’s suspense manga. It was a lot different than Kajiwara-Sensei’s fiery “I’m gonna rise in this world!” type of manga. This was more focused on character motives and strategy, with the criminals being more dry and business-like. At the same time, kids wearing school uniforms were hanging around ancient ruins, it was both a comforting and discomforting feeling. “So, manga like this exist too” I used to think; it felt fresh. Besides that, the Lord of the Flies short story left an impression on me. It made me think. It had a similar theme to Jules Verne’s Two Years’ Vacation, where a group of young boys wash up on a deserted island. However, in Lord of the Flies, there’s a factional dispute among the boys, all the way until the end where they end up wanting to kill each other. I really think Lord of the Flies was the more realistic of the two books. Those days were when my first contribution to Jump was selected for an honorable mention. My name was printed in the small corner of one of the pages. That made me extremely happy. Even to this day, it might be the happiest moment of my life.

  • In high school, I was part of the cycling team. My best subjects were science and mathematics, while my worst was English.



 何回目かに投稿した作品で、画力が不足って批評されて。じゃぁ、絵がうまくならなくちゃいけないと思って、高校卒業後、地元の仙台のデザイン専門学校に通うことにしたんです。  当時、仲のいい友達のなかに、やたらと僕の作品を誉めてくれるやつがいたんですよ。今思えば、たいした漫画じゃなかったと思うんだけど、「おお、いいなぁ、すげーなぁ。また読ませてくれよ」っていつも言ってくれてて。ほら、人間のせられると気分もいいし、やる気がでるじゃないですか(笑)。その言葉にはだいぶ励まされたし、助けられましたね。  そうこうしながら投稿を続けてるうちに、ふと東京の編集部まで直接持っていこうと思い立って。そのとき見てくれた編集の人には、ホントいろいろ言われましたね。「ここはダメだ。ここにはこういうエピソードを入れて」とか。絵の矛盾や歪みも全部指摘されて。当時はまだ作品の最初と最後で、キャラクターの絵が違ってきちゃうようなこともありましたから(笑)。でもそうやって直しを入れた作品のほうが全然よくなってるんですよ。それは自分でも実感できるほど。アドバイスを受けて直しを入れたこの作品が、僕の初めての入選作になりました。


 僕の連載デビュー作ですね。まだ仙台で描いているころです。この作品は当時、編集部で猛反発を受けたんですよ。いじめの描写もでてくるし、主人公もちょっとダークな側面を持ってましたからね。タイトルからして”魔少年”だし(笑)。清く、正しく、美しくじゃないけど、当時の風潮とは完全に逆を行く作品だったから、あやうくボツになるところだったんです。それを当時の編集の人が編集長を説得して救ってくれたという。何年か経ったあとに当時の編集長が「こういう時代になるとは思わなかったなぁ」と言ってたというのは聞きました。  『魔少年ビーティー』は、小さいころに読んだシャーロック・ホームズの裏返しという意味合いも強かったですね。ビーティーがホームズで、友人の公一がワトソン。公一の語りで話が進行していくとか、ビーティーのセリフすべてにいちいち意味があるというのも影響のひとつですね。あとは白土三平先生の『カムイ伝』『サスケ』かな。どちらも僕の好きな作品です。トリックの種明かしにページを割くっていう構成でも影響を受けてる。絵もそういうところあるかな。ビーティーがどこかカムイに似てるような(笑)。




 究極の生命体という、いわば“バオー”を発展させた考えの先にあったのが吸血鬼。不老不死というのもぴったりだし、相手の血を吸う、生命を取り込んで生きているというのも、究極の生命体にはまってた。吸血鬼ってダンディーなイメージもあるでしょう。それもよかったんです。 それでいよいよ、担当の編集の人に「次は吸血鬼を敵にした作品にします」ってことを伝えたんですよ。そしたら、彼がまたそういうダークな世界が好きな人で。僕がその話をしたときに、妙に目が輝いてた(笑)。専門学校時代の友達じゃないけど、うまくのせてくれる人が近くにいるとね、僕はどうしてだか、そっちに行っちゃうんですね。






 そのとき描いているキャラクターがいちばん好きですけどね。強いていうなら、第4部の仗助かな。1999年の設定だったんですけど、彼は学ラン姿に気合いの入ったリーゼントスタイル(笑)。「そんなやついね~よ」って話なんですけど、貫いてるでしょ? だからかっこいい。それに彼は自分が父親や先祖から受け継いだものをしっかりと自覚している。仗助はジョセフの浮気相手の子どもなんだけどそこに悲壮感はまったくないし、ハッピーに生きてるってところもいい。何より心に熱いものを持っているからね、だからすごくかっこいいんですよ。






 食べ物も街並みも全部好き。イタリアは本当に好きですね。興味ないのはサッカーぐらい。ファッションも好きなんですよ。とくに80年代のベルサーチ(※)とかね。「こんな服ありかよ」ってぐらいパワフルだったでしょ。巨大な金の鎖がシャツ全体に描かれてたりとかね、初めて見たときは相当ショックを受けました。もちろん“ジョジョ”のファッションのルーツもこのヘんにあります。踊ってるような、ねじれてるようなポージングも影響受けてるなぁ。奇抜でエレガントな衣装に妙なポーズ(笑)。全然ありですよね。  ほかにイタリアというと、怪奇庭園もいいですね。変わったもの好きの貴族が、お金と権力にまかせ集めちゃいました、みたいな美術館とかも好き。やっぱり奇妙なものに惹かれるなあ(笑)。でも自分自身はモノに固執しないんですよ。コレクターじゃない。持ってる本も完全に資料ばかりですし。そういえば、車の免許も持ってないし、携帯も持ってない。パソコンもやらないしな。でもなぜかボートの免許は持ってたりするという(笑)。変わってるねとよく言われます。 ※イタリアを代表するファッションブランドのひとつ。斬新かつ絢爛な色彩や柄も有名。創立デザイナーのジャンニ・ベルサーチは97年に亡くなった。「すごいショックでしたね。彼の新作がもう見られないのかと思うと悲しい」と荒木氏。ちなみに荒木氏は80年代のモスキーノなどからも影響を受けたと告白。現代のデザイナーのなかではジョン・ガリアーノ(現クリスチャン・ディオールデザイナー)がお気に入りとか。納得。


 イタリアンレストラン(※)のウエイターとかがいいですね。なんかこう、テキパキ仕切っていく感じの。常にサービスすることを考えていたい。お客の好みを覚えてたりするような、気のきいたウエイターがいいな。 ※オフの日など、イタリアンレストランに行くのが楽しみという荒木氏。「以前、イタリアに行ったときなんだけど、ナスを揚げたものにチョコレートをかけて食べるって料理が出てきたんですよ。最初は誰でも『えぇ!』って思うじゃないですか? でも食べるとすごくおいしい。自分にとってなじみのない組み合わせがおいしかったりしたらもう最高ですね。『新発見!』という感じ(笑)」


 僕にとって漫画とは。う~ん、描いてるときの気持ちそのものですね。だから、例えば過去に誰もが認める最高傑作を描いたとして、その作品を超えられないと悩むとか、スランプに陥るってことはない。常に今描いているものがいちばんいいと思ってるし。それに最高傑作といっても、見方によっていろいろ違うものじゃないですか。人によってはアンケートの人気かもしれないし、売り上げかもしれない。自己満足できたかどうかという見方だってある。もちろん読む人それぞれで最高傑作は変わるものだし。  だからこそ僕は、毎回一生懸命描くってことだけを意識してます。現在進行系の気持ちをぶつけてる感覚ですね。


「道具へのこだわりは特別ないですね。気にしてるとすれば、10年経って、描いたものが薄れてしまうようなインクとか、すぐボロボロになっちゃうような紙は使わないってことぐらい」 と荒木氏。職業柄、徹夜仕事が多いのではと問うと、 「仕事で徹夜はしませんね」。 [9]

Stardust Crusaders Afterword (10/2002)

Afterword written in the last volume of the Bunkoban version of Stardust Crusaders translated by twitter user @macchalion

When I was little I often fought with my two younger sisters, they're twins, and every time I was bickering with one of them the other one, sooner or later, would start crying. "Why are you crying!?", I always asked, angrily, but in the end it was always me who got in trouble and was scolded for whatever reason.

This strategy was really just the result of my sister's teamwork and they used it to create a situation where, no matter what I said to my parents to justify my action, the fault was mine regardless. I swear I tear up every time I hear the story of someone who goes to prison because they get charged for a crime they didn't commit on the news! I was always praying for those brats to disappear; I got to the point where I was sure there was a curse on me that caused people to always misunderstand me. It happened at school too; whenever something bad happened, the teachers were always putting me in the "suspects' list" and this got me thinking that maybe it was because of how I normally behaved!

However, while the second part of JoJo's Bizarre Adventure was being serialized in Weekly Shōnen Jump magazine in 1988, I was desperate to find an original idea (I admit it's a bit weird for me, being the author, to talk about these kind of things, but since is an afterword it's okay to dwell on memories, right?). I was looking for something that didn't represent physical strength, but a more spiritual thing that came from the heart. Up to that moment, when the topic was "superpowers", it was always the same thing: the characters opens their eyes wide, the character starts sweating, the character's veins start building, the character destroys rocks, etc. In JoJo, we have an extra corporeal projection that manifests, takes form, and it's this manifestation that breaks the rock, not the character... 'Yes, this could work! I can represent a soul's strength this way! More than superpowers this is "spiritual strength"! That's it, this is new! There's no other way to transmit this!'

My manager gave me permission and it's with this concept that I started drawing part three, soon as the first chapters came out all the readers' comments were like: "I don't really understand," or "what's happening here?"

I was desperate, it was like that part of me that was condemned to always be misunderstood was coming out again. I didn't know what to do, since no one understood me. Maybe I didn't explain well enough, or maybe the change had been too sudden, but how was I otherwise supposed to represent these types of powers?

It looks like when I left Sendai for the first time to live in Tokyo to be a mangaka, my grandmother started praying in front of the Buddhist alter she has at home, every time she heard about an homicide in Tokyo, hands joined, she started praying for the culprit to not be me...I really don't understand this. I think no one in my family actually ever understood me and , even worse than that, maybe not even my readers could!

At that time my manager told me that it's important to have faith in yourself and draw what you really prefer: this is what it means to be mangaka! You only need a whole lot of courage!

(Even now I don't really think that manager understood me either...Well, at least more than my sisters, for sure.)

—Hirohiko Araki

Weekly Shonen Brackets 100Q (04/15/2003)

Incomplete Translation

Q01: What time in the morning do you wake up?
Araki: Half past 10am.

Q02: How do you relieve stress?
Araki: I've been walking to work. It's about 10 minutes of walking, but that's it.

Q03: Where do you come up with your ideas?
Araki: Hmm... this room (this interview takes place in Araki's workplace).

Q04: When did you consider becoming a manga artist?
Araki: This is already... very complicated.
⇒ Is that so?
Araki: I can't answer in one word, but it might have been triggered by a friend who told me I was good at drawing manga when I was a kid.
⇒ Hmm... I'm glad you were praised by your friend.

Q05: If you had not become a manga artist, what would you have become?
Araki: Eh, I can't think of this anymore. I think that there's nothing else."

Q06: Have you gotten any fan letters that made an impression?

Q31: Who's your favorite musician?

Q32: What album do you recommend?
Country Grammar by Nelly.

Q33: Your favorite TV show?
I don't watch that much.

Q34: Araki-style advice for staying healthy?
Stretch before writing.

Q36: Best place to settle down?
My workplace.

Q37: Any habit?
Playing with my jaw.

Q38: How strong do you like sake?
I don't really drink.

Q39: What are you happy to get?
Delicious sweets.

Q40: What kind of car do you drive?
I can't drive, so I don't have a license.

Q41: What kind of child were you in childhood?
I was bullied by my younger sister.
⇒ I had twin sisters and one of them was the devil, I came home from school and saw that my afternoon snack was being eaten.

Q42: When was your first love?
High School, first year.

Q43: What anime did you watch as a child?
Star of the Giants. I loved the manga.

Q46: What TV show did you watch religiously?

Q47: Your favorite subject?
I liked social studies and science.

Q48: Your weakest subject?

Q49: What about club activities?

Q50: What kind of woman do you like? (好きな異性のタイプは?)

A person who isn't well-mannered.

Q51: Do you have a wife? (奥さんはいますか?)

I do.

Q52: Your favorite color? (好きな色は?)

An orange-like yellow.

Q53: What have you accidentally laughed at recently? (最近、思わず笑ったことは?)

When static electricity ran through my eyelids at the ophthalmologist.

Q54: Have you been angry at anything lately? (最近、腹がたったことは?)

It's rare.

Q55: Have you cried at anything recently? (最近、涙を流したのはいつ?)

When I was drawing up the last storyboard.

Q56: Best place you've traveled to? (旅行で一番良かった所は?)

Venice, Italy. They don't have cars there.

Q57: What's a place you don't want to go? (もう行きたくない所は?)

Egypt. I hated it, so it became one of the settings.

Q58: What's the most delicious thing in Miyagi Prefecture? (宮城県で一番美味しかったものは?)

Is there one? Tokyo is more delicious.

Q59: What's your favorite place to shop at? (行きつけのお店は?)

Italian restaurants.

Q60: What's your favorite place in Tokyo? (東京で好きな町は?)


Q61: Why the name, JoJo? (なぜジョジョという名前に?)

I had a meeting at Jonathan's and wanted the initials to be the same.

Q62: What's the main theme in JoJo? (ジョジョのテーマは?)

Wonderful people carry out justice with a pure heart.

Q63: Where did the concept of Stands come from?
They're based on the 'guardian spirit' from Tsunoda Jirō's Ushiro no Hyakutarō.

Q64: Who's your favorite JoJo?
Josuke from Part 4.

Q65: Who's your favorite character?
Yoshikage Kira.

Q66: Your favorite death?
There's a lot of them, but I can't remember that well.

Q67: Your favorite Araki-style onomatopoeia? (荒木流擬音について)

The sound of heavy metal.

Q68: Your most unique pose? (独特のポーズについて)

I don't have one.

Q69: How long does it take to draw a chapter? (一話描くのにかかる時間は?)

It takes about three days to draw.

⇒ The storyboard is drawn out on Thursday, coloring is done on Friday, Saturday, and Sunday, the finishing touches are added on Monday, then Tuesday and Wednesday are off-days.

Q70: When the series began, how much was planned?
Up to the end of Part 3.

Q71: What about a TV anime?
I don't think so, it's not a manga that you should show kids.

Q72: What's most important when drawing a character?
The mouth. I hate it when it's not sexy.

Q73: Will Shizuka Joestar come back?

Q74: Will Dio come back?
⇒ Dio hasn't reappeared since Jotaro already defeated him. He intends to keep it that way.

Q75: Is Joseph still alive?
He's become senile, but I think he's still alive.
⇒ I wonder why Joseph aged at the same speed as humans.

Q76: What's the real name of Cool Shock B.T.?
There is none. I just liked Buichi Terasawa. I've also called it Boo Takagi.

Q77: Who would play Jotaro Kujo? (空条承太郎を演じるとすれば誰?)

I was thinking about Clint Eastwood when I drew him, but not him.

Q78: If you were a Stand, what ability would you have? (もしも自分がスタンド能力者だったら?)

I want to stop time.

Q79: Why'd you go back to Volume 1 with Part 6? (第6部で単行本が一巻に戻った理由)

That was the editor's request.

Q80: Is there a plan for Part 7? (第7部の構想は?)

There is.

⇒ In the not-so distant future, it would be titled “Steel Ball Run” without the editor's opinions.

Q81: What's the Top 3 manga that you'd recommend? (おすすめマンガベスト3)

Babel II, Star of the Giants, Judo Icchokusen, and Dragon Ball.

Q83: What manga artist do you respect? (尊敬するマンガ家は?)

Mitsuteru Yokoyama.

Q84: What's in your mind when making a weekly serial manga? (週刊連載で心がけていることは?)

Meeting the deadline.

Q85: What's the secret that's kept you going on? (長く続ける秘訣は?)

Meeting the deadline.

Q86: Are you close with any manga artists? (仲の良いマンガ家は?)

No, we're all too busy to see each other.

Q87: Do you use a computer? (パソコンは使う?)

I hate wait times.

Q88: What's your ringtone? (着メロは?)

I don't have a cell phone.

Q89: What actress would you like to see the most? (一番会いたい女優さんは?)

Natalie Portman.

Q90: What would you bring to a deserted island? (無人島に持っていくものは?)

Favorite manga, a CD, and a pencil.

Q91: What's the most expensive thing? (一番高価なものは?)

The most expensive thing is the workplace.

Q92: Who do you respect? (尊敬する人は?)


Q93: What genres would you like to try in the future? (今後、挑戦してみたいジャンルは?)

I want to keep moving forward with the current manga.

Q94: How do you read Shōnen Jump? (『少年ジャンプ』どこから読む?)

In order from beginning to last.


Note: Not transcribed word for word. Actual Interview can be viewed here.

荒木飛呂彦、1960年6月7日、仙台市産まれ。 週刊少年ジャンプ第20回手塚賞に『武装ポーカー』で準入選、デビュー。 『魔少年ビーティー』『バオー来訪者』に続き、87年スタートの『ジョジョの奇妙な冒険』は現在も続き、読者に絶大な支持を受けている………。


船越「どーもはじめまして。船越です。今日はお忙しいところ………」 荒木「ああ、どうもありがとうございます」 船越「荒木さん、ちょっと今伺いましたら、ついにジョジョの六部が最終回とか………その原稿を、いま………」 荒木「ええ、今描いてますね」 船越「もう終わるかなという所なんですか」 荒木「そうですね、今日の深夜には」 船越「そんな時にッ!出くわしたわけですね。いやこれはもうこの週刊少年『』の創刊を飾るのにふさわしいタイミングでお邪魔しまして。ちょっと早い完成祝いといってはなんですけど………」 (豆源の紙袋) 荒木「ああすみません」 船越「非常にアンバランスなもので申し訳ないんですが」 荒木「ああ、ありがとうございます」 船越「おかきでございます。よろしくお願いいたします。先生、僕と同い年ですね?」 荒木「あ、そうなんですか?」 船越「1960年生まれですよね?」 荒木「ああ、そうですけど………」 船越「そうですね、僕も60年生まれですね。6月だそうですね?」 荒木「はい」 船越「僕は7月です(笑)」 マンガ家としてQ1~Q20

Q1 朝何時に起きる? 船越「朝、何時に起きますか?」 荒木「私は10時半ですね」 船越「10時半?」 荒木「朝の10時半、はい」

Q2 ストレス解消法は? 船越「ストレスの解消法はなんです?」 荒木「仕事場まで歩いて通ってきているんですけども、歩いて10分ぐらいなんですけど、それですね」

Q3 アイデアを考える場所は? 船越「アイデアを考える場所はどこですか?」 荒木「えっと………この部屋ですね」 (撮影場所は仕事場)

Q4 マンガ家になろうと思ったきっかけは? 船越「マンガ家になろうと思ったきっかけは?」 荒木「これはもう………ものすごい複雑です」 船越「ですよね」 荒木「一言では答えられないですけど、まぁ小さい頃、友達がマンガ上手いね、って言ってくれた事がきっかけかもしれなないですね」 船越「はぁ………」 荒木「友達に誉めてもらったことが嬉しくて」

Q5 マンガ家になっていなかったら 船越「もし、マンガ家になっていなかったら、何になっていましたでしょうか」 荒木「えーっと、これはもう考えられないですね。何も無いと思います」

Q6 印象に残るファンレター 船越「印象に残っているファンレターはありますか?」 荒木「ああ………なんかね、コンサートのチケットとかが同封してあって、一緒に行きませんか、みたいな(笑)」 船越「(笑)」 荒木「ちょっと行ったら隣に座っていらっしゃると思うんで、ちょっと遠慮させていただいたんですけども。すごいいい席で行きたかったんですけど、ロックアーティストのボズ・スキャッグスっていう………」 船越「ボズ・スキャッグスですか………我々の世代にはストライクでございますね」 荒木「そうですね。行きたくてしょうがなかったんですけど、ちょっとそれは………(笑)」

Q7 資料について 船越「資料は、どのようなものを見ますか?」 荒木「ええっと………いや、何でも。もうその時に消防車を使うっていったら消防車の写真をもってくるし、月の満ち欠けを知りたかったら、月の満ち欠けの資料を探してくるって感じで」

Q8 こだわりの道具 船越「こだわりの道具をひとつ、教えていただけますか」 荒木「こだわりの道具? まぁ、一つはGペンですね。これしか使わないんですよ」 船越「マンガ家の命ですよね、Gペンといいますと」 荒木「ええ、他にもペンあるんですけど、これだけですね、僕の場合。ええっと、この種類だけ、ということ」 (画面に「ゼブラのGペン」のテロップ)

Q9 アイデアノートはある? 船越「アイデアノートのようなものは、ございますか?」 荒木「ああ、あります。見せて………表だけ?」 (引出しから大学ノートを取り出す。なんの変哲も無いノート) 船越「突然見せていただけるのですか(笑)」 荒木「中はちょっとあれですからね」 (と言いつつ、パラパラと見せる) 船越「ええ、もちろんもちろん………これがアイデアノートですね」 荒木「こういう感じで」

Q10 マンガ家になって得したことは? 船越「マンガ家になって得したことはありますか?」 荒木「あの、損はあるねぇ。子供の時はマンガばっかり読んで、マンガを読むな、って言われていたんですけど、マンガ家になったとたんマンガを読め、って言われて、それが逆に辛いっていうか………毎日読まなきゃいけないんで(笑)」 船越「そうですよねぇ」

Q11 辞めたいと思ったことは? 船越「辞めたいと思ったことはありますか?」 荒木「これも今のところ、ないですねぇ」

Q12 マンガ家として確信を得たのは? 船越「自分が、マンガ家としてやっていけるなと確信を得たのはいつですか?」 荒木「これも確信したことも別に無ければ………いつ切られるかって毎日おびえていて、それで何年も経っているかな、って感じですけど」 船越「なるほど」

Q13座右の銘は? 船越「座右の銘は?」 荒木「あらゆることを疑う、っていうのが何て言うか………そういう風にしているのが座右の銘ですね。例えば、葉っぱの色が緑っていうのも、本当に緑かなって思うような」 船越「なるほど」 荒木「ピンクでもいいんじゃないの?ってそうやってピンクの葉っぱにしたりとか、そういう事ですね」

Q14 ジンクスは? 船越「ジンクスはありますか?」 荒木「ジンクスでもないですけど、アイデアを考えるときはゴルゴ13じゃあないんですけど、壁を背にするとよく浮かぶんですよ。寝てても駄目なんです。こういう所にこう(壁を背にして)考えると。何故かは解らないんですけど。入り口とか窓を向いてじゃ駄目ですね」 船越「それがジンクスですか」 荒木「それがジンクスです」

Q15 締めきりは守られる? 船越「締めきりは守られる方ですか?」 荒木「ええ、一応。落としたことは今のところなかったと思います。ないですね」

Q16 最大の修羅場は? 船越「マンガ家として最大の修羅場を迎えたなと思ったのはいつでしょう?」 荒木「やっぱり体調を壊したときが」 船越「そうですね」 荒木「特に、僕はストレス性の胃に来るタイプみたいで。その時は、治りも遅いし、締めきりも来るし、と。あれは修羅場だったかもしれません」

Q17 アシスタントは何人? 船越「アシスタントの方は何人いらっしゃいますか?」 荒木「ちょうど6人います」

Q18 アイデアに行き詰まった時は? 船越「アイデアに行き詰まった時はどういたしますか?」 荒木「これもね、行き詰まらない、って思うんですよ」 船越「ああ………」 荒木「宇宙が無限のように広がっているように、人間の心も広がるんだなと」 船越「なるほど」 荒木「膨張すると思う」

Q19 編集者の存在とは? 船越「荒木先生にとって、編集者はどういう存在でいらっしゃいますか?」 荒木「やっぱり助さん角さん、って感じですかね」

Q20 マンガ家の職業病は? 船越「マンガ家として、職業病はなんでしょうか?」 荒木「よくへそ曲がりって言われる(笑)。だから右って言ったら左っていうような癖がついているのかもしれないですね」 (以降、それぞれの質問について詳しく回答) 船越「先生の一週間というのをアバウトに教えていただけるとどういう風な一週間になるんですか?」 荒木「まず、木曜日にネームっていう、アイデアを紙にする訳ですね。金曜日、土曜日、日曜日でペン入れして、月曜に締めきりと仕上げっていうか。そして火、水で休みっていう………」 船越「この………実際には描かれる作業は四日間で」 荒木「四日間ですね」 船越「これで一週間分という事になりますか」 荒木「(ネーム原稿を見せながら)例えばこんな感じに………」 船越「ああ、コマ割をここであらかじめしていく訳ですね」 荒木「絵を描かれる先生もいますが、僕はもうキャラクターだけ描いて、台詞がこうあって」 (ストーンオーシャン最終話、「僕の名前はエンポリオです」のページのネーム原稿が映る) 船越「はあはあ」 荒木「涙を流している、と脚本みたいな………」 (エンポリオのアタリ位置に「涙を流す」と字で書いてある) 船越「ラフスケッチですよね」 荒木「そういう感じで。全部、ページも決まっているんですよ。」 船越「あの、先ほどマンガ家になられるきっかけは、友達に誉められたからみたいな事をおっしゃっていましたけども、その友達に誉められる以前のことをお伺いできればなと」 荒木「今だから解るんですけど、兄弟って言うのが関係あるのかなと思うんですよね」 船越「先生の家族構成をお聞きしても?」 荒木「ああ、父と母がいて、妹は二人なんですけど、それが双子なんですよね。これがね、ちょっと悪魔のシスターって感じなんですよ(笑)。僕にすればね。例えばどういう事かっていうと、学校から帰ってきておやつが3個あったりしますよね。そうすると妹が当然先に帰っているわけだから、食べちゃうわけですよ。そうすると一個あまる。どうする?って感じになると思うんですよね、二人で。食べちゃえば多分解らないだろうって事で、僕が帰ってくるともうないって状態で、ああないのか、感じなんですけど。後でバレたときに、その陰謀がねすごい傷つくわけ(笑)。なんかね、ものすごいんですよ。これ一回や二回ならいいんですけど、毎日なんですよ子供の頃(笑)」 船越「(笑)」 荒木「それでさみしくて、そのときに読んだマンガっていうのはホント、救われるんですよね。例えばテレビのチャンネル権も妹にあるんですよ。二人だから。だからやっぱり部屋で読むマンガっていうのが、素晴らしいもんなんですよね」 船越「その時に先生を救ってくれたマンガ達っていうのは、どういうマンガなんでしょうか?」 荒木「梶原一騎っていう、スポーツ根性モノ………『巨人の星』とか『あしたのジョー』とかね。違うマンガ家さんでは白土三平の『カムイ外伝』とかね。そういうのとか『バビル二世』みたいなやつですね」 船越「『バビル二世』ですね………!」 荒木「もう大好きですね」 書庫拝見

船越「こちらが、先生の書庫」 荒木「書庫っていうかね、本置き場」 船越「こちらにマンガの本が沢山ありますけど、これはもう先生のご趣味?」 荒木「ええそうです」 (画面に『タイガーマスク』『新巨人の星』『カムイ外伝』『ヤマトの火』『仮面太郎』が映る) 船越「これが先生が愛好している作品と思っていいですね」 荒木「捨てられないマンガですね」 船越「なるほど。(船越、何かを取り出して)あった………一度先生に伺いたいと思っていたのがこの方です」 (画面に『ワイルド7』(望月三起也)とその解説、映る) 荒木「ああ、いいですね」 船越「どうしても先生のイラストがね………」 荒木「似てます?」 船越「似ているというよりも、何かこう、望月三起也さんを必ず見ているだろうっていう………」 荒木「あります。銃の握り方がね、望月三起也のはこう、重さがあるんですよ。手首がこう、グッと入る。(実演しつつ)こう固いんじゃあないんです。ここがいいんですよ」 船越「そうですよねぇ」 荒木「(笑) こういう感じでね、重いんだ」 船越「銃を本当に好きな方ならではのリアリティがありますよね」 (アイデアノートはある?)

船越「これ、感動したのはですね、大学ノートだっていう所ですね」 荒木「ああ、そうですか?」 船越「ええ」 荒木「だってこれは中性紙でね、色が変わらない紙なんですよ(笑)」 船越「あの、ちょっと(見せて欲しい)」 荒木「どのへんかな………使っちゃった所ならいいか。この辺だったらいいのかな」 船越「(じっと見る)」 荒木「こっちがテレビを観た感想で、こっちが主に………」 船越「………なるほど、先生これは完全にアイデアブックというよりも、ネタ帖ですね」 荒木「そうかもしれない」 船越「先生が日常生活をされている中で、気づいたこと、あるいはこれを引用しようとか思われていることを書き綴っていらっしゃると」 荒木「はい」 船越「言ってみれば先生の心の日記みたいなもんですね」 荒木「そうかもしんないですね」 船越「作家としての、心の日記かもしれませんね」


荒木「やっぱり読者にそっぽを向かれたらその時点で終わりかなぁ、みたいなのは………」 船越「今でも、その危機感というのがおありですか」 荒木「あります。その覚悟はいつでもしているっていうか、覚悟っていうのかな、そういう時はありますね」 (ジンクスは?)

船越「壁を背にするとアイデアがわいてくる、これがジンクスだとおっしゃっていましたね?」 荒木「なんかこのへんが(目の前を手で示して)広い感じがいいんですよね。だから机なんかも必ずこういう感じで、本箱とかを後ろにしたりとか」 船越「何かを背負う」 荒木「ええ、そうですね。アシスタントが前、いたりとかしたんですど、ホント駄目ですね」 (ここで本棚の中が一瞬映る。ジョジョの単行本のほか、辞典など?) 船越「それはちょっと面白い心理ですね」 荒木「アシスタントが前にいる………学校の先生のように。ああいう感じがいいですね。ありますね絶対」 (最大の修羅場は?)

船越「修羅場、これはもう体調を崩したときっておっしゃっていましたけど、これはファンの方の興味は一体ジョジョの何巻目なんだろう、っていう………」 荒木「ああ………第四部のね、最終決戦のあたりとか。吉良っていう敵がいるんですけど、そのへんとかね。これもしかして負けるかもとかね(笑)」 (ナレーション) (第四部のカラーほか映る。仗助が「それ以上言うな………てめー」のシーン他)  荒木先生最大の修羅場だったというこのシーン、第四部「ダイヤモンドは砕けない」のクライマックス! 殺人鬼・吉良吉影のスタンド、キラークイーンの爆弾に、四代目ジョジョ・仗助が窮地に追い込まれる!

荒木「主人公っていうのはコントロールしていると思うじゃないですか。皆さんは。作家がコントロールして書いていると」 船越「もちろんそうですよね」 荒木「そうじゃあないんですよ。主人公の方が上にきちゃってる事もあるんですよ。描かせられるというか」 船越「主人公に描かせられる!」 荒木「描かせられるときがあって………」 船越「勝手に主人公がこの上で人生を演じいくって事ですか」 荒木「そうですね」 船越「それはみんなから、こうだこう、みたいな」 荒木「動機とかを感じてやると。作った技とかね。あまりにも強すぎると、どうしようもなくなってくるんですよ。あと、性格とかが悪すぎると。どうするんだろうと思って、どうしたらいいかわかんなくなっちゃって(笑)」 船越「先生が今まで手に余っちゃった悪党っていうのは誰でしょうか?」 荒木「やっぱり吉良吉影っていうリアリティあるやつがいるんですけど(ここで『JOJO A GO-GO!』の吉良が画面に映る)、あいつ何でもありなんですよ。あの時はちょっと………でもしかも僕は好きなんですよ、あいつが」 船越「吉良好きなんですか」 荒木「好きなんですよ。なんかちょっと、お前も解るな、っていう所があるんですよね」 船越「負けそうになった承太郎と仗助が勝てたのは、先生の体調の復活と関係があるんですか?」 荒木「いや、それじゃなくて死にもの狂いでどうしようか考えたからだと思いますけど。もう(自分が)主人公の様な感じでしたね」 (ナレーション)  『ジョジョの奇妙な冒険』。1987年より週刊少年ジャンプに連載。19世紀末のイギリスが舞台となりスタート。  第一部の主役はジョナサン・ジョースター。続く第二部はジョセフ・ジョースター。第三部は日本人、空条承太郎。第四部は東方仗助。第五部はイタリアが舞台でジョルノ・ジョバーナ。現在、近未来2011年が舞台の第六部まであり、その連載期間は実に16年にも及ぶ。  それぞれの時代によって主人公が変わり、英国貴族ジョースター家の血統にあるジョジョが活躍。一世紀以上にもわたるジョースター家とディオの因縁を描いた傑作大河ロマン。

プライベート Q21~Q60

Q21 好きな映画ベスト3 船越「好きな映画ベスト3を教えてください」 荒木「洋画ですけど『大脱走』とか。『大脱走』カッコイイですね一番」 船越「(共感して)おお!………スティーヴ・マックイーン」 荒木「あと『ジョーズ』と『ゴッドファーザー』ですね。何度でも観ますね」 船越「今、握手したいなと、私は思っております(笑)」

Q22 好きな小説ベスト3 船越「好きな小説ベスト3を教えてください」 荒木「三本もないんですけど、子供の時は『シャーロック・ホームズの冒険』みたいなのシリーズ。あれで、主人公っていうのはどういう人なのかなって解ったようなような気がするんですけど」

Q23 必ず読む雑誌は? 船越「必ず読んでいる雑誌は何ですか?」 荒木「何十年も読み続けでいる雑誌は………『ロードショー』って映画雑誌があるんですけど、あれはずっと買っているなぁ」 船越「奇しくも集英社ですね(笑)」 荒木「そうですね(笑)」

Q24 好きな食べ物は何ですか? 船越「好きな食べ物は何ですか?」 荒木「スパゲッティーです。何味でもいいです。ナポリタンでもいいし、何でもいいですね」

Q25 嫌いな食べ物は? 船越「嫌いな食べ物は何でしょうか?」 荒木「嫌いな食べ物は………トマトの皮ですね。プチトマトとか、絶対食べれないです」 船越「でもスパゲッティーって、トマトばっかりじゃあ………」 荒木「煮るといいんですけど、生は駄目なんです」 船越「ああ、生のトマトの皮。後は何でも大丈夫、と」

Q26 休日の過ごし方は? 船越「休みの日は何をしていますか?」 荒木「本読んだり、映画観たりとか。あと、運動ですね」

Q27 具体的には? 船越「具体的には?」 荒木「筋肉トレーニングとか、走ったりとか」

Q28 趣味は? 船越「趣味は何ですか?」 荒木「ないです」 船越「仕事、と」 荒木「仕事です」 Q29 最近ハマっていることは?

船越「最近ハマっていることは何ですか?」 荒木「最近ハマっているのは………自分の絵をでっかく描くのがハマっています」 Q30 好きな音楽は? 船越「好きな音楽は何ですか?」 荒木「全部好きですけど………もうラップでも何でも、いいです。ジャズでも」 Q31 一番好きなアーティストは? 船越「登場人物にアーティストの名前が多く出てきますが、一番好きなアーティストは誰ですか?」 荒木「プリンスが好き。プリンス」 Q32 おすすめのアルバム 船越「お勧めのアルバムを教えてください」 荒木「最近はねネリー(NELLY)っていうのの………ちょっとどっかにあったな(CDラックから一枚のCDをさっと取り出す)これがいい。これがいいんですよ。ラッパーのネリー」 (画面にジャケ。『COUNTRY GRAMMAR』(NELLY)) 船越「ああ………わざわざありがとうございます」 Q33 好きなテレビ番組は? 船越「好きなテレビ番組は何ですか?」 荒木「最近のですか。あんま観ていないですね」 船越「そうですよね、ご覧になる時間はないですよね」 荒木「映画は観るんですけど」 船越「是非、サスペンスをご覧になってください(笑)」 (注:船越は二時間サスペンスドラマの帝王) 荒木「観てみます(笑)。解りました」 Q34 荒木流健康法は? 船越「荒木流健康法をひとつ、教えていただけますでしょうか?」 荒木「執筆前のストレッチですね」 Q35 ファッションのこだわり 船越「ファッションにこだわりはありますか?」 荒木「自分ではあんまないですけど、やっぱよく見ます」 Q36 一番落ち着く場所は? 船越「一番落ち着く場所はどこですか?」 荒木「落ち着く場所………やっぱこの部屋がいいかな?」 Q37 クセは? 船越「クセはありますか?」 荒木「あごをいじるのが。緊張すると。(自分では)わかんないけど」 船越「そうですね、今日も何度か拝見しました」 Q38 お酒は強い? 船越「お酒は強い方ですか?」 荒木「ほとんど飲みません」 Q39 もらって嬉しいものは? 船越「もらって嬉しいものは何ですか?」 荒木「美味しいお菓子がいいですね」 船越「お菓子、お好きですか」 荒木「ええ」 船越「甘いもの、しょっぱいもの………」 荒木「"おいしい"のがいいんですけど(笑)」 船越「今日お持ちしたものは大丈夫かな、と思って(笑)」 Q40 どんな車に乗ってる? 船越「現在、どんな車に乗っていらっしゃいますか?」 荒木「あ、僕運転できないんです」 船越「そうですか、それはあえて運転を………」 荒木「いや、何か知らないけど、免許取りに行かない人生になってしまいましたね」 Q41 幼少期はどんな子供? 船越「幼少期はどんなお子さんでしたか?」 荒木「妹にいじめられているお兄ちゃんでした(笑)。たぶん」 Q42 初恋はいつ? 船越「初恋はいつでしょうか?」 荒木「ええっ、高校一年の時かな」 Q43 子供の頃見ていたアニメは? 船越「小さい頃、見ていたアニメは何でしょうか?」 荒木「何でも見ていたと思います。『巨人の星』とか。でもあんまりハマんなかったですね。マンガの方が好きですね」 船越「アニメーションよりも、マンガ、と」 荒木「そうですね」 Q44 初めて買ったマンガは? 船越「初めて買ったマンガは覚えていらっしゃいますか?」 荒木「さいとうたかをの『無用ノ介』。侍の」 船越「あれが初めて買ったマンガ?」 荒木「あれ、絵が上手いんだよなぁ………すんごいいい絵が入っているんですよ」 Q45 好きだったアイドルは? 船越「好きだったアイドルはいらっしゃいますか?」 荒木「浅田美代子が好き。歳がねぇ………やだなこういう話」 Q46 欠かさず見ていたテレビは? 船越「欠かさず見ていたテレビは何ですか?」 荒木「向うのテレビが好きでした。刑事コロンボとか。あれはもう、絶対観ていたね土曜の夜」 船越「僕も絶対観ていました」 Q47 得意科目は? 船越「学生時代、得意だった科目は何ですか?」 荒木「別にあんまり得意なものはないけど、好きだったのは社会とか理科が好きでしたね」 Q48 苦手科目は? 船越「学生時代、逆に苦手だった科目は何でしょうか?」 荒木「英語かな」 船越「英語なんですか」 荒木「やなんですよね、あれ単語とか覚えるのが」 Q49 クラブ活動は? 船越「学生時代、どんなクラブ活動をしていましたか?」 荒木「剣道をしていました」 Q50 好きな異性のタイプは? 船越「好きな異性のタイプを教えてください」 荒木「異性のタイプ? あのね、おしとやかじゃあない方がいいですね」 船越「まさしく先生の作品に出てくる女性達が」 荒木「ああ、そういうのが。何か、黙っていると何考えているか解らないような女性は嫌ですね」 船越「活発な人がいいんですね」 荒木「そうですね」 Q51 奥さんはいますか? 船越「奥さんはいらっしゃいますか?」 荒木「います」 Q53 好きな色は? 船越「好きな色は何色ですか?」 荒木「何でもいいけど、オレンジとか、オレンジっぽい黄色」 Q54 最近、思わず笑ったことは? 船越「最近、思わず笑ってしまったことはなんですか?」 荒木「これもよく解らないですけど、眼科に行って検眼とかするじゃないですか。コンタクトレンズ買いに行った時に。そのお医者さんが静電気を持ってまして、僕のまぶたに触ったときに、こうなんか電撃がはしった時かな。あれもトラウマになる。もう行けない(笑)」 船越「『バビル二世』の衝撃波みたいなものですか」 荒木「そうです。衝撃波が目にはしったのには………もう怖くて行けないですよ」 Q54 最近、腹が立ったことは? 船越「最近じゃ腹が立ったことは?」 荒木「腹が立ったことも………あんまりないですね。ないです」 船越「先生、あまり腹はお立てにならないような感じにお見受けするんですが」 荒木「でも、これじゃ駄目だなぁと思うときはありますけどね。テレビとか、ニュースとか見てて」 Q55 最近、涙を流したのはいつ? 船越「最近、涙を流したのはいつですか?」 荒木「最終回描いててちょっと、泣いちゃったな」 船越「今日ですね先生(笑)」 荒木「いや、ネーム書いている時だから、木曜日かな(笑)」 船越「やっぱりそうですよねぇ………それは………そうなんだろうなぁ」 Q56 旅行で一番良かった所は? 船越「旅行で一番良かった所はどこでしょうか?」 荒木「僕はイタリアが好きなんですよ。イタリアの、ヴェネツィアがいいですね」 船越「ヴェネツィア。水の都」 荒木「あの、車がないところがいいですね」 船越「そうですね。全く歩くのにストレスを感じませんからね。ちょっと人が多いかなというのはありますけど」 Q57 もう行きたくない所は? 船越「逆に最悪だなぁと感じた所はございますか?」 荒木「言っていいのか解らないですけど、エジプトが駄目ですね」 船越「でもエジプトといったら第三部のまさに………」 荒木「もうあそこ嫌いで、だから舞台にしているんです」 Q58 宮城県で一番美味しいものは? 船越「宮城県のご出身ですが、宮城県で一番美味しいものはなんでしょうか?」 荒木「あるのかな?(笑) 東京の方が美味しいですよ」 船越「身も蓋もなく終わってしまいました(笑)」 Q59 行きつけのお店は? 船越「都内で行きつけのお店はどこかありますでしょうか」 荒木「あります。僕はイタリア料理が好きなので、そのレストランが好きです。大好きですね。お酒飲まないんで、そういう所が大好きです」 Q60 東京で好きな町は? 船越「東京で好きな町はどこでしょうか?」 荒木「東京で好きな町は………表参道が好きですね」 (好きな映画ベスト3)

船越「(好きな映画)『大脱走』………」 荒木「『大脱走』ね、これはもう子供の頃観て本当に手に汗握ったかなぁと。これ今でもいいです。マックイーンが何回も戻ってくるところもいいんです」 船越「やっぱりそのへんが根深くあって、第六部はジェイル(監獄)ものになったのかなと、それがルーツなのかなと」 荒木「ああ、それはありますね。マックイーンが戻ってくるたびに僕は泣いていたもん(笑)。これだよ! ヒーローってのはこれだよ!って感じ」 船越「そして『ジョーズ』」 荒木「『ジョーズ』ですね。これはもう海に行けなくなるぐらい怖くなった映画。で、何で怖いんだろう、っていう恐怖の分析っていうんですか。最初観たら最後まで。後半は何かバトルものになるし、いいんですよねやっぱり」 船越「で、『ゴッドファーザー』」 荒木「『ゴッドファーザー』………。大河ロマンですね。こういうのがいいですね。親子何代にも渡る………一部、二部、三部とあって」 船越「解りやすいですよね。この映画がジョジョの世界観を作ったっていう」 (最近ハマっていることは?)

船越「大きな絵にハマっていると………これはちょっと面白いなと」 荒木「そうですね。マンガってこのサイズで描いているから(と、原稿用紙を取り出して見せる。B4サイズか?)、もっと何倍かに描きたいんですよ」 船越「そもそも大きく描きたい、と」 荒木「その後ろにあるやつなんですけど」 (たて1mよこ60cmのキャンパス映る。ジョルノ?が描いてある) 船越「おお………ではあまりイラストにしても何にしてもお描きになったことがあったんですか?」 荒木「ないですね。ゆくゆくは2メートルぐらいにしたい。描きたいです」 船越「例えばバオーのイラスト、あるいはゴージャスアイリンなどあのぐらいの時代のイラストを拝見するとあらためて先生の世界観の深さというのが痛感するんですけど」 荒木「あの頃なんかね、凄いファッションデザイナーみたいな人がいっぱい出てきたんですよ。スターみたいなのが。ヴェルサーチですとか、モスキーノとか、それが良かったんですよ。影響を受けて、主人公に着せたいなぁって感じ」 (初恋はいつ?)

船越「初恋は高校生?」 荒木「(笑) はい」 船越「その初恋の方はどういう女性だったんですか?」 荒木「違う学校の女学生ですよ」 船越「明るい子? 暗い子?」 荒木「ちょっとね、おしとやかな感じだったね。だからダメだっったのかも(笑)。そういうマンガのイメージか小説のイメージか知らないけど、そういう女性がいいのかなと思って最初思っていたんですけど、付き合うと駄目ですね。辛いですね」 船越「先生は割とリードしていってくれるような女性が好きですか?」 荒木「ああ、そっちの方がいいですね」 船越「という事は、奥様にはかなりリードして………」 荒木「そうかもしんないですね(笑)」 (欠かさず見ていたテレビは?)

船越「欠かさず見ていた作品に、刑事コロンボを挙げていましたが」 荒木「あれも、犯人に感情移入するときもありますね」 船越「刑事コロンボの作りっていうのはそうですよね」 荒木「僕は結構、犯人に味方しているときがありますよ。コロンボ、また戻ってきたよ!とかね(笑)。ああこれ帰ってくるんだろうなと思うと帰ってくるんだよ、あれ」 船越「これで救ってやりたい、っていう瞬間がある話がいくつかありますよね。このまま逃げ切ればいいのに!っていう」 荒木「そう。でもそこが面白くて(笑)」 (ナレーション)  『魔少年ビーティー』。1983年週刊少年ジャンプ、荒木飛呂彦の記念すべき初連載作品。  悪魔的頭脳を持つ少年、ビーティーが手品トリックを駆使し犯罪に関わっていく様を親友・康一君が語る。すでに荒木独特の台詞回りは確立され、かなりエキセントリックな内容となった。

 84年、週刊少年ジャンプに連載された本格SFアクション(『バオー来訪者』)。  遺伝子操作によって生まれた生物兵器バオーを体内に持つ青年と、悪の組織ドレスとの戦いを描いた熱狂的ファンを生んだ作品。

マンガ作品について Q61~Q80

Q61 なぜジョジョという名前に? 船越「なぜ、ジョジョという名前なんですか?」 荒木「もう忘れたけど………(笑)。頭文字が同じになって欲しかったんですよ。AAとかBBとか。あと、ジョナサンというところで打ち合わせをしていたからだと思います」 船越「いわゆるファミレスのジョナサンで………」 Q62 ジョジョのテーマは? 船越「ジョジョのテーマは何ですか?」 荒木「やっぱりこう、人間は素晴らしいな、と。正義とか、清い心を貫いている人ですね。そういう事を、ええ。」 Q63 スタンドの概念はどこから発想? 船越「スタンドという概念はどこから発想されたんでしょう?」 荒木「これは先祖霊っていうの、何ていうのかな」 船越「守護霊?」 荒木「守護霊です。守護霊が出てきて、一緒に戦ってくれたらいいな、っていう。昔『うしろの百太郎』(つのだじろう)っていう………あの辺がルーツではないかな、と思いますけど」 Q64 どのジョジョが好き? 船越「今、第六部までありますけど、先生はズバリどのジョジョがお気に入りでいらっしゃいますか?」 荒木「僕は第四部の仗助っていう………あのツッパリの、あれがいいんですよね」 船越「後ほどじっくりと………」 Q65 お気に入りのキャラクターは? 船越「一番、気に入っているキャラクターは、何ですか?」 荒木「さっきも言いましたけど、吉良吉影がいいですね」 Q66 ボツネタについて 船越「没になったエピソードはありますか?」 荒木「いっぱいありますけど………それもよく覚えていないです」 Q67 荒木流擬音について 船越「荒木流擬音はどこから思いついたものですか?」 荒木「これはヘビメタですね。ギュウゥゥゥーーーーンとか」 船越「あれは楽器の音だったのですね」 荒木「そうです。ホラームービーとかに出てくる。キュンキュンキュンキュンとか」 船越「出てきますねぇ」 荒木「ああいうやつで」 Q68 独特のポーズについて 船越「キャラクターの独自のポーズはご自身でもされるんでしょうか?」 荒木「いや、自分ではしないですけど」 Q69 一話描くのにかかる時間は? 船越「一話描くのにどのくらい時間がかかりますか?」 荒木「一話って、連載一回ですよね? 絵だけで三日ですね」 Q70 連載スタート時、どこまで構想があった? 船越「連載スタート時、どこまで構想があったのですか?」 荒木「一応大河ドラマみたいにしていこうって、世代が交代していくって………第三部の結末までありました。構想だけですけどね」 Q71 テレビアニメ化の話は? 船越「テレビアニメ化の話はないですか?」 荒木「たぶん、子供に見せるマンガじゃあないんで、ないと思いますけど」 Q72 キャラを描くのに一番重要な部分は? 船越「キャラクターを描く上で一番重要な部分は?」 荒木「絵ですか………口ですね」 船越「口ですか」 荒木「色っぽくないと嫌なんですよ。目より口のほうがものを言うと思うんですよね。ちょっと、モナリザじゃないですけど、スマイルで違ってくるんですよ。目はこんな(モナリザの真似?をする)もんでいいんですけどちょっと………(微笑んで)モナリザになるんですよ。微妙ですね」 Q73 『静・ジョースター』の再登場は? 船越「第四部登場、静・ジョースターもジョジョですが、再登場は果たしてあるのでしょうか?」 荒木「これはマニアックですけど………ないです(笑)」 Q74 『ディオ』の再登場は? 船越「続きまして第三部登場、ディオの再登場はありますか?」 荒木「これもないです」 船越「ないんですか!」 荒木「ええ、ありません」 Q75 ジョセフはまだ生きてる? 船越「第六部は2011年の設定ですが、ジョセフ・ジョースターはまだ生きてるのでしょうか?」 荒木「はい、あの………ちょっとボケていると思うんですが、生きていると思います」 船越「このへんは私は、とっても疑問がありますので先生に後でこの疑問を解消して頂かないとと、思っています」 荒木「何歳?って感じ?」 Q76 魔少年ビーティーの本名は? 船越「魔少年ビーティーの本名はなんですか?」 荒木「一応、ないんですけど、僕、寺沢武一さんってマンガ家が好きでして」 船越「『コブラ』の」 荒木「一応その辺も」 船越「Buichi Terasawaですか」 荒木「高木ブーって言われたこともあるんですけど(笑)」 Q77 空条承太郎を演じるとすれば誰? 船越「空条承太郎をもし俳優が演じるとすれば役者は誰になるでしょう?」 荒木「ええっと………解らないですね。でもイメージで描いたのはクリント・イーストウッドがイメージ。あの走ったりしないところが」 Q78 もしも自分がスタンド能力者だったら? 船越「もしご自身がスタンド能力者だとしたらどのスタンドを使いたいですか?」 荒木「何だろうなぁ………時間を止めてみたいですね」 船越「やっぱりね。それですよね」 荒木「ちょっとね」 Q79 第6部で単行本が一巻に戻った理由 船越「なぜ第6部で単行本が一巻に戻ったんでしょうか?」 荒木「編集部の要望です」 船越「先生が何かたくらんだという事ではなくて」 荒木「いいえそういう事ではないです。何か解りやすさを取ったんじゃあないでしょうか」 Q80 第7部の構想は? 船越「第7部の構想はもうあるんでしょうか?」 荒木「はい、あります」 船越「よかった! ………(カメラ目線で)これはもう本当に皆さんご安心下さい。第7部は始まります」 (なぜジョジョという名前に?)

船越「衝撃的ですね。ファミリーレストランだったっていうのが。ジョナサンのルーツが」 荒木「深夜までやっていて、24時間だから、打ち合わせはそういう所でやるんですよ。それで頭文字がスティーブン・スピルバーグ(S.S)みたいにしたかったんですよ。覚えやすいから。それでジョナサンになった」 (スタンドの概念はどこから発想?)

船越「スタンドっていうのは………これはもう『うしろの百太郎』というような言葉が、僕も一瞬ダブったんですけれども」 荒木「そうですね。壊して欲しいって時に、超能力っていったらウーンって念じてパカって割れるんだけど、ここ(背後)から出てきて、守護霊が割るってくれるって見せたほうが、マンガ向きなんですよね」 船越「スタンドと自分自身の肉体が一体化しているという所ですよね。この辺の発想が非常に興味深いんですけど」 荒木「あれもね、たぶん横山光輝先生のマンガだと、リモコンが敵に渡ったら敵のものになっちゃうとかね」 船越「敵に渡すな大事なリモコン、ってね」 (注:『鉄人28号』の主題歌の歌詞) 荒木「そう、ああいう弱点っていうかな、ああいうところが面白いんですよね。ドキドキするっていうか、そういうのがないと面白くないっていうか全部強いものばっかじゃ描いていてサスペンスが成り立たなくなってくるんですよ。だからそういうのを先輩を見習って作っているっていうのはあるんですけど。 「その横山光輝先生のマンガだとね、学生服を着て砂漠に行くんですよ」 船越「『バビル2世』、まさしくそうですよね」 荒木「それがいいんですよ。戦闘服を着て、じゃあ駄目なんですよ。なんかあれが涙が出てくるの(笑)。学生服を着ている少年が砂漠にいる、っていうの。絵がいいんですよね」 船越「でも裏切られたのは、アニメになったとき学生服着ていなかったんですよね」 荒木「そう、アニメは戦闘服着ていたからあれはひどかった」 船越「ひどいですよね。何であんな裏切り方をするんだろうって。僕も『バビル2世』はやっぱり学生服なんですよね」 荒木「そうです!」 (連載スタート時、どこまで構想があった?)

船越「先ほど、ジョジョの話にも出ましたけど、だいたい第三部までは構想がスタート時にあったという………これはもう第三部は日本に持ってこよう、という所まであった訳ですか?」 荒木「はい、世代を通じるドラマってあるんですよ。『エデンの東』とかいろいろ。それみたいにしようと思って」 船越「日本に持ってくるっていうのはかなり大胆な発想では?」 荒木「いやでもね、逆だったんですよ当時は。日本人じゃあない主人公を少年マンガにはつかっちゃいけないっていうタブーがあった。外人を主人公にすると絶対駄目なんです。そういうタブーが80年代にあって、ウェスタンでも何故か日本人が主人公なんですよ。日本のマンガって」 船越「『荒野の少年イサム』とかね」 荒木「そういうのがなんか知らないけどあったんですよ。だからそっち(主人公が日本人)の方が普通で、一部とかの方が(外国の人が主人公とかの方が)異常なんです」 船越「何で外国の人を主人公にしようって思われたんですか? そのタブーを犯してまで」 荒木「うーん、なんか洋画とかをいっぱい観ていたからですし、旅行したときにカルチャーショックっていうんですか、観るもの全て凄かったですね。美しくて。鼻血出るぐらい美しかったですね。何観ていいかわからないんだもん」 船越「先生は旅行に行かれたっていうのは、最初イギリスなんですか?」 荒木「そうですね、イギリスとかフランスとか行ったんですけども」 船越「これはもう、イギリスを舞台にしたものを、という事ではなくて」 荒木「そこでちょっと凄かったからですね、やっぱり」 船越「という事は旅行にインスパイアされて、ジョジョの舞台はイギリスになったっていう風に解釈しても?」 荒木「あ、そうです。やっぱそういうのも編集者っていう人の影響みたいなもの、あるんですよ。編集者の趣味もとか入ってくることがあるんです。エジプトに行こうって言ったの、編集者なんですよ。大好きなんだもん。あの象形文字とか読める方で、もう行きたくてしょうがないの」 船越「ヒエログリフが読める」 荒木「読める人で、僕は行きたくなかったんですけど(笑)、汚そうでね、とにかく嫌なんですよ」 船越「じゃあ先生の中にあったものがエジプトじゃあなかったんですね」 荒木「そうですね、あれは担当さんとかそういうそばにいた人の影響っていうのがあって、例えば外国の主人公にしたらどうかな、っていうのも担当さんが反対される場合もあると思うんですよね、打ち合わせで。そりゃまずいよ、って。でもその人は乗ったんですよね。いいかもしんない、みたいな。そうすると勇気になってくるというか」 (『DIO』の再登場は?)

船越「ディオのお話になるんですが………やっぱりジョースターという血統があって、こっちの対極に数十年を貫いて綿々とディオというのが、どうも読者の我々にとっては常にいつもディオの影がつきまとっています。六部に至ってもディオの骨まで出てきました。なのに先生は再登場はないとおっしゃっていたんですけど」 (画面にいつかのカラー原稿?のディオ映る) 荒木「あれは承太郎がやっつけたもんだから。でもその意思は残っているっていうようにしたいんですよね。その志(こころざし)みたいな。悪の志」 船越「という事は、ディオは形としては現れなくとも意思としてはもしかしたら今後も」 荒木「そうかもしれないですけど」 船越「第7部だ………(笑)」 (ジョセフはまだ生きている?)

船越「ところで、ディオもさることながら、ジョセフは先生?」 荒木「ジョセフ………矛盾点は?」 船越「あのね、リサリサは50歳の設定で出てきましたよね? 肉体は二十代でした。あれは何故かというと、波紋があの肉体を保つんだ、老いのスピードを緩めるんだとお描きになりましたよね先生?」 荒木「はい」 船越「何故………リサリサよりもジョセフのほうが僕は波紋のパワーは上だと思うんですよ。何故、ジョセフは人間と同じスピードで歳をとっちゃったんでしょうね?」 荒木「やっぱちょっと、気の持ちようというか(笑)」 船越「失礼いたしました(笑)」 (キャラを描くのに一番重要な部分は?)

船越「先ほど、一番ポイントになるのは口だっておっしゃっていましたよね? これがインパクトがあったんですよ」 荒木「何かね、色気を出しいんですよね。中性的っていうのかな。男でもなく女性でもなく、っていうような。絵にしたときに惹きつけるものがあるんですよ」 (仗助、ジョルノ、ドッピオのカラー原稿、口もとのアップ) 荒木「例えば男描くんでも、女性の顔を見ながら描くときがある。スタイルとか、ポーズの取り方とか………」 船越「先生、顔を描かれる場合、最後は口ですか、それとも最初は口ですか」 荒木「最初は鼻ですね」 船越「鼻、まぁそれは中心をとって」 荒木「どう描くんだろうな………やっぱ最後が口ですね」 船越「やっぱり最後が口。ちなみにちらっと描くところを見せていただいてもよろしいでしょうか」 (荒木、紙をサッと用意して描く) 荒木「こういう感じ」 船越「(小声で)大変なことになりました」 (荒木、ペンを一度取り、また別のを取り直して描き始める。ロットリング?) 荒木「まずちょっと輪郭」 (輪郭、鼻、眉毛、目の順でサッサと描いていく。やや左向きの顔で、右目、左目の順。目はフチ、目玉の順) 船越「やっぱり先生は仗助が好きなんですね」 荒木「いや、これは何でもないんですけど」 船越「あ、何にでもなるんですか、そこから」 荒木「仗助にする?」 (リーゼントを少し描いて、口を描く) 荒木「こういう感じですかね………」 (耳、そして右側の輪郭) 船越「なるほど、確かに表情がスッと出てくるのが口ですね」 荒木「あと叫ぶときにはこう(口をあけるように描くふりをして)なったりとか」 (リーゼントの上の部分を描く) 船越「先生、生のを描かれてしまいましたね」 荒木「生仗助?」 (服を少し描いて、単行本でも人気のラフ画が完成。早い) 船越「先生、口というのはあえて影響を受けたとしたらこの口元はどこがルーツですか?」 荒木「やっぱこういう写真とか(写真集をぱらぱらとめくる)見て描いているんですけど、(写真の口を指差し)やっぱこういう口とか、いいですよね」 (写真がハッキリ見えるんですが、何の写真集でしょうか?) 荒木「でも、これ見て男を描くときもあるんです」 (仕事場拝見)

荒木「ここはアシスタントの仕事場です」 船越「はああ………なんかイメージが全然違いました。もっと雑然とした中で生まれていくのかなと思っていたんですけど。先生の几帳面さが」 荒木「そうですか? いや………まぁ………はい(笑)」 (この時、壁にかかっている絵が面白い。荒木先生の絵?) (アシスタントがペン入れをしている作業、映る) ナレーション

 荒木先生の絵に、丁寧にペン入れをするアシスタントの皆さん。 (最終話?、神父が地面に倒れこむPAGEが映る)  この日は第六部ストーンオーシャン最終話の仕上げ。  『ジョジョの奇妙な冒険』はここから生まれているのです。


船越「これでいよいよ第七部が始まるという、私達は嬉しいニュースを耳にさせていただいたんですけども………」 荒木「編集部とは全然打ち合わせしていないんで」 船越「でも、先生の中にはもう………」 荒木「ありますね。タイトルも、なんだっけな、『スティール・ボール・ラン』っていうんですけど」 船越「教えてもらっちゃいましたよ(笑)」 荒木「でも舞台とか、内容は駄目ですね、まだ」 船越「それはもちろんそうですよ。どっか先生の中で、大きな未来に飛躍するっていうためらいがあるっていう事はあるんですね」 荒木「取材ができない、っていう。あと身近でないと、リアリティっていうか、何でもある発明とか、何でもある世界になるとちょっとまた違ってくるんじゃあないかと思うんですよ。やっぱリアリティですね」 船越「先生がご自分で未来を構築しようとはあまり思われない?」 荒木「ええ、もうスタンドが架空のものだから、どこかリアリティがないと駄目なんですよ」 船越「なるほどなるほど。それでは皆さん、第七部はそれほど遠い未来へ行かない、と。これだけはお聞きできました」 荒木「もう血統がいないんですよね。例えば仗助だって愛人の子なんだもん。苦しいんですよ(笑)」 エピローグ Q81~Q100

Q81 おすすめマンガベスト3 船越「それではエピローグ的にその他のことというくくりで質問をさせていただきたいんですけども、お勧めのマンガベスト3を教えていただけますか?」 荒木「『バビル2世』と………そうだな梶原一騎の………うーんやっぱ『巨人の星』かな。柔道一直線もいいんですけどね」 船越「いいですよねぇ」 荒木「後はやっぱ『ドラゴンボール』ですね」 船越「『ドラゴンボール』ですか!」
Q82 「やられた」と思ったマンガは? 船越「やられた!と思ったマンガはありますか?」 荒木「いや、べつにないですね」
Q83 尊敬するマンガ家は? 船越「尊敬するマンガ家はどなたでしょうか?」 荒木「やっぱり横山光輝先生」
Q84 週刊連載で心がけていることは? 船越「週刊連載をする上で心がけていることはどういう事でしょうか?」 荒木「締めきりを守る」
Q85 長く続ける秘訣は? 船越「長く続ける秘訣を教えてください?」 荒木「あ、これがそうですね。締めきりを守る、と。そういうことです」 Q86 仲の良いマンガ家は? 船越「仲の良いマンガ家さんはどなたでしょうか?」 荒木「えっと………いないですね(笑)。特に。いるって答えてもいいんだけど、そんな会っていないんだよなぁ。みんな忙しくてさぁ(笑)」 船越「そうですよね。なかなかねぇ」 荒木「そうなんですよ」 Q87 パソコンは使う? 船越「パソコンは使えますか?」 荒木「僕は駄目ですパソコン。あの待ち時間が」 船越「でも、お使いにはなられると」 荒木「ええ」 船越「あまり好きではない、と」 荒木「好きではないですね」 Q88 着メロは? 船越「携帯の着メロを教えていただけますでしょうか?」 荒木「携帯は僕、持ってません」 Q89 一番会いたい女優さんは? 船越「一番会ってみたい女優さんを一人教えてください」 荒木「ええっ、これ日本の女優さん、って事ですか?」 (スタッフが「いや、外国でも」と答える) 荒木「ナタリー・ポートマンに会いたいですね。『スター・ウォーズ エピソード1』のアミダラ姫。あれ、いいですねぇ(笑)」 船越「目尻が下がりましたね先生」 荒木「すごい美人ですよあれは」 船越「そうですよねぇ」 Q90 無人島に持っていくものは? 船越「無人島に持っていくものを三つ挙げてください」 荒木「やっぱり好きなマンガと、CDと、鉛筆」 Q91 一番高価なものは? 船越「今まで買った一番高価なものを教えてください」 荒木「何だろう………仕事場かなぁ」 Q92 尊敬する人は? 船越「尊敬する人は誰ですか?」 荒木「尊敬する人? ………僕は画家のベラスケスが」 (画面にベラスケスのテロップ出る。 「ベラスケス」(1599~1660) スペイン セビリア生まれ。フェリペ4世の宮廷画家として活躍) Q93 今後、挑戦してみたいジャンルは? 船越「マンガ家として今後、挑戦してみたいジャンルはどんなものですか?」 荒木「別に、今のマンガをどんどん進めていきたいだけ」
Q94 『少年ジャンプ』どこから読む? 船越「『少年ジャンプ』どのマンガから読みますか?」 荒木「最初から、載っている順に」
Q95 マンガはいつまで描く? 船越「マンガはいつまで描こうと思われていますか?」 荒木「50ぐらいですかね。そんな長く描けるのかなぁ(笑) 少なくとも週刊連載はちょっとできないんじゃあないかなぁ。スポーツ選手と同じ様な感じがありますけど」 船越「やっぱりこれは時代でしょうかね」 荒木「時代っていうか、体力」
Q96 老後の過ごし方は? 船越「老後はどう過ごしたいですか?」 荒木「やっぱりこう、友達とレストランでだべりながら、みたいな(笑)。それいいですよ。男同士でね」
Q97 もし願い事が叶うなら? 船越「願い事が叶うなら、何をお願いされますか?」 荒木「ええっ………? 何だろうな………あんまりないですけど。別にないです」
Q98 マンガ家に向いている人はどんな人? 船越「マンガ家に向いていると思う人はどんな人でしょうか?」 荒木「マンガ家って、いろんな魅力があるんですよね。脚本家であったり、画家であったり、監督であったり、役者であったりすねから、たぶん音楽家以外は誰でも向いているんじゃあないかと思いますけど」 船越「はぁーなるほど」 荒木「いろんな魅力があるから、そこさえあれば。絵下手なマンガ家もいるし、絵だけで話ができない人もいるし。いろんな魅力があるから何でもできると思いますね」
Q99 マンガ家として大切なことは? 船越「マンガ家として大切なことってなんでしょう?」 荒木「創作は美しい、って心に念じていることじゃあないですか」 船越「素敵な………」
Q100 あなたにとってマンガとは? 船越「では最後に、ちょっと難しい質問かもしれませんけど、先生にとってズバリマンガとは何でしょう?」 荒木「自分を見つめるものですね」 船越「ありがとうございました」 (船越、荒木と固く握手しつつ) 船越「ありがとうございました。素敵な創刊号にさせていただきましたお蔭様で。これからも楽しみにしておりますので、くれぐれも体調を崩さないように………体調を崩すと主人公がピンチになってしまいますからね(笑)。ご活躍をお祈りしております。ありがとうございました」 荒木「はい、どうもありがとうございます」 (ジョリーンと荒木先生のサイン映る。夜道を歩く船越) 船越「いかがでしたでしょうか。週刊少年『』創刊号としては素晴らしいものが出来上がったと編集長としては自負するとともに、あらためて荒木先生に感謝したいと思います。荒木先生のお話を実際に伺うことができて、ジョジョのルーツにも触れることができて、さらにジョジョの作品世界が広がったような気がします。第七部が本当に今から待ち遠しい、そんな思いでいっぱいです。是非、荒木先生、老後のお茶のみ友達の中に私を加えていただきたいと思います。それでは皆さん、また次号でお会いしましょう!」[10]

JOJO in Paris (05/07/2003)

Q1: "So, why did you decide to open a solo-exhibition?"

I think that manga has various appeal, but I also think that it appeals to painters and artists as well, which is an area wanted to explore.

Q1: "Why did you choose to open the exhibit in Paris?"

The reason I didn't want to inform any of my Japanese readers about the exhibition in France is because I want people who haven't read my manga to see my art.

Q3: "What were your thoughts on the solo-exhibition?"

Coming to Paris, I saw people of various ages and races, and it felt like I was in a painting without borders. I'd like to think it was very successful with my audience.


AnimeLand (06/01/2003)

AnimeLand: Could you enlighten us on the genesis of JoJo?
Hirohiko Araki: Originally, there was this idea of the succession between generations, a father/son heritage. Then I wanted to show travelling heroes who would fight to defend humankind. The idea of successive generations was inspired by The Godfather saga (Brian de Palma) or East of Eden (Eliat Kazan): family stories, where the action is happening across several generations. At a very young age, I had been touched and inspired by these movies that all became classics.
A.L.: Did you have some idea of what each part would be in advance, or did your original ideas change as time passed?
H.A.: At the very beginning, everything was set around fights, ratios of power. Then, as time passed, everything became more “spiritual”, with a greater place made for ideas like friendship. At the graphic level, the first series showed off very “macho-man” type heroes with overproportioned muscles. Then the characters became slimmer, more elegant too.
A.L.: What do you think about the Western translation of JoJo: does the term “bizarre” look appropriate to you? And if yes, what aspect of your work does it reflect?
H.A.: Indeed, the Japanese title would translate closer to “amazing”, or “marvelous”. But really, what I wanted to express in this manga is something really different, something strange, bizarre. So, in the end, the translation is rather spot on (smile). I think this feeling is reflected in some respects or situations in the manga: the unforeseen turnabouts, the way the facial expressions change, distort themselves, the hidden personality of some characters…
A.L.: How did the idea of the "Ripple" and then "Stand" come to you?
H.A.: For the Ripple, the idea was that of an indirect force, a force striking from a distance like in the water for instance: if I hit the surface of a calm water, I indirectly affect the surroundings thanks to the residual ripple. For its part, the Stand is something a Westerner may find difficult to envision. It finds its origin in Shintoism: the spiritual essence of our ancestors protects us, in fact each and everyone of us is permanently protected. Without being a Shintoist myself, I know the Japanese culture and philosophy well for being born into it, so I am influenced by them in my creative work.
A.L.: You seem to like gore and often draw characters having the ability to regenerate from wounds. Is it an homage to this cinema genre, and to "The Thing" from John Carpenter?
H.A.: Oh I like this genre a lot, but also comics and TV series. John Carpenter, De Palma… their work interest me a lot, I study them a lot, I saw them all. Now, about The Thing, one shouldn’t forget that the first volumes of JoJo go back to the 80s, I probably had the idea before seeing this movie.
A.L.: They say that you are a big fan of Western culture, be it classical or modern?
H.A.: Yes, I have a big interest in art, in impressionism, in contemporary art, or illustrations? I study all of it too, and it greatly influences my work.
A.L.: In your mind, does it explain the success of JoJo in the West?
H.A.: Well, to become a mangaka, you must study a lot, learn many different things: in a way, you must know everything, from Jangaya to Spielberg.
A.L.: Each JoJo has some similar characteristics: an impeccable morale fiber, temerity, selflessness, a perfect physical appearance, a great strength. Have you never been tempted to give life to an anti-hero?
H.A.: No. For me, a hero must be clean, just, at least that is the idea. He can have a mean look, be dangerous, go through difficult times, but his heart stays pure, and never will he do something dishonest. He’d never attack a woman or a child, that’s his main trait.
A.L.: Jojo is also one of the few manga to draw the death of its hero in a gory way. (see Zeppeli’s death who was cut in half).
H.A.: To protect someone, a real hero must sacrifice himself, even if his death makes no doubt: That is also a heritage from Japanese philosophy. A hero doesn’t seek money, he becomes what he is to save someone else, he’s honest, charitable. The more horrible his death is, the worthier his sacrifice is.
A.L.: About morality, we have the impression of “moral” battles, more than real battles in JoJo.
H.A.: It is a symbol, linked to the way the hero manages to vanquish evil. Basically, there are three types of character in JoJo: the good, the bad and the undefined ones (at least momentarily, an aggressive character can reveal himself as a good one). Even the “bad” characters have a reason for acting, there is always a reason justifying their misdeeds. And we should present the circumstances that pushed the individuals to turn to the dark side to the reader.
A.L.: JoJo also reflects your passion for magic, illusionism…
H.A.: Yes, I never miss a magic show in Japan! Lance Barton, David Copperfield: you know, that trick where he makes a motorcycle disappear… It interests me a lot, I make a big effort to decipher how they do all that! It also gives me inspiration.
A.L.: Just like the creation of Zeppeli’s character?
H.A.: Yes (laughs)!
A.L.: And do you practice magic?
H.A.: I know a few tricks, and I know how to make a coin disappear. (laughs)
A.L.: JoJo’s Bizarre Adventure has been compared to Hokuto no Ken: what do you think about it?
H.A.: Tetsuo Hara is one of my friends, we often dine together. He completely revolutionized the way the human body was represented in manga, thus he also influenced me in this level.
A.L.: Do you talk about your respective works when you see each other?
H.A.: In fact, being both professional mangakas, we avoid talking about our jobs.
A.L.: Can you see that Jojo is full of nods to Hokuto no Ken?
H.A.: In the first chapters, yes, because of the masculine bodies and the gory effects… But not now.
A.L.: About your work on the heroes’ appearance, what are your influences outside of manga?
H.A.: I constantly read anatomy books or écorchés, to study the structure of bones and muscles. I have been very impressed by the Palazzo Vecchio museum in Florence, Italy. I bought books about it on the subject.
A.L.: Sculpture too? There are works in this museum showing poses that’d remind people of your work…
H.A.: Yes, definitely, and I like the Rodin museum here in Paris. I’ve assisted to posing séance here, and it touched me a lot.
A.L.: To finish, it seems there are several levels of reading in Jojo, and everyone can appreciate the manga in their own way depending on the age. To whom do you prioritize JoJo for?
H.A.: Currently in Japan, I am asked to write stuff for a younger audience (less than 15 years old), in a cute, “kawaii” way… It really flies over my head, in fact. To write something good, you must above else be able to understand it and to appreciate it.
A.L.: Interestingly, JoJo’s Bizarre Adventure seems to please the French female readership whereas it was destined to a male readership. What can justify that in your mind?
H.A.: Well, maybe because my heroes all are beautiful boys! (laughs)

Untranslated Version
ARAKI Hirohiko : Exposed
AnimeLand : Pouvez-vous nous éclairer sur la genèse de Jojo ?
ARAKI Hirohiko : En premier lieu il y avait le concept de succession des générations, l’héritage père/fils. Ensuite, je voulais mettre en scène des héros voyageurs qui se battraient pour défendre l’humanité. L’idée des générations successives m’a été inspirée par la saga du Parrain (Brian DE PALMA), ou A l’Est d’Eden (Eliat KAZAN) : des histoires de familles, dont l’action se déroule sur plusieurs générations. Très Jeune, J’ai été touché et inspiré par tous ces films devenus des classiques.
A.L. : Aviez-vous une idée de ce serait chaque saison à l’avance, ou votre idée première s’est-elle modifiée au fur et à mesure ?
A.H. : Au tout début tout était axé sur le combat, les rapports de force, puis, au fil du temps, tout est devenu plus “spirituel”, avec une grande place faite à des valeurs comme l’amitié. Au niveau graphique, les premières séries mettaient en scène des héros très “machos” aux muscles surdimensionnés. Puis les personnages sont devenus plus fins, plus élégants aussi.
A.L. : Que pensez vous de la traduction occidentale du titre de Jojo (1) : le terme bizarre vous parait-il approprié ? Et si oui, quel aspect de votre travail reflète-t-il ?
A.H. : En effet, le titre japonais se traduirait plus par “amazing” : étonnant, merveilleux. Mais justement, ce que je tenais à exprimer dans ce manga est réellement quelque chose de différent, d’étrange, de bizarre. Donc, en définitive, la traduction est plutôt juste (sourire). Je pense que cette sensation se reflète dans certains aspects ou situations du manga : les retournements de situation imprévus, la façon dont l’expression des visages change, se déforme, la personnalité cachée de certains personnages…
A.L. : Comment vous est venu l’idée de l’Onde, puis du Stand ?
A.H. : Pour l’Onde (ou Hamon), l’idée de départ était celle d’une force indirecte, une force qui frappe à distance, comme dans l’eau par exemple : si je frappe une surface d’eau calme, j’affecte indirectement les alentours grâce à l’onde résiduelle.
Le stand, quant à lui, est peut-être quelque chose de difficile à appréhender pour un occidental. Il trouve son origine dans le shintoïsme : l’essence spirituelle de nos ancêtres nous protége, en fait chacun de nous est protégé en permanence. Sans être moi-même shintoïste, je connais bien la culture et la philosophie japonaise pour y être né, je suis donc influencé par elles dans mon travail de création.
A.L. : Vous semblez beaucoup apprécier le gore et mettez souvent en scène des personnages possédant la capacité de se reconstituer après blessure. Est-ce un hommage à ce cinéma, et au The Thing de John CARPENTER ?
A.H. : Oh, j’aime beaucoup ce genre de cinéma, mais aussi les comics, et la télé. John CARPENTER, DE PALMA… leur travail m’intéresse énormément, j’étudie beaucoup tout cela, je les ai tous vus. Maintenant, concernant The Thing, il ne faut pas oublier que les premiers volumes de Jojo remontent aux années 80, j’avais probablement eu l’idée avant de voir ce film.
A.L. : Il parait d’ailleurs que vous êtes un grand fan de culture occidentale, classique ou moderne ?
A.H. : Oui, je m’intéresse beaucoup à l’art en général, qu’il s’agisse d’impressionnisme, d’art contemporain ou d’illustration. J’étudie tout cela également, et ça m’influence dans mon travail.
A.L. : Cela peut-il expliquer, à votre avis, le succès remporté par Jojo en occident ?
A.H. : Eh bien, pour devenir auteur de manga au Japon, il faut étudier énormément, apprendre beaucoup de choses très différentes : en quelque sorte, il faut tout connaître, de JANGAYA à SPIELBERG.
A.L. : Tous les héros de Jojo ont certaines caractéristiques communes : morale impeccable, témérité, don de soi, plastique parfaite, force incommensurable. N’avez-vous jamais été tenté de donner vie à un anti-héros ?
A.H. : Non. Pour moi, un héros doit être propre, juste, du moins c’est l’idée que je m’en fais. Il peut avoir l’air méchant, dangereux, il peut traverser des moments difficiles, mais son coeur reste pur, et jamais il ne ferait quelque chose de malhonnête. Jamais il ne s’attaquerait à une femme ou à un enfant, voila son principal trait.
A.L. : Jojo est également un des seuls manga à mettre en scène la mort de ses héros de façon très gore. (voir la mort de Zeppelli, coupé en deux).
A.H. : Pour protéger quelqu’un, un vrai héros peut avoir à se sacrifier, même si sa mort ne fait aucun doute : c’est là aussi un héritage de la philosophie japonaise. Un héros ne cherche pas l’argent, il devient ce qu’il est pour sauver autrui, il est honnête, charitable. Plus sa mort est horrible, plus son sacrifice prend de la valeur.
A.L. : Parlant de valeurs morales, on a d’ailleurs l’impression d’assister à des affrontements “moraux”, plus qu’à de réels combats dans JoJo.
A.H. : C’est une symbolique, cela a trait à la façon dont le héros arrive à vaincre le mal. Il y a très basique ment trois archétypes de personnage dans Jojo : les gentils, les méchants, et les personnages indéterminés (du moins momentanément, un personnage apparemment agressif pouvant se révéler être un gentil par la suite). Même les personnages “mauvais” ont une raison de mal agir, il y a toujours une raison qui justifie leurs exactions. Et il faut présenter au lecteur les circonstances qui ont poussé ces individus à se tourner du mauvais coté.
A.L. : Jojo reflète également votre passion pour la magie, l’illusionnisme…
A.H. : Oui, je ne rate jamais un show de magie, au Japon ! Lance BARTON, David COPPERFIELD : vous savez, par exemple, ce tour ou il fait disparaître une moto…Ça m’intéresse beaucoup, je me donne du mal pour essayer de comprendre comment ils font tout ça ! Cela me donne également de l’inspiration.
A.L. : Comme pour la création du personnage de Zeppelli notamment ?
A.H. : Oui (rires) !
A.L. : Et vous, pratiquez-vous la magie ?
A.H. : Je connais quelques tours, je sais faire disparaître les pièces de monnaie (rires)
A.L. : Jojo’s bizarre adventure a souvent été comparé à Hokuto no Ken : qu’en pensez-vous ?
A.H. : HARA Tetsuo est un de mes amis, nous dînons souvent ensemble. Il a complètement révolutionné la représentation du corps humain dans le manga, il m’a donc influencé également à ce niveau.
A.L. : Parlez-vous de vos travaux respectifs quand vous vous voyez ?
A.H. : En fait, étant tous deux des professionnels du manga, nous évitons de parler boulot.
A.L. : Et peut-on dire que Jojo’s est émaillé de clins d’oeil, à HNK ?
A.H. : Dans les premiers épisodes, oui, au niveau des corps masculins et des effets gore… Mais plus maintenant. A.L. : Toujours en ce qui concerne votre travail sur la plastique de vos héros, quelles sont vos influences, hors manga ?
A.H. : Je consulte en permanence des livres d’anatomie, des écorchés, pour la structure des os et des muscles. J’ai été très impressionné par le musée Palazzo Vecchio à Florence, en Italie. J’y ai acheté des ouvrages sur le sujet.
A.L. : La sculpture également ? Il y a des oeuvres dans ce musée démontrant des poses très caractéristiques de votre travail…
A.H. : Oui, tout à fait, et j’aime également beaucoup le musée RODIN, ici à Paris. J’ai assisté à des séances de pose, cela m’a beaucoup touché.
A.L. : Pour finir, il semble qu’il y ait plusieurs niveaux de lecture dans Jojo, et chacun peut selon son âge, apprécier ce manga à sa façon. A qui destinez-vous Jojo en priorité ?
A.H. : Actuellement au Japon, on me demande d’écrire des choses pour un public plus jeune (moins de 15 ans), dans un esprit très mignon, très Kawaii… Mais tout cela est très loin de moi, en fait. Pour écrire quelque chose de correct, il faut avant tout être capable de le comprendre et de l’apprécier.
A.L. : Chose étonnante, Jojo’s Bizarre’s adventure semble beaucoup plaire aux lectrices françaises, alors qu’il semblait destiné avant tout à un public masculin.
Qu’est-ce qui peut justifier cela, à votre avis ?
A.H. : Eh bien, peut-être le fait que mes héros sont tous très beau garçon ! (Rires)

Remerciements pour la traduction à M. OGII Michael-Akira, organisateur de l’exposition. [12]

Jump Remix P4 Vol.27 (01/2004)

Hirohiko Araki Interview - Kira My Hero (Short Summary)
Kira Yoshikage is obviously a pun on Killer, and of course Killer Queen. Regarding how his name is spelled, the reason I use 吉良 (Kira), and 吉影 (Yoshikage) is because I love alliteration.

I love Kira's personality. He is always calm and tries to keep a low profile. He consistently does his best to live a quiet life, which includes secretly killing women and always having a hand to hold (literally). The way he keeps a record of the length of his nails is similar to things I do, like keeping track of my blood pressure. He knows and admits his quirks and usually knows what he's doing; he understands that there is no way to stop him. I admire him so much except for the fact he kills.

You know the photo of Kira with his parents? I thought I'd describe his childhood and all he had gone through, but decided against it as I figured Kira's childhood would have made the readers feel sorry for him. That's not good; after all, he is the main villain Josuke has to face. Instead of trying to illustrate it fully, I tried to hint how his childhood was like, such as the fact his parents are old. Another is his mom in the photo, doesn't she look somehow strange?

  • In Deadman's Questions, I hid the fact that the main character was Kira until the very end of the story because I didn't want core fans to read though the story with the image of Kira in mind.
  • Why did Kira's father have the bow and arrow?--He received it from DIO.
  • I never planned for Cinderella being Kira's ticket to survival. I usually deal with the plot on a weekly basis.
  • With Kira's death, I wanted to make Morioh seem "eternal". In my mind, Morioh just stayed the same, so things such as "what happen to Josuke afterwards," aren't that important. Amoungst all the bosses in the JoJo series, I love Kira best.
  • About Josuke's editor said it was "out of fashion." That comment made my day, though it would be more challenging for me to describe Josuke's personality.

Full Interview

Before we talk about Kira, lets talk about the town of Morioh.

It is modelled after a new residential development built close to where I grew up. Back then, I was looking at these new buildings and felt a sort of anxiety as opposed to admiration. “Was everything really going well [in there]?”

Looking from the outside, you see all these warm lights in the houses, but you have no idea what people are doing inside. These houses that looked the same were being built and they all looked pristine and happy. Doesn’t that sort of make you feel like a Kira might be [lurking] there? (laughter)

With ‘Diamond is Unbreakable’ my theme was to build out a town. I wanted to draw the humor and spookiness that might be lurking the peripheries of everyday life. Even myself now, there might be bizarre things going on if I just change my point of view.

I was also very influenced by the novels of Stephen King. I was reading them a lot in the 80’s and 90’s, but I especially liked ‘Misery’. The stage is fixed and you just keep delving deeper and deeper within it. Back then I read a lot of King novels.

Also with Part 4, I got to bring in a lot of my own tastes into the work so that was fun. Games, shops, Italian restaurants! With Tonio’s store, I paid a lot of attention to what I was drawing down to the ornaments. It was great bringing that into the fold too… Research was also really easy—I just had to go home to Sendai (laughter) I would just go back, take a few pictures at a souvenir shop and draw them in—all within the realm of not being scolded [for frivolous travel] of course!

Also, Josuke’s hairstyle, even my editor pushed back being like ‘Please draw a main character suited for the era’. But I thought it was good because he wasn’t. The way he cares about his hairstyle, it’s very ‘70’s~80’s delinquent’-like isn’t it? But when you go to the countryside, you occasionally see people like that (laughter) When I was a student, I would stay away from people like that because they scared me, but now there’s almost something endearing about them.

So it seems that when we remixed the comics, there were 7 volumes just dedicated to episodes related to Kira. I myself was like ‘Wow, did I really draw that much of him?’

One of the themes of ‘Diamond is Unbreakable’ is that Horror may be lying right behind our everyday lives. The reason for that is because I liked reading books on serial killers back in the 80’s—this is right before ‘Silence of the Lambs’ would be published and that became a trend—and I wanted to understand what the motivation of serial killers were. Why would you be born a human and do things like this? Those types of questions really interested me and the actions of these people I found really spooky.

So when I started drawing out ‘everyday life’, I had an initial assumption that a serial killer would be the enemy. A sort of different enemy from ‘Stardust Crusaders’, one that lies in wait. The ‘Stardust Crusader’ enemies came rushing in, but [I was thinking of] an enemy that would sort of lure you in… Eventually I was thinking of drawing something like that, but I wasn’t imagining Kira Yoshikage as a specific character from the start.

The first enemies were student-level enemies like Okuyasu and Keicho, also the guitarist Otoishi Akira—at first I was thinking of student level, delinquent level enemies. The reason for that being that I didn’t want to make a sort of ‘Greatest enemy’. When you create a ‘Greatest enemy’ to be overcome, to be the goal, the readers can’t focus on anything besides that. I didn’t want that to become a weakness in the work. For every story I wrote, I wanted the attention to be on what’s happening right now.

But it seems ‘Jojo’ readers really wanted a ‘Greatest enemy’ of some sort, I guess DIO gave off too strong an impact…. so when it seemed like the end was in sight, I thought up of Kira.

The name Kira is of course from ‘Killer’—so a murderer. Its very simple (laughter) The name ‘Yoshikage’… I wanted the first kanji of both names to be the same. Same with Jojo right? So it might be easy to remember if I aligned it around the letter ‘吉’. That;s all. But it sounded right.

The first appearance, I drew from the PoV of Kira. I wanted to draw something from the point of view of the antagonist. Up until this point, I only wrote the villains from the point of view of the protagonists—the villains as seen by the protagonists. But antagonist has a point of view as well, and I wanted to draw what their mental state might be. Why does Kira commit murders? And I wanted to draw that in a fashion where he stays an antagonist and doesn’t become a protagonist.

So I didn’t want to make him a very sympathetic character. When you read about the young lives of these serial killers, you often see that they lived unhappy childhoods. But if you start drawing that out, they become useless as antagonists. So I took care to cut out those parts as best I could when building his character. That took a bit of work.

For DIO, he had a thing about becoming a pinnacle over humanity right? But Kira is pursuing true human happiness. That’s why he hates trouble. He just wants to live in a world of his own interests, and that’s what makes him dangerous (laughter) But he might have an philosophy of his own… The enemies up until that point like DIO and Kars were all aiming for the top—it might have been symbolic of the Japanese economy up until that point, like the bubble economy (laughter). Back in those days, DIO’s might have been the more natural mindset and you might unconsciously sympathize more with that.

When I was drawing Kira, what people were looking for was tranquility. The idea that happiness is not about standing on top of others. Kira’s awards since he was a middle schooler were all for the #3 spot. Not #1 or #2, but #3. Not conspicuous, but still respectful. He himself has the talent to become #1. But standing out, making enemies, being chased, feeling pressure, feeling expectations he can’t handle that at all. There might be a lot of adults who think like that, but it’ll be creepy if someone was thinking that when they’re a kid right? It’s much cuter for kids to be like ‘I’m going to become #1!’ That sort of abnormality was what I wanted to draw, that sort of odd genius.

Killing Sugimoto Reimi when he was 18, that was Kira’s first murder. It’s around the same time Jotaro and his companions fought DIO. Maybe that was a sort of year when the stars aligned. A year of destiny. Josuke was saved by the man with the pompadour that year too, so a lot of things went on.

His first murder, it was probably by impulse. By chance, he saw Reimi and snuck into her house… and that changed his fate. If not for that incident, he might not have lived a happy life without killing, but the stars steered him wrong. And from there, you can’t shake fate. His first murder went a long time without being uncovered. You read about serial killers and how they have dozens of bodies buried under the floor. You wonder how that happens without being uncovered, but that’s really scary right? Maybe its driven by the apathy of the neighbors… With that first murder, Kira became destined to kill 48 people.

Kira’s background of bottling up his nails… that was inspired from a real life story of someone who preserved his nails to monitor his own condition and stress levels. That person is not a serial killer (laughter) That nail story was interesting, and I remembered it. It seemed like something Kira might do… ‘When my nails have grown x millimeters, I’m doing great!’ ‘This is when I can never be caught!’ I feel like I do something similar… I measure my blood pressure and read from it my condition. Sometimes I feel invincible when the readings are good. There might be athletes who do that too… not with nails of course. Kira just does a sorta-creepy version of that (laughter)

Now for Kira’s family, do you remember that scene where you see a picture of Kira’s family, I put a lot of thought into drawing that. It’s not a fun-looking family, but it also looks sort of peaceful… and that’s creepy. The father and mother appears close to each other, but also distant. They probably haven’t ever really had a major fight either. When you read about a serial killer’s life, you feel chills when you come across a picture of them as a child. I wanted to imbue that picture with a bit of that feeling.

Now Kira’s father, he was a strange person. Not quite a criminal, but considered odd. He probably knew his son was a murderer and went ahead hiding his crimes. Of course, Kira’s father went to Egypt and obtained the bow and arrow from Enya to protect his son. Right around then, DIO was looking for allies around the world and Kira’s father was one of those accepted as having potential by him. The same for Okuyasu’s father. People who had been scouted by DIO were all around the world, and even among them, Kira’s father and Okuyasu’s father may have had extra attention paid to them as they were in Japan along with Jotaro. For the mother, I haven’t drawn anything about her at all, but I think she may have done a sort of ‘abusive coddling’ towards Kira. That’ll be scary right?

Even now, I wonder if I should have drawn out Kira’s relationship with his parents in more depth. But I had to cut it out with much reluctance… or maybe I should say that I didn’t have the courage to draw that out. Like I said before, I didn’t want to detail Kira’s past too much. I didn’t want the readers to look at Kira and his father and think ‘these are actually very sad characters’. I drew out Kira’s mental state when killing, but if I started delving into the fundamental reason why he kills, Kira becomes a sort of sympathetic character… if you start empathizing with Kira that’s not really appropriate for a Shonen manga. I didn’t want readers to feel sympathy. That may be the hardest thing about drawing out Kira. Although I think I might have been able to add another two or three volume if I started delving into Kira’s mental state, his motivations and his relationship with his parents.

I’m really interested in familial relations… the Joestar bloodline is about families too after all. When I draw a character, I start wondering about their parents or siblings. It might be because I was influenced by my parents and sisters a lot. When follow that trail, when you draw out an antagonist I start wondering what influences he got from his family. But if you start delving into that person’s background, you start straying from the theme. There’s so much you could draw out. Even DIO had a lot of influence from his father. But because this is a weekly serial manga, its always difficult to decide how to cut that out. I mean, you only have 19 pages to draw on a week. That’s no space at all. You basically just have to take one idea and run with it. But even then it won’t fit, so I have to think hard about how I might condense two pages down to one…

Kira was cornered once and had to flee. Some people thought that might be the end of Part 4, but I was always planning on reviving him. His flight is equivalent to DIO’s resurrection. You think he’s lost, but then he surges back… around there was I really felt a sort of vitality from him. A different sort of vitality from DIO. DIO’s is merely a biological vitality, but Kira was able to tap into the world of a sort of spiritual or mental strength. At that point, Kira trumped Josuke and his friends in spiritual strength. It’s because he had that resurrection that Kira became such a great antagonist. If he had given up then, he would have been a no-go.

I didn’t think at all about using Cinderella to change his appearance. When he was cornered and I was thinking hard about how Kira might escape, lighting struck me and I realized ‘hey I could just use Cinderella which I wrote about last episode!’ I’m basically thinking at a week-by-week interval and never about what happens after that. I don’t know about Jump manga these days, but it’s all about how I make this week interesting for me.

I also like that part after this where Kira becomes a ‘father’ as Kawajiri Kosaku. There’s a P.K. Dick novel about an alien masquerading as a father in a family; I wanted to draw something like that. Only the son knows that he’s an alien… those types of stories are fun. Those episodes are written from the point of view of the son Kawajiri Hayato, and I think it was good as it changed up the pace. After that you had a few Kira point of view stories and you saw that wife falling in love with Kira. I guess it’s plausible that you might grow to love someone if they’ve actually changed, but falling in love with a serial killer, that’s sort of abnormal too and good.

At the end, the son discovers his secret and Kira discovers a new ability. That’s an extension of his resurrection. It’s impossible to stick around in Jojo with the same ability, you have to power up. The youngling who develops into something greater is a common archetype in Shonen. It’s one of the things I feel are a ‘must have’ in a story. Josuke and Jotaro are sort of ‘completed’ characters so it’s difficult to draw a development scene for them, but Koichi-kun and Kawajiri Hayato fit that type. To see Kira also grow in parallel to them is an atypical way of fulfilling a Shonen stereotype.

On ‘Bites the dust’ ability. When you start thinking around the theme of time or rather time travel there’s a lot of variations you can delve into like stopping time, rewinding time… So its sort of like me passing on ideas I wasn’t able to use for DIO. I like the idea of time manipulation. I did something like that with ‘Golden Wind’ and ‘Stone Ocean’.

Writing the ‘Bites the Dust’ episodes were fun. It felt like I was assembling a puzzle or building a game. But because the same time was incremented so many times, I became concerned with whether the readers would follow along. I said this before too, but given that I only have 19 pages a week, I started wondering if this was appropriate for a Weekly manga. A weekly serial has build up story tension within those 19 minutes then pass it along to the next week. It’s a lot of work, but I see those as the rules I have to work within.

In the end, Kira dies after having been run over by an ambulance, and his face was obliterated and nobody could tell who he is.

With ‘Diamond is Unbreakable’ … with the town of Morioh, I wanted to trap it into a world of ‘eternity’. Like would the wife have been happy if she knew that her husband was no longer the same person? If she realized it, it would be a bit boring right? So I was fine with that state continuing forever and no answer being resolved. Within myself, Morioh will forever be in that state. What happened to Josuke after the series? I don’t think about that at all. Morioh is ‘eternal’.

I drew Kira also in a spinoff called ‘Deadman’s Q’. Being trapped in an ‘eternal’ world with his soul being unable to go to heaven or hell, I thought that might be a form of suffering or punishment too. The same thing with Diavolo in ‘Golden Wind’, but it might be a punishment to be trapped within eternity. In the commentary for the short story collection [‘Under Eecution, Under Jailbreak’] I wrote that I was tearing up as I drew the story (laughter) I was very invested in Kira. I almost understood his feelings, if only he hadn’t committed murder… I didn’t draw it at the time, but thinking back on it I feel that he might have been person with the burden of sadness too.

Out of all the villains I’ve drawn so far, Kira is my favorite. I like DIO too… but more than DIO. Because he was seeking a quiet life and wasn’t a character you would see often in a shonen manga, I was very invested.[13]

P5 Bunko Vol.1 (03/2005)

Afterword written in the first volume of the Bunkoban version of Vento Aureo translated by LegoAlex

Recently, I've managed to calm myself down quite a bit... Well, let's just say that instead of arguing, which is something that tires me out, I prefer obeying what I'm being told. During the time I was writing Vento Aureo, I really tormented myself in regards to the matter of "self censorship" in Shonen Manga. By "self censorship," I'm talking about the requests from the editorial board to an author to stop drawing or, at the very least, soften certain elements of the story which haven't been deemed presentable (for example: discriminatory phrases, expressions which might appear racist, the way skin color is drawn, violent scenes or abuse on both the weak and animals, callbacks to real life crimes, the representation of nude bodies, smoking or drinking habits etc..) I wanna make it clear right away that what I am about to write here isn't a critique towards my editors, but simply the real sensations that I, Hirohiko Araki, felt while writing Vento Aureo.

Having reached the fifth part of the series, I desired to write a story which would deal with topics such as the deep sadness in us human beings, or the pain of being born into this world, and I wanted to do it in a stronger manner than the previous parts. Depending on the circumstances in which they are born, there are people who are lucky from the very start, but how would these individuals act if they had been born in a different place instead, one with much harsher conditions? In Vento Aureo, all the protagonists have, in one way or another, been estranged from society and forced to live on its boundaries. We are talking about an environment in which the strong eat the weak and one where evil pervades everything. In such a situation, is it still possible for these characters to find justice?

When representing the clash between good and evil, it is necessary to describe evil in a realistic way, and it's here that the power of "self censorship" in Shonen Manga really strikes the heaviest of blows in the story that you're trying to write. Smoking, being relentless towards the weak, sexually molesting an individual, stabbing someone with a knife, cutting off heads, abusing men and women, gouging eyes out, eating brain matter: all these are examples of pure evil. To express the evil shadows of human beings a minimum of cruelty and brutality is essential.

Despite having happened sporadically in previous years, as soon as I started Vento Aureo (around 1996), the editorial board suddenly started sending me more and more requests along the lines of "fix this page", "change that line", "modify this drawing" and so on. I would like to show you precisely which dialogues and pages I'm talking about, but it would be a long list so it's better to leave that out for now. Additionally, these requests were rarely motivated (even if they were, they were never in a convincing manner), the indications given to me were typically "...well, it's just that there is kind of a regulation, plus the deadline is close and things just go like this with the board. C'mon hurry up and fix it! You'll think about the rest right?!”

I'll say it again, this is absolutely not a critique in regards to my editors, nor am I insinuating that they developed an unprofessional attitude towards me. (Truth is that I've always been very grateful to my editors!) All I'm trying to say is that during the period I was writing Vento Aureo that sensation was there with me. It's nothing else but a simple personal impression.

With all that said, it's easy to imagine just what type of crisis I was in and how difficult it was for me to successfully express, in a satisfying manner, the themes that I was trying to develop. Moreover, I kept asking myself if by any chance a "wall" had been indefinitely built to limit the liberty of expression, if the possibilities for an artistic development in manga had ran out, or if the ideology of authority and non-stop profit weren't completely stripping away the sprouts of art itself. Even now, despite being in a much more relaxing condition, I can't give myself a definitive answer, but what I felt in that era naturally transpired into the actions and attitudes of my characters.

Giorno and Bucciarati, two of the protagonists, betray the organization which they are part of for the sake of 'justice'. The organization is a symbol of power and moral obligation, almost a second home for them, but they both decide to fight to follow the desire of living according to justice. Even I, as the author, while drawing these scenes felt courage swelling up inside of me. Thinking back on the sentiments of my protagonists never fails to bring tears to my eyes. If these two boys had decided to remain in the shadow of authority, maybe they would have went on to live safe and comfy lives. Instead, despite knowing the risks, they chose the path of justice, because only in its presence would they have been certain their existence actually mattered. Vento Aureo, between great Italian fashion and all the more creative Stand battles, is a story full of suspense, but I also think, according to my judgement as an author, that it can be considered a really dark work. Having said that and considering how at times we can take on such heavy subjects, I am very proud of it. Just like with all the other parts, I hope with all my heart that you have fun reading it. Regarding the parts that I had to cut, I will talk about this in the afterthoughts of the last volume.

—Hirohiko Araki

P5 Bunko Vol.10 (08/2005)

Afterword written in the last volume of the Bunkoban version of Vento Aureo translated by twitter user @macchalion

Jotaro Kujo, protagonist of part three "Stardust Crusaders", sets off for his journey accepting the bond that connects him to his grandfather and his grandfather's great-grandfather (Jonathan's father). There are six generations between them. In this case, I can say that Dio Brando, the enemy, represents both destiny and fate.

I don't think there's anyone who can assert they know anything about an ancestor from six generations previous. From his point of view, Jotaro completely ignores if his ancestor was someone who did good things or, rather, someone who made wrong choices. He just takes upon himself that blood bond that connects them, considering it an honor even! While I was writing this fifth series, Vento Aureo, I kept asking myself: "How should someone for whom the mere fact they were born is source of sadness, behave?"

Men can't choose how they come into the world. Some of them find themselves in happy families, others grow up in terrible places from the first moment. So what should this second group of people do, if destiny and fate were something already decided by gods or some kind of law that makes stars move in our vast universe? This is Vento Aureo's main theme and both the protagonists and their adversaries need to face it. Giorno, Bucciarati, Fugo, Narancia, Abbacchio, Mista. Every single one of them grew up, or rather was forced to grow up, at the edge of society and family. The same can be said about Trish really.

Could they ever challenge fate, destiny and change them? This was my most recurring thought while working on this story.

I was really down during that period for certain personal matters. What to do? If it were easy for humans to change them just with effort and will, destiny and fate would lose their meanings. If would be too easy. How could the protagonists fight against this sense of unavoidability? The answer, surprisingly, was given to me by the protagonists themselves. They don't try to change their destiny and even in their situation, they choose not to give up their spirit's purity. They firmly believe that happiness and a sense of justice are the same thing.

I mean, I'm the author and yet, while I was writing I ended up learning from my characters and this is what truly gave me courage. In these terms, thinking back, I feel I had the illusion of being accepted among them as a friend, more than just growing fond of Vento Aureo's protagonists myself.

There was one part in this fifth series I absolutely had to delete though. An episode I couldn't write at all. In my head, the story went that between Mista, Narancia, Fugo and Abbacchio, there would be a spy working for the boss and betray Giorno and Bucciarati. At first I had decided this traitor to be Fugo, but I couldn't do it.

My state of mind was so dark that the stories I wrote were becoming more and more evil, but in my heart I was starting to hate this behavior as time passed. Also, my heart broke just thinking about how Bucciarati would feel.

I absolutely can't understand betrayal from a trusted friend and this is why just thinking about it physically hurt me. I would have accepted any criticism saying that I "hadn't had the guts to do it" as an author, but I assure you I couldn't write that episode no matter what.

Maybe Giorno would have had to kill Fugo then and I'm sure this would have given a really bad impression to my youngest readers.

This is what lays behind that farewell scene in Venezia, with the publication of Vento Aureo's novel then I was able to have a story written about how Fugo would continue to help his companions from inside the organization.

To conclude, allow me to say something to my characters: Thank you, you are the Golden Wind that blows during the most difficult and sad moments.[14]

—Hirohiko Araki

2006 to 2015


Nisio Isin Chronicle (01/30/2006)

Published in Nisio Isin Chronicle, translated by Sword Translations

Nisio Isin: Author of Monogatari Series, Katanagatari, etc.

Hirohiko Araki: Author of JoJo’s Bizarre Adventures.

Interviewer: MYST

Points in common between Araki’s and Nisio’s works

Interviewer: So apparently, Araki-sensei made his debut in the same year that Nisio-san was born.

Nisio: I was born in 1981.

Araki: I made my debut in the 1981 New Year’s issue [of Weekly Shounen Jump].

Nisio: It feels like fate…if you can call it that, haha.

Araki: That’s amazing. At 24, you’ve already written so much in 4 or 5 years.

Nisio: I’m not sure how long I can keep writing, but for now I’ll keep writing as much as I can. I’m on my 15th book now.

Interviewer: Araki-sensei, did everything go smoothly after you debuted?

Araki: Not at all, it feels like I only started polishing my skills after I debuted. They let me debut before I had any style or originality as a manga artist. I had to learn a lot then, and it wasn’t until JoJo’s Bizarre Adventures that I really got started.

Nisio: I also loved your manga before JoJo, like Mahou Shounen Biitii, Gorgeous Irene, and Baoo Raihousha. Your manga all feel like my roots, there’s so much I’ve learned from them.

Araki: Oh yes, your novels do seem to have some points in common. I’ve started reading from Kubikiri Cycle [first book of Zaregoto Series] and haven’t read your latest books, but your characters all seem modern. It might also because a lot of them are geniuses, but they all think they’re superior and don’t respect others. It was interesting how the main character tries to confront those geniuses despite feeling inferior.

Their dialogue sounds like advertising slogans. I like that. Like those lines at the beginning of each chapter. The main character keeps banging out lines like that. That was very fresh and interesting.

Nisio: Thank you. My hands are trembling. I’m so happy that you’ve read my books.

I think JoJo is a wonderful manga, and I wish I could have all of humanity read it. It’s so good that it makes me want to recommend it to other people…somehow it feels like I have to go out of my way to say how much I like it.

Making characters seem powerful using powerful lines

Nisio: Earlier you said that I write lines like advertising slogans, but I think that’s partly because of your influence. It’s more than a verbal tic, it’s a single line that encapsulates a character. A line that only that character could say…

Araki: I try to include a character’s personal philosophy in what they say. Their unique way of thinking.

Nisio: That might why you’re different. Even in another story, no one else could say those lines. Even if somebody else used your lines, they wouldn’t become famous quotes. “Road roller!” only leaves an impact because it’s Dio who says it.

Araki: You have some great ones, too. “There’s always someone better, but at the top they’re all below you.” and a lot of others. Those are really good. They make you think. I think everyone likes those. They make you stop and think ‘that’s true’.

Interviewer: They’re cool and hook you in, and they’re convincing.

Araki: Lines like that make characters seem more powerful. It makes you wonder what would happen if that character was the culprit. It’s hard to stop reading.

Nisio: JoJo had a big influence on that. The enemy characters in JoJo all have depth.

Araki: Yes, I was going for that.

Nisio: There are no throwaway characters. Especially after Stands come into the story, there are Stands that seems weak but can be strong depending on how they’re used. Like (Stand: Bad Company. Only 10 cm tall, but 500 in number!) might just be the strongest.

Araki: That’s right, haha. Well for manga in the eighties, the enemies always keep getting stronger and stronger. But there has to be a limit somewhere, and it gets tremendously exhausting.

Nisio: Like when they go ‘the one you just defeated was the weakest of us.’

Araki: To break through that, I tried to have characters that are strong from an alternate point of view, or who are only strong in a single aspect.

Nisio: So like ‘There’s no such thing as strong or weak.’

Araki: It’s so exhausting to write manga where the enemies keep getting stronger and stronger. It’s like, “they’re already this strong, and they’re still getting stronger!?” and every week you worry about what you’re going to do. And then you get to the height of the bubble and it’s like, what now? It’s a very scary writing method. It’s fine if you do it once. When the strongest enemy gets introduced, you’ll get so popular that the publisher tells you not to stop. But as a writer, you can’t go any further.

Nisio: I wonder who started this inflation of power. It must have been a really crazy idea at first… Whoever it was, using this technique is like reaching a dead end or slash-and-burn farming. I think Jojo was a revolution in that area.

Araki: It was more like an escape route than a revolution, haha. But I think that’s how people work.

It’s like how someone with a strong punch isn’t necessarily strong.

Nisio: Someone you could beat depending on your strategy, I guess.

Interviewer: If you’re fighting Bush and he has nuclear missiles, you still might beat him with a bat. For example, Hara Tetsuo wrote Fist of the North Star so that whoever says the most powerful lines wins.

Nisio: That makes sense.

Araki: That seems like something you’d be familiar with.

Nisio: Novels are only words, after all. The main thing is dialogue. So characters that say powerful lines do become stronger.

Araki: I’ve also noticed something unique about your characters. They’re mentally strong somehow. They’re complete geniuses, but also lacking things or searching for things. That’s something refreshing, and it makes the story’s world interesting.

Nisio: Thank you. I have no words. Speaking of characters, I like Part 4 of Jojo’s Bizarre Adventures because it has so many unique characters. I like Tonio the most, but it’s such an all-star cast.

Araki: Thank you. I hear that the writer Otsuichi-san [mystery/horror writer] also likes Part 4 the most. I wonder if it’s a generational thing.

The appeal of Jojo and its impact on Nisio Isin as a grade schooler

Nisio: When I read your manga for the first time, it was when Ebony Devil, that doll from Part 3, slices off a hotel worker’s face with a razor. I remember it being really scary.

Araki: That must have been tough to read as a kid.

Nisio: Of course, I didn’t understand what Stands were, and that made it even scarier. I was creeped out by this weird armored warrior but thought Joutarou was really cool. I didn’t understand the logic or style of it so it was completely mysterious, but I could tell that it was in a different vein from the other manga being published at the time.

Even now, Jojo hasn’t fallen behind to imitators. Nowadays Shounen Jump has more manga with Stand-like abilities, but Jojo still sets itself apart. It’s not that it’s the original, but there’s something clearly different about it.

Why Nisio Isin became a writer

Araki: What made you decide to be a writer? How did you get started writing?

Nisio: To be honest, I originally wanted to be a manga artist. But I quickly realized that I couldn’t draw. No matter how I practiced, I wouldn’t get better. Then thought that since writing get printed, it doesn’t matter if my handwriting is bad or anything. So in a way, I’m writing the novelization of a manga that’s in my head.

Araki: So you might get your novels adapted into manga?

Nisio: That’s true. There are many scenes in my head that I have an image of. Like someone standing in front of the sound effect “ゴゴゴゴゴ.” I think Kadono Kouhei-sensei said something similar. [author, mainly known for Boogiepop series]

Araki: So you start with an image and replace it with words. The desire to write feels like something that comes welling out, but I wonder how that works.

Nisio: When you read something good, it makes you want to try it. Of course, reading your manga gives me motivation. It’s something like that.

Araki: Like ‘I could make something a little better’.

Nisio: When you see something wonderful, you can’t help but want to try doing it.

Araki: That’s true. Drawing is like that for me, like when I see a drawing that makes me wonder how it was drawn. It’s like a riddle I want to solve.

For example, there are manga artists who can draw lines in unbelievable directions. Normally you go from up to down or right to left, but they’re clearly doing it differently. Like Hara Tetsuo. I don’t know how he draws those lines, if he does them upside down or what.

For painting too, I wonder how someone made a color and things like that. It fires me up somehow.

Interviewer: Did you solve Hara’s riddle?

Araki:Not quite. I tried to draw beautiful smooth lines like him, but it wasn’t the same.

Nisio: I’ve thought something similar when reading your manga. When I read Janken Kozou for example, I was surprised at how you could portray Rock Paper Scissors. I thought that I couldn’t casually play Rock Paper Scissors anymore. To me, you’re not just a manga artist, you’re an artist.

Araki: I can’t really see that, haha. I’ve always felt lacking as a person somehow, and I want to become a full person. I’m not sure exactly what a full person is, but I’ve always wanted to become one since I was young.

Interviewer: Nisio-san, when you finished your Zaregoto Series after 9 volumes, you’ve said that “after finishing this piece of work, I’m not a rookie anymore.” Araki-sensei, with which manga did you feel like you’ve finished a job?

Araki: I don’t think there is one. My publisher keeps telling me I should write something new besides Jojo, but it feels weird to start something new before finishing Jojo. So I might keep writing it.

Nisio: For your entire life?

Araki: I don’t know.

Nisio: As long as there are Jojo stories, at least.

Araki: That’s true. But I’m writing about human relationships, so it never ends. Until humanity dies out.

Interviewer: How about when you stopped feeling like a rookie?

Araki: That would have to be when new manga artists come out. Before I knew it, the only one who’s been in Jump longer was Akimoto Osamu [author of Kochikame, the longest-running series in Weekly Shonen Jump, running 1976-2016], and I thought, “Huh, there’s only Akimoto-sensei?”, so I definitely couldn’t think of myself as a rookie anymore.

Interviewer: That’s quite some time since you debuted. [8 years?]

Araki: Yeah. I was trying to write with a youthful feeling. But then at like parties, when I looked around everyone was younger than me, and I went “Wha-?”. They would say “we can’t get started until you drink”, and I thought “Oh, this is bad”. Nisio-san, a time like that will come for you, too. It’s a lonely feeling. It really is nice to have some elders around.

Defeating enemies without inflating power levels

Nisio: Before, I said that Part 4 was my favorite, but sometimes it’s Part 1 or Part 2…

Interviewer: You like all of them, haha.

Nisio: I like how the enemies were defeated in Part 1 and Part 2, before Stands were introduced. They were mental, tactical battles, and it might just be because I like mystery books, but I love those kind of strategical tricks. Even after Stands came into the story, the mental battles were the most captivating.

Araki: Ah, yes. In shounen manga, there’s this pattern of beating enemies using willpower. I couldn’t accept it. I thought, “Are you really going to use willpower here?”. There is that amazing strength people that have during fires. That makes sense, but I still couldn’t accept it. Like, “If you’re going to do it with willpower, show it in your attitude.” I wanted some kind of logic behind it.

A long time ago, Shirato Sanpei-sensei used to write ninja manga (such as Sasuke, Ninja Bugeichou, and Kamui Gaiden), and they don’t defeat enemies with ninjutsu or magic in those. They used these kind of tricks, things with logic behind them. Like digging a hole in the ground and setting off gunpowder. It made me go “wow”. That influenced me.

Nisio: Like this thing you have to explain.

Araki: It won’t seem interesting unless there’s some kind of reason.

Nisio: In Part 2, did you just come up with the idea for the battle with Wamuu to be on chariots?

Araki: No, I think I was inspired. In shounen manga, I like when the battles are one-on-one in some kind of arena. This arena could be a narrow clifftop, or one where you lose if you leave the arena, and it’s fun to make a lot of rules. I think that’s where the idea for that chariot battle came from. Having some restrictions, so it’s not everything goes.

Nisio: In Jojo, the fights are one-on-one, or at most two-on-two, aren’t they?

Araki: That’s true. If there’s too many people, it’ll become like one of those old war manga. That seems tiring to just to write, so two-on-two is the most for me.

Backgrounds in manga vs. having to describe in novels

Interviewer: As a writer, is there anything you’re jealous about Araki-sensei for?

Nisio: I’m very jealous that unlike novels, you can draw backgrounds in manga. It’s hard to portray backgrounds in novels.

Araki: But even if you don’t write anything, the reader can imagine something.

Nisio: Drawings have incredible persuasive power. There are things that you can draw, but when you write about it, it turns into an explanation.

And then, you go “oh, I wrote an explanation” and feel intense regret… It won’t be a slogan anymore. I have this obsession that once I write an explanation, it’s all over, and it’s hard to deal with. So when I have insert illustrations in my books, it makes me feel that I can’t match the strengths of visual information.

Araki: I once read a story about a beautiful picture. There wasn’t any description about the picture. But the readers can imagine something. If you wrote a manga with that story, you would have to draw the picture. Even if it was Da Vinci’s Mona Lisa, it would just be a copy. It’s something that gets ruined if you draw it. But if you don’t describe the picture like that story did, if you just say it’s amazing, then the reader will believe it.

Nisio: Purposefully not writing something.

Araki: I think it’s better if you don’t write about it.

Nisio: I’ve used a technique of writing something that’s impossible to visualize a few times. I think that’s the only way to explain something that isn’t there… You can write about things that you can’t even draw.

Oh yeah, I’ve used that technique in Shin Honkaku Mahou Shoujo Risuka, which is illustrated by Nishimura Kinu-sensei. I wrote about a ‘jacket like a safety pin.’ It was supposed to be clothing from a fantasy world, and then Nishimura-sensei ended up drawing it. I thought ‘oh, it got drawn.’

Araki: That’s impressive. I’ve also drawn a few insert illustrations. There was a character who has an arm injury throughout the book. So I drew an injured arm, but then at the end it said that the injury was on the left arm, and I had drawn it on the right arm. I thought, “do I have to redo the whole thing?”

You really have to read carefully. Insert illustrations are hard to draw, too. That’s why it’s impressive. Figuring out what a jacket that’s looks like a safety pin is like…

Nisio: When I know that there will be insert illustrations, I try to make it easier for my illustrators to draw them.

Araki: The illustrations for Zaregoto Series have an atmosphere to them too.

Nisio: Take-san is the one drawing them. I remember at first, when I was talking to my editor, I asked for them to be ‘Jojo-ish’, haha. That was supposed to be about the level of realism or reality in the illustrations…and then they came out like this.

Araki: It’s nice to see that the Jojo-ish part came through. When you line up the 9 volumes like this, you can really see an improvement in skill. I like these pop-style backgrounds, too.

Which writer is the biggest Jojo fan?

Araki: Nisio-san, which authors do you like?

Nisio: I’d have to say Kadano Kouhei-sensei. He’s famous for being a Jojo fan. He’s the biggest Jojo fan among writers.

Nisio’s editor: Just a while ago, when I told him that you were going to see Araki-sensei, he went silent for a few seconds and coldly said, “Oh, is that it so”, haha.

Nisio: A long time ago, when I read an interview between you and Otsuichi-sensei in Yomu Jump [magazine associated with Weekly Shounen Jump], I was so jealous that he got to meet you.

Araki: Otsuichi-san was writing for Shueisha [company publishing Jump], after all.

Interviewer: Nisio-san, if you were going to write a novelization of Jojo, what would it be like?

Nisio: I would write about Part 2, or maybe Part 1. Where the enemies are vampires and perfect lifeforms.

Araki: Not violence.

Nisio: I would choose not to use Stands. That way there wouldn’t be anything in common with Otsuichi-sensei is doing. [Otsuichi’s Jojo novelization is set in Part 4]

Araki: You don’t want to do the same thing as him?

Nisio: I really don’t to do the same thing as anyone else. If I did, it would turn into a contest with Otsuichi-sensei. What if I lose? If winning makes you the bigger Jojo fan that’d be terrible.

Interviewer: You can’t stand losing, not as an author, but as a fan?

Nisio: They might say “you call yourself a Jojo fan, but that’s all you can write?” or “you don’t love Jojo enough”, and make fun of me, haha. So if that happens I’ll say “Oh, my favorite part is Part 1” to get away.

Interviewer: For Part 1 and 2, there’s the issue of viewpoint. Whose perspective would you write from?

Nisio: Part 4 is Kouichi-kun. For Part 1, it’s Speedwagon. Part 2 was…did he have a name? That pickpocket boy at the beginning…ah, I can’t remember. This is bad.

Araki: He was there, haha.

Nisio: Otsuichi-sensei and Kadano-sensei are laughing right now, haha.

Interviewer: When did you understand how Stands worked?

Nisio: I somehow figured it out as I was reading. Like how when Stands get injured, their users also get injured. There was an explanation of what Stands were at the beginning of one of the volumes, and it all made sense after that. That was really helpful.

Araki: It’s a good thing I wrote that, haha. Most people said they didn’t understand Stands.

Nisio: I liked the battles with the D’arby brothers. That’s how I learned how to play poker. I was in elementary school and didn’t know the rules of poker, so I didn’t know what kind of battle that was, haha. So I went to a bookstore and browsed through a poker rulebook.

Araki: Oh really? When I was writing that I assumed everybody knew how to play poker. It seemed like everybody at least knows poker.

Nisio:I was in elementary school, after all. After that I really wanted to play poker, haha. I wanted to say things like, “I bet all six chips.”

Interviewer: You’ve learned a lot from Jojo.

Nisio: That’s absolutely true. I want to keep learning more and more.

Araki: Thank you. I can tell how strong your feelings are.[15]

Tokai Lecture (06/2006)

Renowned artist and ageless wunderkind Hirohiko Araki (Jojo's Bizarre Adventure, Baoh, Steel Ball Run) recently gave a lecture at Tokai Junior & High School in Nagoya City, Aichi Prefecture, as part of their Saturday Program series, as transcribed/compiled by @JOJO, Japan's premier site for Jojo-related news. Due to its length this entry will be broken into 2 parts.

The lecture hall was filled to its 1,500 person capacity. There were so many people that there was a delay while people moved in and out of the hall, and the lecture began 15 minutes later than planned, at 12:45.

12:45: The Lecture Hall

After a student MC introduces Mr. Araki and his body of work, he abruptly pops up on stage, at which time the hall erupts into a deafening round of applause. Mr. Araki, quite nervous at the reception, immediately has a slip of the tongue, saying "I'm a little honored to meet all of you today." "I'm a messed up. I feel like I've met an entire lifetime's worth of people today." Although he claims that he is not a performer, and asks not to expect laughs, he claims "I'm just going to meander along today," scoring some unintentional laughs.

Reason For Accepting The Invitation

Araki, who marks his 25th year as a manga artist this year, used to dislike (from well over a decade ago) being told "I used to read your comics!" "I was a fan when I was young!" etc, since it stirred fears within him that perhaps he was getting old, and becoming irrelevant. But in the past 5 years or so, he has had a gradual change of heart, and has begun to enjoy and appreciate the accolades he gets, especially from older people and people in esteemed positions in society. Also, when he was younger he may have been writing manga to benefit himself and his publisher's bottom line, but now he has a slightly different point of view and wants to give back to people, especially younger people. That's when he got an invitation from Saturday Program, and, figuring it would probably just be a classroom of 30-40 people, he said "sure, I'll do it." However, he arrived today to this circus, and thought, "this wasn't what I signed up for." (audience bursts into laughter)

Motives For Drawing Manga, Family, Days of Youth

Young Araki lived with his father, an office worker, his mother, a stay-at-home mom, and younger identical twin sisters. Those sisters were quite a handful: for example, if there were 3 snacks, the sisters, upon arriving home first, would eat all 3, and then proceed to conceal any traces of evidence. Growing up, young Araki, thinking that there weren't any snacks, "would think 'man, I'm hungry' and go chew on something like a really old piece of kamaboko." (audience bursts into laughter). And when his sisters' evil doings came to light, a fight would erupt; and this would occur on a daily basis. (yet more laughter) He would often feel such a sense of exclusion and ill-will towards his sisters that he didn't want to come home. He used to find relief in spending time along in his room, reading classic manga from the 70's and his father's collection of art books, which he supposes was his motive for drawing manga. He figures that had he not started drawing manga, he "might have gotten out of hand and killed my sisters." (laughter)

Days of Submissions and Rejections

He attended a prep school through junior high and high school, but a friend complimented him on the manga he drew (apparently he drew his first manga while he was in 4th grade), which made him think that if his very first fan thought he was good, he might want to become a manga artist. So, he began to secretly draw manga when his parents were not looking. He first began submitting his work during his first year of high school; however, all of his submissions were rejected. At the same time, a rash of artists who were the same age (Yudetamago) or younger than him (Masakazu Katsura) continued to make big splashes with their debut. But Mr. Araki could not understand why he was rejected, and decided to finish off a submission on an all-nighter and go on a 4-hour trip to pay a visit to the editors in Tokyo, and to ask them for an explanation. At first he intended to visit Shogakukan, which published Shonen Sunday, but he was intimidated by the size of their building, and decided to take his submission into the smaller Shueisha building next door. It was noon when he visited, but one rookie editor (about 6'2", or 185 cm, tall) happened to be there, so he showed him his work. However, the editor, after reading the first page, promptly quipped "your white-out's leaked (you haven't fixed it)": he was criticized every time the editor flipped through each page; Mr. Araki, already exhausted from having been up all night, felt like he was going to pass out. However, after he was finished, he was told that it might be good, and was immediately told to fix it up for the Tezuka Awards in 5 days. That submission was "Buso Poker (Armed Poker)", which won was the runner-up prize at the Tezuka Awards.

The Jump Editors At The Time Were Really Scary

At the time, Mr. Torishima (Akira Toriyama's editor, and inspiration for the Dr. Slump character Dr. Mashirito) would take submissions out of their envelopes, glance at the folder, promptly go "I don't want to see this style!" and order a rewrite. Apparently, he wanted people to draw in such a way that looking at the cover was enough to make people want to read the manga. The editorial department as a whole was always on edge at the time. But he also mentioned in the latter half of his lecture that manga editors were like golf caddies; they provided objective information like "why don't you hit this way" or "you're X meters away from the green" and that he appreciated them. He also said that people who wanted to become manga artists had to get along with editors.

Drawing Manga, Araki-Style Part (1): 10 Meters

Drawing styles which are so distinctive that you can look at a person from 10 meters away and go, "oh hey, he's reading that manga" are incredible: Araki managed to make his debut, but didn't feel like he had that unique style. And so from 1981 onwards he started thinking about how he could achieve that distinctive style, something that would make people think "oh, that's him!"

Drawing Manga, Araki-Style Part (2): The World's Most Simple Drawing

(Showing a blank piece of paper) If you told your art teacher "this is a drawing of 'snow" he would be very upset at you, but in manga you could say this was "the flash from a nuclear bomb" or "my soul is barren" and that would fly. And here Mr. Araki drops a bomb: "There are people who get paid for stuff like this." (audience bursts into laughter) "It's amazing, really. You know, like....I guess I could get in trouble for mentioning names." (more laughter) [Note: probably in reference to Shaman King, which printed a blank 2-page pullout to supposedly express an "incredible move"] "And coloring the page all black, and saying "he went to hell." Sort of like in the last few chapters of Death Note." (audience goes into hysterical laughter, applause) Mr. Araki tried to patch things up by claiming that he was joking, but could not help further mentioning how much per page said-artists were probably paid for those particular pages.

Drawing Manga, Araki-Style Part (3): The Ultimate Character

Araki introduces modern abstract art such as Barnett Newman's drawing of an orange square on a piece of canvas, Agness Martin's drawing of nothing but a pencil line on white canvas etc. And then he drew the following, calling it the ultimate simple, ideal character in manga anybody could draw:

Oh no, we're gonna get sued! "I might get in trouble for displaying this in public, so." (audience bursts into laughter)

He also introduced things like the smiley face and Morizo and Kiccoro (Mr. Araki thought that Akira Toriyama had designed them), and explained that he respected these types of drawings that anybody could recognize, and that it was what he aspired for. "It's incredible. It's the ultimate style."

Drawing Manga, Araki-Style Part (4): Gauguin

Gaugin's art, while having depth, also did things like contain certain colors within certain areas, paint the ground pink and the trees blue etc. Araki loved Gauguin's art ever since he was a child, and has been deeply influenced by him. When Jojo became an OVA, one of the animators asked Araki, "What color is Jotaro?" however Araki had no such concept. He colors everything based on calculation. For example, in Volume 54 Giorno's clothes are pink, but in Volume 63 they are blue. Also, regarding the color cover illustration, he explains that placing the color blue beside pink exudes more power. He says that he gets his inspiration from 80's art, shading techniques in Western art, classical paintings and gets inspiration for his various poses from sculptures. All of this research, blended with Araki's own personality, result in Jojo's art style.

Drawing Manga, Araki-Style Part (5): Aim & Direction

(Araki shows a diagram mapping the world of manga, broken into 4 quadrants with the X-axis labeled "Using classical methods to portray reality" and "Impressionist markings and symbolic fantasy" and the Y-axis labeled "Treating introspective themes such as inner emotions as the central focus" and "Putting weight on the plot structure. "Suspense" and "creating a sense of the world")

If you don't think about "where you stand," you won't have any sense of direction even after you become a mangaka, wandering from idea to idea, not knowing what you want to write about and ending up becoming one of those people who asks their editor, "What should I write?" In the case of Jojo, Araki is trying to pursue reality by portraying things with classical methodology, but he gives precedence to emotion and inner thought over plot structure, trying to portray the protagonists' destiny, so he ends up in the bottom-left quadrant.

Drawing Manga, Araki-Style Part (6): The Theme is "Mystery"

Araki was fascinated by mysteries ever since he was a child, fantasized about deserted islands and believed that King Kong and Nessie existed, and so writes his manga with "mystery" as the central theme. In Jojo, Araki wondered what "superpowers" really were, and if he could portray "energy" itself, which lead to Parts 1&2, and the Stands in Part 3, which were like guardians who could "destroy boulders and stuff." They would "stand" by their master and would be called "stands." Apparently Part 3 began immediately after Part 2 with no interval in between.

Drawing Manga, Araki-Style Part (7): Like an RPG or Board Game

At the time, the "pyramid (tournament) formula" (A would fight & defeat B, then fight stronger character C, and on and on) was all the craze in Shonen Jump. But, Araki wondered, how strong could they get? Wouldn't the entire system collapse as soon as you reached the top, much like the economic bubble of the 80's in Japan? It wasn't like there could be an infinite number of levels of strength. So, he decided to create an RPG/board game-style system where characters traveled to different places to fight enemies, as seen in Jojo Part 3, where the protagonists traveled across Egypt while battling enemies

Araki's lecture ended here and proceeded to a Q&A with students, which may or may not be posted here as Part 3.

13:38: Araki-sensei's Talk Ends Here

From now on the lecture will be a discussion between Araki-sensei and the students of Tokai Junior & High School. Since there were a lot of questions, they'll be summarized and presented together in a certain order.

Question for Araki-sensei! (1): "When You Were Young, What Was Your Source of Inspiration?"

"Manga, movies... I didn't have any collections; neither did I have any 'solid' objects like plastic models. I enjoyed drawing pictures. I was a boy who wanted to live in a world of fantasy with movies and novels.

(When asked what influenced his works) "After achieving success, respecting my sempai was the most important thing for me. It all started with Da Vinci - reading about such people was very important for me. I learned about the things they mastered, and through their discoveries, I found my own answer.

As for manga I read when I was a boy, the most significant one was Kajiwara Ikki/Nagayasu Takumi's Ai to Makoto (Love and Truth), the scene where the protagonist is stabbed by a knife... although the manga ended in the next issue (a January New Year's double issue), it was still a rather extraordinary experience for me. When I was in middle school, I joined the kendo club because of Tetsuya Chiba's kendo manga Ore wa Teppei (I'm Teppei)."

Question for Araki-sensei! (2): "The Model for Morioh Town, Sendai City"

  • Morioh Town is a town in JoJo, while Sendai is Araki's hometown.

"Sendai, when I was a kid, was an old and historical city. Since the '80s, construction began on a new residential district. The new houses were beautiful, but strangers from who-knows-where were scary, and those personal experiences have been tied together with the town itself."

"Well, I don't think there are any homicidal maniacs, but..." (Everyone starts a roar of laughter). Of course, Araki-sensei likes his hometown very much, but he was intimidated by the rapid increase in stragers, maybe Morioh Town was made based on his "disdain" of that situation. Of course, using the real name of the city in his manga may anger people, so Araki-sensei changed the name to something else.

  1. Also refer to Kahoku Shinpou: Araki Hirohiko's "Buried Gold Requires Daily Expedition" and Araki Hirohiko's talk-essay "My manga are the 'outcries of my heart'"

Question for Araki-sensei! (3): "What About Love and Passion?"

Although he went a boy's school, he had a girlfriend. "There's not much to add, since it's what causes the most problems in today's relationships" (everyone starts a roar of laughter).

  1. By the way, Araki-sensei is married, and according to an interview from "Weekly Shounen Jump", Araki met his first love during his first year in high school, and his preference for the opposite was "a woman who is not ladylike."

Question for Araki-sensei! (4): "What Model Did You Base Your Protagonists On?"

"Eeeeh?" Araki-sensei appears worried. There was no model, but there were influences from "muscle movies" such as "Rambo" and "Terminator." Jotaro Kujo (a character from JoJo) feels like Clint Eastwood: he doesn't run, his movements are minimal and he's a silent person. "On the other hand, the Stands are fast." The personalities of protagonists' from each part are different. After drawing Part I, I wanted to do something I haven't done before. (1st Part: Serious --> 2nd Part: A crazy person)

What is the relationship between Irene of Gorgeous★Irene and the Irene who made her appearance in the last part of "JoJo 6" (Stone Ocean Volume 17)?

"I was just having a good time, there is no deep meaning behind it, I'm sorry." (Everyone laughs).

Question for Araki-sensei! (6): "About the Ability of 'Time'"

The most powerful technique: "Time". Stopping it, returning to the past, watching the future... if there were people who can control such a thing, they'd be invincible. For a main character with powers that aren't invincible, I want to have people wonder how such a character could win. The ability to control physical things, such as gravity, is also very powerful.

From Araki Hirohiko/Shibasaki Tomoka's Osaka University of Arts, College Manga Vol. 4:

Araki: About time, when I think about it, it's incredibly powerful. You can do things like repeating the same morning over and over, stopping time while jumping, and the people who become visible only at a particular time, etc. But if I used that concept every time, someone would say: "Is JoJo only about 'time'?" So... (laughs).

Shibasaki: Is it because you're interested in the representation of time?

Araki: It's an interesting and powerful concept. To what extent is it changing? Is the other side of the earth being affected by it as well? And things like that.

Shibasaki: What is the maximum affected range when time is stopped?

Araki: All the way out into space. Speaking of which, what kind of energy would that be?

Question for Araki-sensei! (7): "Joseph Joestar"

And now the 'forbidden question': "Why, as an old man, is Joseph such a lustful man?" "Although JoJo was a story that ended naturally after Part 3, I asked myself: 'Should I draw a 4th part? There shouldn't be anymore Jojo!'" (Everyone laughs). Since I didn't know what would happen in the future, even though I wanted to keep his personality, the personality did match up with his age (Joestar is an old man in Part 4).

Question for Araki-sensei! (8): "Lineage"

When asked about the reason why he's only focusing on the story of the "Joestar family", according to Araki, going back, back, way back, all the way to the origin of the family lineage, his character's lineage gives him a feeling of pride - the wonder and the mystery that exists within the "lineage". "I put more importance on such things than others (said with a serious tone)".

Question for Araki-sensei! (9): "If You Can Describe Manga in A Single Word"

Troubled by the question, Araki replied: "My combined feeling would be 'the salvation of the heart'? I think it's very important."

Question for Araki-sensei! (10): "Western music and its influence"

Using names from Western music to name his characters and "Stands" is a "simple hobby" for Araki. It's also a way to pay his respect towards rock artists. "But the fact that nowadays there aren't many names of bands to use is becoming a problem". (Everyone starts a roar of laughs). The imitative sounds of Jojo is also influenced by music (This was said on "Weekly Shounen Jump"as well). While on the subject, according to SOUL'd OUT, their music is influenced by JoJo. So while "JoJo" is influenced by Rock, it is also influencing "Rock"!

Question for Araki-sensei! (11): "About the Change in Design"

When asked about his designs that continue to change, Araki replied that since he's not trying to draw using classical techniques, the designs won't be the same, and usually experience rapid changes. "I'm not concerned about the old drawings (assertion)." Though the readers may get confused, I wonder if they will forgive me".

  1. It has also being reported that in Hirohiko Araki's collection of short stories, Gorgeous★Irene, the illustration of Irene that was drawn for Ultra Jump in 2003, was originally a character drawn in 1985 as an entirely different person. At that time, the comment from UJ PRESS was: "I can't draw in my old style anymore".

Question for Araki-sensei! (12): "You Stopped Drawing Your Self-Portrait"

Often fan letters would ask: "Please take out that character from the manga", but since the character is almost complete, I don't want to take it out, and that is all. Although "Baoh the Visitor" ended as though it will later continue, but...

Question for Araki-sensei! (13): "If you can describe JoJo in a single word"

To a question that he hates to answer, Araki-sensei's answer was: "'The enigma of human beings', it's something I wanted to draw". As a human who works with a theme that will last for an eternity, that's all. Moreover, the manga is also being drawn for people who have committed crimes, it will make them think: "How did I become like this? Is there a meaning in this existence?" It's a "eulogy of human".


And so the time has come, the last words from the moderator, and the falling of the curtain. The clock says it is 2:05 PM on June 24, 2006. An event of about 1 hour and 20 minutes long, but to Araki's fans, without a doubt it was a "golden personal experience." Escorted by applause heavy as thunder, Araki-sensei disappeared behind the curtain with a smile on his face.

- End -

Translated by Aldo[16]

French Reportage (09/20/2006)
"To be honest becoming a mangaka was my childhood dream. When I was about 9, I was drawing all the time at school and my friends I was showing my drawings to, like them a lot. It gaves me the bravery and desire to try my luck in that field. And after at universty I could participate in a contest which allowed me to begin my career as a mangaka."

"When I was young in the early 70's there was a huge amount of manga that I liked. My favorite ones being those with stories dealing about sports, horror, and even sci-fi. Therefore I was inspired by all of this to create my own stories. I'm not sure but still I consider having been inspired a lot of by the works of my elders and I reckon my work wouldn't be what it is "without them. Anyhow I'm still attached to the past of manga and there is still today influence by the authors I'd read as a teenager."

"What I've been trying to do when I started manga was to make evolve the drawing which was somehow too flat, but from the 80's on mangakas started to inspire from Michaelangelo's work. The generation of mangaka I belong to was inspired much by the artists like Michaelangelo or some French painters in order to create characters whose physical aspects was more striking."

(On Tetsuo Hara, I suppose) "The fact that our drawings look alike is very easy to explain. We started at about the same period in the early 80's and it was then too that movies starring Sylvester Stallone or Arnold Schwarzenegger started to come to Japan and all these action movies were big hits there. Actually I reckon we wanted to make manga starring macho characters, with big muscles and fighting all the time, a bit like the heroes of the action movies."

"Before the 5th part I reckon, the story was too long so I'll try to make them shorter now."

"The new generation of mangaka is about 10 years younger than me, so they've read Jojo in their childhood, and so it's normal that it has inspired them."

"What I've been trying to do when I started Jojo is to implement a powerful and invisible force which would overcome my characters during the fights. So the idea of stand came to me by thinking of shintoism, which teaches us that our ancestors are always by our side to protect us."

"It's a real pain in the ass for me trying to show the good side of some of my bad guys as it's always very hard. I'd rather go for a more stereotyped approach where I create a hero who will fundamentally be good and to make it balanced, oppose him to a truly evil being."

"About the animé nothing is planned so far but maybe in the future the 5th part will be adapted to TV too." (!?)

"I've no experience as a prisoner myself but I've visited jails and made researches on the subject to make my scenario credible and I've no real message to pass on except maybe the condition of mangaka regarding to their editors. Every week I've to hand in 20 new pages to mine. I work simply, on friday I imagine what's next in the story and write the scenario, then from saturday to tuesday I create the drawings, so normally I've two days off a week, but I mainly use them to imagine the sories of weeks to come."

"I deal with the main drawing but my assistants are the ones who deal with the details. And if I can be here today it's only because I've just finished the 6th part so I'm entitled to a few holidays. But the rest of the time I'm very busy." [17]

—Hirohiko Araki

Phantom Blood PS2 (2006)

Your thoughts about your 25th anniversary as an author?
I think that it was a very quick 25 years. But when I look back at my's kind of like the stuff around the Phantom Blood era is the work of someone else. Yeah, that's what I honestly feel. So, when I read it I can kind of read it objectively; I can read it as though I was a fan.

Do you read back on your old work?
Not very much, but if there's a game or something released like now, I'll read back and think "Ohh, so I was writing this kind of stuff?" Once the Stands started coming out, I often forget about some characters. Someone will mention a guy and I'll be like, "Who was that again?" and I'll read back and say "Ohh yeah there was that guy." Kind of like that. The readers know more than me.

Next year will be the 20th anniversary of JoJo.
Well, they let me debut on the New Year's of '82 but that still felt a bit vague to me. I couldn't really imagine myself as a manga artist; it wasn't clear on what kind of manga artist I was going to be. It was like I just was incidentally awarded the Tezuka Award, it wasn't really like I was aiming to win it. So that was kind of when I began training. And...when I look at the other Jump artists manga, they all had their own distinct styles. So the period when I was thinking about what style and what kind of manga I should draw was right before JoJo. I sort of feel that I finally became a pro with JoJo; it was like everything opened up in front of my eyes.

How was "JoJo" born?
I liked movies and at the time Sylvester Stallone and Arnold Schwarzenegger were popular. They're both muscular characters and their bodies are covered in muscle, which made me think to myself "I wonder who the strongest person in the world is?" This question was basically the beginning of the idea of JoJo. Themes such as immortality, seeking life, justice and things that humans innately seek spawned from this and eventually lead to the creation of Part one. So basically stuff to do with immortality and super macho guys and how strong they can get; that was what I was pursuing. Also, I had gone on a trip to Italy about 2 years before that and you may already know but, the art in Italy kind of strives for human beauty. When I saw the original artworks, it made me want to do the same.

The origin of the name "JoJo"
I wonder if it's okay to say this..? Umm, the place I used to hold meetings with the editor was at a local family restaurant in my neighborhood called Johnny's. We were thinking of making the name "Jonathan" Something, and you know how a name can be two S's like Steven Spielberg? I wanted something like that so I thought "Well if it's Jonathan then it'll start with J so...Joestar should be okay." But that was really adventurous for a Shonen manga because it was taboo to have a foreigner as a main character; it was that kind of era. It was a big adventure so I was really grateful to my editor at the time.

Regarding the birth of the arch nemesis, Dio
He's full of confidence, very arrogant and he's aiming to become a God, or top of the world. Because of this, I used the Italian word, 'Dio,' that is used to refer to a God, as well as the 'Dio' that plays Heavy Metal. I like Heavy Metal and Rock so I used those as a reference to make characters. They're also characters that I created to signify 'black and white' or good and evil.'

Part 1:Phantom Blood
What were your initial ideas?
Back when I started drawing part one, I liked stories that went over several generations like 'East of Eden' and the show 'Roots' that they did on TV. The lead character changes but it kinda continues; it's something like an American periodical drama or periodical novel. And I don't think it was very Jump-like in style but I thought that it might be good to go where nobody else had before.

There's also a manga that I really respect called Babel II by Yokoyama Mitsuteru which has fights that follow rules. I also wanted fights that followed rules in JoJo, so the Ripple was one of those things. Also, you can't see psychic abilities right? Like if you concentrate your mind and something breaks, you can't really see it. But it's a manga so I thought I should be able to draw it and try and make it easy for readers to know what kind of psychic powers they were, which is how I came up with the ripple. It kind of spread from that like how ripples slowly spread, no pun intended. (Slowly is 'jojo' in Japanese)

When I look at him now, I think Jonathan is too much of a good boy. If I was to draw him now, I'd probably show more of the weaknesses of his heart too.

Part 2: Battle Tendency
Was Joseph's personality affected by Part one?
One more thing that you weren't supposed to do in those days was to let your main character die. That was another forbidden act. We had a discussion as to whether that will happen first and it was eventually decided in a meeting that we'd kill the main character. Because of this, I had to drastically change the story's characters and portray events that I didn't show in part one in part two and then similarly portray events I didn't show in part two in part three. That was my plan. I had a story devised up until part three, but because the story convention required Part 2 to be different to Part 1, I created Joseph. He does share similarities to Jonathan though in that he is also a muscle type.

Was it always your plan to revive Dio in Part 3?
I really wanted to draw him being dead for awhile and then coming back to life, but if I was to do that I needed something to happen in between (Part 2). Yeah.

Part 3: Stardust Crusaders
How was the process of changing from Ripples to Stands?
I tried portraying the ripple through pictures and I also tried portraying the psychic ability of Stands with pictures too but, how should I say it... I wanted to have punches from here (away from body). I had a meeting for it where I was asked, "What are you going to do next? You can't use the Ripple anymore." But when I said, "Well, a punch comes out of here (referring to the front of the body) and breaks stuff," they'd be confused and wouldn't understand me. So I was like, how should I say this...? Well, there's a thing like a guardian spirit comes out and attacks." That's how I explained what the new ability would be and nobody would understand what I was on about. I told them that I think I could create alot of characters this way; I could make like a green colored punch or a sharp thing spawn and make them fight. Unlike the ripple, I can do lots of variations. That's how I started with Stands, though I originally thought that people who read it at first wouldn't know what's going on. Stands gave me alot of trouble when it came to explaining them, but I really felt that I could keep inventing new characters and ideas this way forever. It was like I dug up a gold mine. No one else thought it was gold, but I was like "Wow, look what I dug up!"

Part 4: Diamond is Unbreakable
What were your ideas from Part 4 and onwards?
Part 3 was a story that had the shape of a role playing game. It's like a board game where you go here and there. There's a book called "Around the World in 80 Days," which I made Part 3's story with that as an influence. If that's the case, then enemies have to be types that come and attack Jotaro themselves, though they might be waiting for them too. So when i was thinking of ideas I thought of people that were willing to wait in their positions for a long time: like people that live in houses and attack when customers arrive, people with personalities like trapdoor spiders. I had a lot of these ideas left over and so I thought that I could probably use all of them within a single town. There were various incidents back then such as a serial killing incident that sent huge shockwaves across Japan. The feeling of your neighbor possibly being a serial killer was the perfect atmosphere, so I used that idea when positioning lots of Stand users around the town. That's basically how Part 4 was born and you can see how it's different from part 3. Making Part 3 different to Part 2, and making Part 4 different to part the way JoJo was made.

Up until Part 3, the setting was in an imaginary, mythical kind of world but for Part 4 I drew an everyday world so I feel more closeness to Josuke, which is why I like him the most. I found it really fun to write, it was like he became a friend of sorts. Jotaro, however, is someone that you admire, like a hero from a mythical tale. But Josuke seems more like a friend or a senior.

Josuke is supposed to be the child of a lover but...?
Yes, he is. If I could write more of Part 4, I'd like to explore that more specifically. You would probably develop some complicated ways of thinking if you were a child of a lover and Josuke was also meeting his dad for the first time in a while, so I'd like to write more in depth about that. If I had the opportunity to write that, I would really like to. Part 4 isn't really finished yet. If I decided to continue it, I could as much as I want.

Part 5: Vento Aureo
Why did you make the hero Dio's son?
Oh yes right. In part 5, he's not really a blood relative...well kind of. I find great importance in the upbringing and background of the characters. Stuff like what kind of place they were born, and what their parents were like. If I know that then it makes it easier to understand and write. That's what I do it for, so I find bloodlines very important. It might seem like a bit of a stretch, but that's how Part 5 started. During Part 4, the editor said to me, "Are you able to draw sadness?" But life is a sad thing though isn't it? He asked me if I could draw that, and initially I said that it wasn't really my style but during Part 5, I suddenly felt to urge to draw just that. Like the sadness of being ostracized by society but still having a sense of justice. That was what I tearfully wrote for Vento Aureo.

Part 6: Stone Ocean You once said that you can't draw females. Back then, it was an era when it was unthinkable to have a female character taking punches and in JoJo, arms can go flying if you're not careful. I felt that I wasn't able to draw that with female characters and the readers wouldn't be able to keep up. As I grew older, the difference between genders became less important, and I started to feel that I could actually draw a tough female. What I came up with was Stone Ocean, whose takes place in a prison setting.

About the end of Part Six
The last boss in JoJo has to be made incredibly strong. And I already made Dio stop time, so I figured the readers wouldn't be happy unless I thought of something even stronger. That factor had become a bubble-like situation and so I thought what would happen if you sped up time really fast, and ended up going full circle. Your brain goes strange when you think about infinity.

What are your thoughts regarding time?
It's mysterious isn't it? If you think about time, it feels mysterious and possibly the ultimate power if you could control it. My thought process involved coming up with this ultimate power and then thinking up how on earth you'd defeat it. Even while writing JoJo I myself often thought, "Oh...they're going to lose this one, they can't possibly win." But thinking about how it will be done is how I go about making this, so even now I still think about the question from Part 1, "Who is the strongest person in the world." I find that there's a great deal of romance there.

Manga Artist Araki HiroHiko
About drawing old characters.
I really find it hard being asked to draw previous characters. I wonder why that is..? I just get really tired. First, I have to try and draw the essence of my older style and then I have to fuse it with my current style, which made drawing the cover of this game really tiring. Though I did end up drawing it anyways after telling them that I can't draw older characters.

Second, artwork always changes; for example, I said before that muscular characters were really popular in the 80's but that wasn't really the case anymore in the 90's. I think it's strange to keep drawing muscular people if that's the case. So when I started on a new chapter back then I made Giorno Giovanna quite thin to be like a normal sized person. From around the time of Josuke, I decided to change from a mythical kind of person to a more ordinary size. That's the kind of way that artwork changes. Well, that's what I think. Also, I don't know about my art getting better. You could say that I was bad at the beginning though. I don't really try to keep it like my older styles; they're pictures that I've drawn in a classical kind of method, so I don't really mind if it changes.

About the game's cover
Well I first imaged it as having the ripple, but I was requested to have Dio and Jonathan fighting with the stone mask but I basically tried to bring the stone mask to the front more. The stone mask is like the game's emblem or the game's mark, so I put water and ripples over the background to lessen its impact. Usually, the main character is right at the front for package illustrations but I kind of made it the opposite of that.

About the poses.
The poses are influenced from Italian sculptures. I really like the way the bodies are twisted and it makes me want to turn them into a drawing. Also, you might not understand unless you're a person that draws, but the pelvis moves up and down and that's what I find fun. Like doing this... and stuff like if you move your wrist than you move up here. (Hand gestures) It's fun to draw while you theorize about that. Well for example, I'll show you here...If you put weight down on your right leg like this, your left shoulder drops and stuff. Or if you raise this hip, you go like this; it all moves oppositely. If you raise one hip then a shoulder goes down. If you concentrate on it you'll notice it, I found that about the human body very interesting and I really find it fun putting that into a drawing.

Also, it's not related but I actually enjoy drawing skin getting peeled. So I had alot of fun when drawing Koichi turning into a book. Not because it's grotesque but I think it's because I have to theorize what it might be like. It's strange. Also, things like what would happen if you bend a finger this way. You can make it possible by drawing. I think those are the kind of things I like, though I like drawing the poses too.

About the unique 'sound words'.
Oh, right. They're influenced from horror movies and rock music. In progressive rock and horror music, they use synthesizers and an instrument called a mellotron and sometimes I really want the tinkly kind of sound it produces for some scenes. Also stuff like "Chwween" and "Kyun Kyun Kyun!" You know how they often have noises like that in horror moves? I get the feeling of wanting those in my work. So I just write them out using letters and they naturally become the sound words I use, and I'm not really conscious of it.

Is the model of Kishibe Rohan yourself?
Everyone I meet for the first time thinks that I'll be like Rohan, so it's a bit of nuisance. I once thought about just acting like that character but that is something I aspire instead and I'm sorry if I break anyone's dreams, but I'm not really like that. Everyone comes into my house a little bit frightened. Sorry, but I'll use this to change my image now.

Do you lick spiders like Rohan?
Well, I do sometimes try eating some unusual things. If they tell me that it's edible cooking then I'll eat it, but... (Laughs)

Themes Embedded in Araki's Work
The theme of JoJo that continues for 20 years?
To not negate human beings. What I mean by that is is to have positive thinking characters that don't stress about things going wrong. They're not allowed to stress. They believe strongly in what they do. Even if its a bad guy doing bad things, those actions are very important to him and he'll use that to move one step forward. Then in response, the hero comes to defeat that. When they both step out forwards they'll then conflict. That's what I find interesting. I don't think it's interesting as a Shonen manga if the hero feels some sort of empathy for the villain. For example, with the character Yoshikage Kira, he's a serial killer but I think that he had his own proper reasons for doing so, such as the poor environment of his childhood, his relationship with his mother and his father always ignoring him. But if I write that you start to feel sorry for Kira, and so despite being such a horrible villain, when Josuke fights him, I think he'll kind of feel sorry for him. But then Kira says that he's fine being that way and moves one step up. That's what I like. That's the reason why I really like Kira. Although he may have had a bad childhood and turned into a serial killer, I always hope that he tries his best at being one. I can't really say that out loud much though. I'm secretly a fan of his. So living with a postive outlook like that is the theme of JoJo. It's a 'celebration of humanity.' To make humans positive. There may be conflicts because of that but that sort of thing is a theme.

Will that remain to be the theme?
Yes, probably. I said this before but I think that if the villains weak, it'll definitely be a boring story. They may be that way in real life but its better if its not in a manga like this. I don't think it'll change.

A finale message to the fans
JoJo's Bizarre Adventure: Phantom Blood is a piece that I created 20 years ago and it really feels nostalgic. I'm really thankful that it has been adapted like this after 20 years.I find it more special than a recent and currently serialized one being adapted because it makes me think that it really has been appreciated for 20 years. So I would really like to express my gratitude and say thank you very much. I hope you really enjoy it. I've properly checked the game myself and I've given it my guarantee.[18]

—Hirohiko Araki

Shoko Nakagawa (2006)

If you could use a Stand power, whose Stand would you choose and what would you want to do with it?
Araki: Well, which one do you choose, Shokotan? Can I call you Shokotan?
Shoko: Of course! He calls me "Shokotan"! I'm so glad. My dream is to marry Jotaro-sama and have a child with him. He'd probably say to me, "Yare Yare Daze" and spit on me. That's my dream. Sorry, the question was about stands, wasn't it.
Araki: So, Star Platinum?
Shoko: I want to receive 'ora ora' from him.
Araki:(Laugh) Hmm...I think I would choose Rohan Kishibe's Stand. I want to know what people are thinking by opening their minds.
Shoko: You work with various people, so that would be useful.
Araki: Yes, I want to discover the unknown sides to them.
Shoko: It's scary though, it seems like you are already able to use that Stand, I guess.
Araki: (Laugh) Well, yeah. And your choice is Star Platinum, right?
Shoko: I want to be beaten up by him.
Araki: I hope your dream will come true.
Shoko:(Laugh) I am a completely bizarre person.

What type of woman does Jotaro-sama like?
Araki: Type of woman? Uh, I don't think he is interested in women that much.
Shoko: I think he would say, "Yare Yare Daze," to a girl like me, right?
Araki: He definitely would. That is his charm.
Shoko: He would also say: "You are annoying."
Araki: (Laugh) That would be great.
Shoko: That's what I want! I want to have a child with him. How can i make him love me?
Araki: He might say that you're annoying, but he'd still love you, I think.
Shoko: I like it! It's tsundere. Does he prefer a girl who's neatly dressed or one with a short skirt?
Araki: Eh, he is more of a straightfoward guy. He will enjoy the time with you, though he might say that you're annoying.
Shoko: Really? Then I will do my best! I think I should go to a disco.

Is Jotaro's school cap a part of his head?
Araki: Yes, it's true.
Shoko: Is it? Why is the cap a part of his head?
Araki: Well, because he never takes off his cap.
Shoko: The cap is part of his body?
Araki: Right. When drawing Jotaro, I felt it was OK to combine him and his hair since he never takes it off.
Shoko: That's a unique idea.
Araki: Indeed. By doing so, Jotaro looks more elegant. I want readers to recognize him from the back, not just his forefront.
Shoko: So he isn't actually wearing a cap. The cap is completely part of his body.
Araki: That is right.
Shoko: Only Araki-sensei could come up with such an idea. It's me who wants to use Rohan's stand to see inside of Araki-Sensei's imagination.

There is a rumor that one scene in the 20th volume of JoJo's Bizarre Adventure predicted the 9/11 attack in New York 11 years before it actually happened. Did Boingo really predict 9/11?
Araki: Yeah, that actually surprised me. I don't know why I drew such a scene.
Shoko: You clearly wrote the word 911 and the laughing plane.
Araki: I don't even know why the plane is laughing.
Shoko: You didn't intentionally draw the scene?
Araki: Well, I don't know. I don't remember. I drew that scene as part of the story, but I don't know what it means. I learned about it recently, but I think it's just a coincidence.
Shoko:Your stand can predict the future. Your Stand predicts the future AND keeps your yourself young. (Laugh)

How can one defeat Star Platinum: The World, the most powerful stand ever?
Araki: Eh...Jotaro can be defeated only by Jotaro himself or by the child of Jotaro and Shokotan.
Shoko: You allow me to have his child? So Jotaro-sama and I have a child and he won't be invincible.
Araki: Correct.
Shoko: That's a great idea!!
Araki: Actually, it's impossible to defeat his stand at the moment. Star Platinum can halt the flow of time, so to defeat him, you need to let time flow again.
Shoko: So you would need to possess a power to control time itself? Sounds great.

What do you keep in mind when drawing pictures in color?
Araki: Well, the combination of colors is important. Like what color should be placed where.
Shoko: What is your favorite color?
Araki: My favorite color? Green...or moss green with some white. The mix of dark moss green and white is my favorite.
Shoko: But the color you actually draw with and the color that is printed are somewhat different right?
Araki: Yeah, you're right. So the important thing is not only the color itself but its adjacent colors.
Shoko: When you were a child, what were you drawing?
Araki: I was drawing things like Hakagata Mitsuru, a character from Kyojin no Hoshi. I'm a big fan of Ikki Kajiwara. I was curious how Joe Yabuki's hair looked like when we saw him from the forefront, right side and left side.
Shoko: Ordinary kids draw Joe only from the right or left sides, but you were not a normal kid.
Araki: (Laugh) Yeah.

What type of woman does Araki-Sensei like?
Araki: EH..? This question is hard to answer.
Shoko: You wife may be watching this show.
Araki: I like a woman like my wife.
Shoko: A good answer. What do you like about your wife?
Araki: As soon as you meet her, you will see that she loves gags. She will often say gags like Shokotan's giza thing (means "super").
Shoko: She uses "giza"?
Araki: When I said to her "Giza Ohayu-su" (Super good morning), she told me I was doing it wrong.
Shoko (Laugh) You wife corrected your usage.[19]

Nekoi Tsubaki (12/29/2006)

December 29, 2006 ARAKI HIROHIKO & NEKOI TSUBAKI SPECIAL TALK From the xxxHolic reading guide, new edition.

Araki: My meeting with CLAMP was quite interesting. Though I don't know if it's all right to say this.

Nekoi: It's fine, please go ahead. *laughs*

Araki: By coincidence they frequent the same beauty salon as my wife. So apparently she was chatting with the beautician saying "My husband draws manga," and they told her "We have other clients who are mangaka too."

Nekoi: That's right. Then I heard that Araki-sensei's wife was there and basically it turned into a huge deal.

Araki: We live quite close so said "Why not come over sometime if you like?" and that's how it started.

Nekoi: But really, I've only met Sensei four or fives times in total up to now. And it was always the four of us as a group, so I think this is the first time we've had a one-to-one conversation. I'm really nervous.

Araki: Come to think of it, at first I believed CLAMP were male. I thought it was a man pretending to be a woman in order to draw in a girlish style. [2] And then I heard rumours that it was several people collaborating and not just one person, and I thought, What the hell? There were too many pieces of information flying around, I couldn't make sense of it. It was pretty mysterious.


Nekoi: It was really very early on that I encountered Sensei's work and thought "Wow, I love this person's manga" - with Devil Boy BT.

Araki: BT! I got into so much trouble with the editors for that one. They said right off the title was impossible, there's no way you can run a manga called "Devil Boy" in Shounen Jump, and that the main character was evil. I had to explain that it was essentially a rehash of Sherlock Holmes and in the end somehow I convinced them.

Nekoi: That's amazing, it was that difficult then. I couldn't have imagined but there was something alien about it I found as a child, I think, and that fascinated me.

Araki: Really though, the 70s were a period in the manga world where you had to develop to set yourself apart from the crowd. That was the tide, to go where no one else had gone before. I worked hard on that, so it makes me very happy to be told someone liked it.

Nekoi: I loved it!

Araki: Thank you very much! But, to think those readers back then have become what they are now... it's amazing. They even criticized my work. *laughs*

Nekoi: Please don't say things that sound so awful~

Araki: They crowded up and were like "Why did you do such a thing to Jotaro there!?"

Nekoi: But, anyone would do that if they had their favorite mangaka in front of them! You don't know if the chance will ever come again, right? So you want to run up and make them tell you everything! [3]


Araki: If I had to say what interests me the most as someone in the same line of work, it would be how you divide the work among the four of you. I've heard you don't use assistants so… In any case I would venture that xxxHolic is mainly drawn by Nekoi-san, is it not?

Nekoi: I wonder if that's so... perhaps that's not the case? *laughs*

Araki: It must be Nekoi-san, surely. The kimono styles, the atmosphere of the art has that feel to it... I don't suppose you can tell me? [4]

Nekoi: No, it's quite all right, I'll answer.

Araki: Ah, you can tell! I thought this might be CLAMP's greatest secret. *laughs*

Nekoi: I'll go with the conclusion. The female characters in xxxHolic are drawn by Mokona.

Araki: Eh! Yuuko-san and Himawari-chan and everyone!?

Nekoi: That's right. I draw the male characters, the youkai, and any spirits that aren't in human shape. And animals. The covers and colour pages are Mokona and I together. The overall flow is blocked out by Mokona from Ohkawa's script, after which I check it, and that's how things typically advance. If we get stuck on anything we go back to Ohkawa and ask, "I don't quite understand this part, what is it supposed to be?" and then we fix it. Once everything is settled, Satsuki, Mokona and Nekoi each draw our parts separately.

Araki: You're really systematic. How did you establish xxxHolic's global aesthetic?

Nekoi: There's a concept for the cover or opening art each time, and that's decided by Ohkawa. The story and worldview are all Ohkawa. She's like the overseeing producer.

Araki: There's something of an Art Nouveau element to it, design wise.

Nekoi: There's a Japanese-ness to it, and Chinese too.

Araki: The gothic atmosphere that permeates the work is a large part of its charm. All that flat black is great.

Nekoi: We decided not to use tones this time.

Araki: Yes, it's good to have a clear divide between black and white. That's something I can't do. I can't bring myself to colour something in as a flat surface. I have to crosshatch and make it stand out in 3D. Something like a school uniform, it's frightening to colour it in… if I bring it down to a basic aesthetic level, perhaps.

Nekoi: But if I had to choose I'd pick Tsubasa's tactile feel. *laughs*

Araki: I see. But you can also draw in a gothic style. That's amazing! All of xxxHolic has a flat, decorative feel to it, like Japanese prints or Alphonse Mucha.

Nekoi: Ah, Mokona likes Mucha.

Araki: I thought so. It comes across. And the base colour of the tankoubon covers is never white.

Nekoi: That's true. It's always gold or silver, and then colour printed over it.

Araki: The feeling that there's an overriding concept at work is what makes it special. I think it's cool. With the JoJo series I wanted to use the classical method as a base and then introduce modern elements in the singular. For instance, drawing in a realistic style but colouring in completely impossible colours. Or completely impossible poses.

Nekoi: Impossible poses… but the fans imitate the poses? The "JoJo stances".

Araki: True, true. That's the thing, I aim for impossible but then am like, "Huh? Well, I guess it's possible after all..." *laughs*


Araki: Does CLAMP ever travel for research purposes?

Nekoi: Almost never. We know that drawing from imagination can't approach the solidity that comes with research, that level of reality where people can say, "Turn the corner right there and you'll see my house..." But if you take the scenery from xxxHolic, for example, the place where Yuuko-san exists is an enclosed courtyard really. Aside from that I think depicting fantasy in a fantastical way is also a matter of technique. Well – one of our early stories did have an Indian flavour to it.

Araki: I understand. For my part, you see, I'm currently drawing a journey as my main theme. I started wondering about the psychology of someone who's been walking for three days straight. So I went and walked the Kumano pilgrimage road, which is a World Heritage site, to see what it was like.

Nekoi: Wow. And did you understand anything from it?

Araki: Yup. After three days, first of all you want to throw away everything you're carrying. I even wished I could throw away the cel phone they told me to carry in case I came across a bear. And when I saw the shrine at the end of the road, I felt thankful from the bottom of my heart. I honestly and unironically thought, "Thank god I came this far without getting hurt." It cleansed my heart, perhaps? I understood then that the road was put there in order to give people that experience.

Nekoi: That's a World Heritage site for you.

Araki: xxxHolic takes place in a magical alternate world, doesn't it. What I get hung up on is, What are those youkai-like things!? The ones shaped like young girls and the ones shaped like animals, and the monster types, are they all part of the same existence?

Nekoi: Er... the properly-formed youkai and the monster-like ayakashi are different things actually. But then, if you put them all together one can't say much other than "Well, that's the kind of world it is."

Araki: The "stands" in JoJo can be conceptualized as a reification of hidden talent, with their source being a sort of energy that's been in the earth since ancient times. So there are no real monsters or youkai in my story. I've never really been able to get the existence of such things. I looked at Mizuki Shigeru-sensei's drawings and thought they were lovely, but when I saw something like a "bean washer" in the picture I would just think, What's up with that? I couldn't see any reason for that creature to exist. Purely for the sake of washing beans?

Nekoi: That's true. It's the sort of world where you go take a bath and there's an "akaname" in there.

Araki: Exactly. What the heck is it? Is it an enemy? An ally? What does it want? If you can't figure out that much how are you supposed to fight it! Is what I think.

Nekoi: That's a Jump-like way of looking at it. *laughs*

Araki: With that in mind, the other day I went to Toono, in Iwate. In order to gain a better understanding of youkai.

Nekoi: Wah~ Such lengths. *laughs*

Araki: "I'd like to draw youkai too~" was what I was half-thinking. *laughs* So I went to the Kappa River there, the one that's famous for kappas, and stood on the riverbank spacing out. And as I was standing, there was this middle school-aged boy there at the same time, and he bursts out with, "Hirohiko's in the Kappa River!" Like, "Oniichan, look, there's a Hirohiko in the Kappa River!"

Nekoi: *dies*

Araki: And even I for some reason thought for a split second, "Gah, I have to get out of here!" At that moment I finally understood what it must feel like to be a youkai. *laughs*

Nekoi: You understood what it feels like to be a youkai, huh... *laughs* I bet it's passed into legend by now. His brother came and said, "There's no such thing, you're lying!" And he said, "It was really there, I saw it!" And there was a huge disturbance, and years afterward you'll hear the story of the kappa Hirohiko in the river.

Araki: So there, I think that might be what youkai really are.


Araki: If it had an Indian flavour... do you watch a lot of movies? On DVD or whatever.

Nekoi: I watch films in the usual way, because I'm always following fads. I liked "Jurassic Park".

Araki: I like stuff like that too. Like "Jaws". But recently I've really been into Michael Mann's films: "Heat", "Collateral" and so forth. I like the sense one gets that the characters are driven by fate, but they don't hesitate over their actions. They hurtle toward their destiny in a way that goes beyond considerations of good or evil. It makes me weak at the knees. They're not movies you're supposed to cry at but I get tears in my eyes anyway. I think, "Oh, you people!" Do you have anything like that?

Nekoi: I'm faddish but I did like "Independence Day".

Araki: The story's pretty astonishing in that one. In order to fight with aliens, they get into a flying saucer that was buried on earth by aliens in the past. The human strategy was like ripping off the opponent's fundoshi in sumo. The designs all came from other SF works. And on top of it all the President himself flew the saucer to fight. When I saw that I decided the party would be battling the President in Steel Ball Run.

Nekoi: Really!?

Araki: Yeah, I realized a fighting President is awesome. [5] Was there ever anything like it?

Nekoi: It's very American. Although maybe Americans themselves don't realise it. And it was a German who made it. I think he made it with the intention that that's what Americans would like to see, and it really hit home. I like it too! *laughs*

Araki: What about Japanese films? I don't go to the theater but I watch a lot of DVDs. I saw "Sekachu" and so on.

Nekoi: Wow, you saw it?

Araki: Yes, it was good.

Nekoi: Was it!

Araki: Yes. I'm the type who cries at everything. That's right, lately I've gotten hooked on daytime soaps. Ever since "Shinju Fujin" I can't go without checking in with the latest developments. She became his lover with the aim of getting her hands on his fortune! It's awesome!

Nekoi: *laughs*

Araki: The dialogue gives one thrills down the spine. They say such dangerous and suggestive things the viewer's left panting. Like, is it all right to show that? But there they have it on television, at high noon.

Nekoi: It feels like you watch it to enjoy the names.

Araki: Exactly. A lot of mangaka seem to watch soaps, because time-wise it's just when one's getting out of bed. Morita (Masanori) sensei told me he also watches them. *laughs*


Araki: Many of CLAMP's mysteries were made clear to me today, so for my part this has been a meaningful hour spent. Thank you very much.

Nekoi: The pleasure's all mine, thank you very much. Though I would have liked to talk more about JoJo.

Araki: But today we're talking about xxxHolic.

Nekoi: Don't you think we should reveal more of JoJo's mysteries too, even for the sake of the reader?

Araki: Oh, I think it'll be quite enough if you say "He's so cool and looks just like Kishibe Rohan ♥". *laughs*

Nekoi: Oh yes, that's true. He's so cool and looks just like Kishibe Rohan. *laughs* And you look younger and younger in the photos that get published these days.

Araki: That's because I'm a Ripple user. *laughs* [6]

Nekoi: Please do become a new legend in Toono, I'd love to see it.

Araki: Leave it up to me. *laughs*[20]

Manga Heaven (6/25/2007)

Question: What kind of editor do you have?

Araki: They’re something like a cheerful partner to me. They’re extremely important. I absolutely could not create manga alone. Coming together and discussing with my editor is of utmost importance.

By the way, until now I worked with more than 10 editors, but the most recent one tends to not tell me his opinion on things. I get a little angry when he does that. He says that whatever I say is good, and I tell him that saying what’s good is his job.

Question: Have you ever changed your work because of an editor’s opinion?

Araki: Of course. He gives me his tastes and preferences. For example, initially Dio was not going to be defeated in Egypt, but the Editor liked Egypt. I said, “Isn’t Egypt dirty?” He said, “Not all of it.” So, we ended up going together. I really didn’t want to go though haha.

"Mr. Hirohiko Araki" Part 1

Mr. Araki is currently serializing "Steel Ball Run" in Ultra Jump. What kind of environment does he create his one-of-a-kind works from? So, here we asked Mr. Araki to tell us how he approaches the creation of his works. We also reveal the secret story of how those "poses" and "compositions" were created!

Hirohiko Araki's work style, its origin in "Kochikame"? -- First of all, please tell us about your work style.

Araki: People may have an image of manga artists staying up all night, but I live a regular life, like a company employee. And I don't disrupt that as much as possible. I also take two days off a week. -- Do you think staying up all night decreases efficiency?

Araki: Basically, I think it "falls off." There are times when I get into the groove and want to keep working and stay up all night, but it's not good for years to come, so I stopped staying up all night when I was over 30 years old. It's better for me later on.

-- Is that true not only for Mr. Araki but for other manga artists as well?

Araki: No, not everyone. I just follow the example of my senior, Mr. Osamu Akimoto ("Kochira Katsushika-ku Kameari Koen Mae Hashutsujo") and do things that way.

-- What is your relationship with Mr. Akimoto?

Araki: It's not that I was his assistant or anything, but simply that I have heard such rumors about Akimoto-sensei and have taken the liberty of following his example (laughs). (Laughs.) Incidentally, Akimoto-sensei also influenced me to submit my work one week before the deadline. That is why I have never missed a deadline.

-- So you are firmly in control of your work. By the way, what is your work cycle like?

Araki: In the case of JUMP, it is Friday when we have to put the book in the printer. So I want to finish by Thursday night, or Friday noon at the latest. So, I would think of a story on Sunday, have it checked by the editor on Monday, start the rough drafts, and then make it into a picture from Tuesday to Thursday.

Right now I'm working on a serial in a monthly magazine (Ultra Jump), but I split the pages and draw at a weekly pace of 15 pages each.

-- Are monthly publications less burdensome than weekly publications?

Araki: Although the number of pages has been reduced from 19 to 15 in the weekly magazine days, it is a relief to have a deadline only once a month. I feel more relaxed. When I was working for a weekly magazine, if I exceeded a deadline, I had to immediately move on to the next deadline.

That kind of stress becomes really hard when you have been doing it for a long time. Also, it became physically demanding.

-- But when "Steel Ball Run" was published in JUMP (up to volume 4 of the comics), it was serialized at an astonishing 31 pages per week, wasn't it?

Araki: I was able to do that because I saved up some drawings while I was on vacation. If I tried to cram in more pages, I would have to reduce the power of the pictures and use smaller frames. But then, "Gun! In some cases, you want to use a big goma to show the audience what you are doing. That was the hardest part of "Jojo" up to that point. I had to cut down a lot. So I negotiated with the editorial department and had it done that way.

-- How do you create this particular story?

Araki: Well, if the character's personality and so on are already decided, the story can only go in a certain direction. It's already decided, even before you draw it.

The situation is like this, the character is like this, so it has to be like this. That's how it is.

All I think about is, "Last time the stand was violent, so this time I'm going to soften it up a bit," or something like that. I am conscious of the balance, and let the characters move as they move. If I try to force the characters to move in a certain way, I end up making them look strange.

For example, at the end of the first part, I wanted to not kill Jonathan Joestar, but that was a scene where he had to die. I had a serious discussion with my editor, and in the end we decided that it would be okay to have something like that. This is a beautiful way to die.

-- Speaking of Mr. Araki's works, there is a lot of talk about his unique compositions and poses, such as the so-called "Jojo Stand" -- where do you come up with such things?

Araki: That's hey ...... Let me go back to the 80's, when I made my debut, there were a lot of great cartoonists among my seniors and people of the same age.

For example, "Captain Tsubasa" (Yoichi Takahashi), "Ring ni Kakero! (Mr. Masami Kurumada) and "Fist of the North Star" (Mr. Tetsuo Hara and Mr. Takeru Takemono) can be recognized even from 100 meters away. That is an amazing thing.

I have always felt that I don't have that kind of thing. ...... Even after I became a professional, I was still troubled by it. Then, when I was about 25 or 26 years old, I went to Italy on a research trip and looked at sculptures, and I noticed that the poses were all twisted in some way.

Suddenly, I thought, "This is it! I was inspired and thought I would try to draw this in my own way. I decided to pursue spirals and curves like that.

-- So you decided to create a "pose" or "beauty of form" rather than a "pattern" to express your own personality.

Araki: I wanted to draw "my own" pictures.

-- Did you want your own unique style?

Araki: Especially in those days of Shonen Jump and the alike.

At that time, the trend in the Jump editorial department was that if you tried to imitate them, you would get a lot of flack. They would say, "This is a copy of XXX," or "This is not good! I was like, "Oh, my God, I've never seen anything like this. That's what I was told every day (laughs).

(Laughs.) What I was told at that time in the JUMP editorial department is still ingrained in my mind. It's like a rule in my mind. This is what manga should be like! Like that.。

-- Specifically?

Araki: For example, in the shonen manga of the time, eyebrows had to be drawn thick. I still can't get over that. If you make them thinner, it makes me feel uncomfortable. It is very difficult to overcome imprinting (laughs).

Hirohiko Araki ed.

I want to know more about Mr. Araki! So, I asked a few simple, but very in-depth questions. Please give us your best wishes, doctor!

If you could take only one manga with you to a deserted island, what would it be?

I'm lost. ...... If I dare to choose, I will bring the fourth volume of "Babil II" (by Mitsuteru Yokoyama). It's my starting point. There is a scene where Babil II enters the Tower of Babel and is attacked, and that is good.

What is your favorite movie?

I think "The Great Escape" (directed by John Sturges) and "Heat" (directed by Michael Mann).

In "The Great Escape," the part where Steve McQueen comes back again and again makes me cry. I like his manliness and the fact that he comes back for everyone. I can't get enough of it.

In "Heat," too, Robert De Niro should have run away, but he didn't, and that's the kind of thing that makes me giggle. The shootout was cool, too.

What are your favorite and least favorite foods?

My favorite is spaghetti with tomato sauce. What I don't like is tomato skins in salads and such. I can eat them if they are boiled or made into a sauce.

What is your background music while working?

CDs, mostly Western music.

How do you change your mood at work?

I go jogging during my lunch break. But the air outside is dirty, so I go to the gym. About twice a week, depending on the day, I run about 4 or 5 kilometers.

Working in this posture is bad for my body, so I like to exercise my body.

What was your favorite subject when you were a student?

I guess world history. I was good at it, or rather, I liked it. I used to draw characters in my textbooks and memorize them (laughs).

What would you do if you met Osamu Tezuka now?

I was a great help to him when he was making his debut. If I could meet him now, I would apologize for getting up at the Tezuka Award party.

The talents I would like to meet now are

I would love to meet Kiefer Sutherland! I watch all of "24 -TWENTY FOUR-" (laughs).

What is your favorite city?

I like Capri, Italy. But I don't want to be inundated with people when they read this (laughs).

If you could be reborn, in which era would you want to be reborn?

I like the Renaissance. I also like the Wild West. I would like to be a cartoonist for work, but if not, I would like to be a painter. I would like to travel while painting.

The impact of "Kinnikuman" that made high school students in Sendai take it seriously

-- What are your hobbies?

Araki: Hmmm, I don't have any hobbies. But I do like movies. I often go to the cinema, and if you include DVDs, I watch about 4 to 5 movies a week. I especially like horror films. Recently, I liked "Hostel" (produced and directed by Quentin Tarantino).

-- Do you watch DVDs on a large plasma TV or a home theater?

Araki: No, it's a CRT, and I watch it on the one I've been using for about 20 years.

-- That is surprising. I had the impression that you were watching it on a high-end home theater or something (laughs).

Araki: They don't break easily. But I think CRTs are much more beautiful than LCD TVs.

-- You also like music, don't you? From the names of Jojo's stands, it seems that you listen to quite a wide range of music.

Araki: I love it. I listen to it all the time while I work.

-- What kind of music do you listen to these days?

Araki: Country is good. It's very good.

-- Do you still try to get ideas for your manga from movies and music?

Araki: No, but I think it is being utilized. Music, for example, sometimes comes out that doesn't make sense. It is something beyond my conception.

When I listen to something like that and understand it, I try to think that I am not old, that I am not an old man (laughs).

-- You seem to be particular about fashion as well. ......

Araki: I like fashion magazines, like Vogue and Numero, with cool covers. I also often look at magazines that have the works of my favorite photographers, such as Steven Meisel and Peter Lindbergh.

And as I look at them, I think, "This is this year's fashion. Last year and this year, it was Dolce & Gabbana.

-- Did you have this interest in visuals since you were a child?

Araki: Well, in our generation, parents always buy encyclopedias and complete books. I was also bought a complete art collection and looked at it all the time.

Among them, Gauguin's and Picasso's paintings were particularly mysterious to me. I wondered why they painted them. I could understand Leonardo da Vinci, for example. But they were a "mystery. That's what drew me in.

It was the same with music. After the Beatles, there was progressive rock. ...... Even listening to it now, I still wonder, "What's that all about? You felt like, "What the hell is this? Pink Floyd, for example, is really weird, but if you listen to it carefully, it's good.

-- So you weren't really interested in the kind of stuff that normal kids watch? For example, "Kamen Rider" (by Shotaro Ishinomori).

Araki: Oh, "Masked Rider" was also a mystery. You know, to be frank, I didn't find it interesting at all (laughs). Compared to "The Star of the Giant" (Kajiwara Ikki/Kawasaki Noboru), I had no idea what the story was trying to say. The story is always brooding and fretting over what to say. It was strange that he was so popular in spite of that. Ishinomori's "An Introduction to Manga Artist" is my bible, but I still don't understand how good his manga is.

-- When did you start drawing manga?

Araki: I have been drawing manga since I was in elementary school. I thought up the story, divided the panels, and drew several pages of manga.

My friend at that time praised my drawings. He said, "You are very good. That made me very happy. He didn't draw comics, but he gave me a lot of advice like an editor, so when I drew something, I would show it to him first. I still keep in touch with him.

-- So that was the start of Hirohiko Araki as a manga artist. By the way, did you have any friends around you who "drew" manga?

Araki: I didn't have any. At that time, people would make fun of me if I read manga in public. Also, my parents and teachers would get angry. That was the era. So I did it in secret.

Of course, there was no one to teach me, so I relied only on the "Manga-ka Nyumon (Introduction to Manga Artist).

-- When did you decide to become a professional cartoonist?

Araki: When I was in high school, Yudetamago ("Kinnikuman"), who was the same age as me, made his debut. I was shocked, even though we were both high school students.

I had hoped to become a professional cartoonist in the future, but for the time being, I was studying as a high school student, right? So I said, "What? Is that even possible?" I was like, "What the heck is this?

(Laughs.) Then I realized that this was no time to be studying, and I was in a great hurry. So I immediately submitted my entry and was selected as a finalist, but I was not selected. I wanted to know what was wrong with it, so I took it to the JUMP editorial office. ...... The editor told me I was being a jerk (laughs).

-- Specifically?

Araki: You basically taught yourself everything you know, didn't you? That's why I didn't know what "white" was. Generally, in manga, white is used around drawn characters to make them easier to read, but usually, after drawing, a border is put around the characters with white ink.

However, I didn't know that at the time, so I tried to draw it that way from the beginning. But no matter how I tried to do it, it would always slightly stick out, wouldn't it? That's what my editor was upset about. When I said, "It sticks out," he said, "Don't you know anything about white? (laughs).

But in the end, I thought it was kind of funny, so I decided to fix it and submit it for the Newcomer's Award.

-- So that's how you got your debut!

Hirohiko Araki - His Understudy Period

-- May I ask you about your time in Shonen Jump? First of all, please tell us about your debut work, "Mah Boy Beetee" (1983). How did that work come about?

Araki: I love Sherlock Holmes. I wanted to depict a smart protagonist who does intelligent and evil things, but it is a fight for friendship, never for personal gain.

-- But what they do is bad, isn't it?

Araki: It is bad, but we do bad things to defeat evil. The idea is that it is actually justice. Since that time, I have had the feeling that good and evil are more complex concepts, and I drew this picture with this feeling in mind. I didn't want to say simple good and evil or something fishy like that.

-- I didn't want to say anything simple like "good and evil" or "good and evil" or "bad and evil" or "bad and evil" or "bad and evil.

Araki: But the editorial department was very strict about it. They said the title "Demon Boy" was no longer good enough (laughs). (Laughs.) But the person in charge was on my side, and the story somehow made it into the serialization.

-- How did readers respond?

Araki: I heard that people were puzzled at first, but by the end, they were quite supportive.

-- It was a waste to end it after only 10 weeks, wasn't it?

Araki: Well, I was living in Sendai at the time. It took me about two weeks to draw one week's worth of work. Of course, I didn't have any assistants, so I did everything by myself. I don't know what would have happened if I hadn't quit at that point.

-- So, physically, you were limited to 10 episodes.

Araki: Yes, that's right. Anyway, at that time, I wondered how I could do a weekly serialization. It took so much effort to draw a single book.

At that time, however, "Kochikame" ("Kochira Katsushika-ku Kameari Koen Mae Hashutsujo") had published about 50 volumes. I thought to myself, "What in the world is this guy (Akimoto Osamu)?

(laughs) -- What did you do after "Ma-Shonen Beetee" was finished?

Araki: I immediately began discussing with my editor what to do for the next work. As a result, we decided that since we had depicted an intellectual battle in "Beetee," we should depict a physical battle this time. That was "Bao Visitor" (1984).

And for that, I did interviews and scoured books that could be used as material. ...... For example, in "Bao" there is a secret society, and for that, I read books about actual secret societies in Europe.

And on top of that, I wrote four storylines and submitted them for review for a new serialization, and when the serialization was accepted, I moved to Tokyo and ...... Or rather, I was kidnapped like a kidnapper by the person in charge, who said, "I don't want to go to Sendai to pick up the manuscript" (laughs).

(Laughs.) That was about three months before the start of the serialization, and after that, I kept drawing the manuscript ahead of schedule. I had suffered from "corrections" when I was working on "Beattie.

-- Did you have to do a lot of "corrections"?

Araki: Yes, it is common to fix 10 pages or so. The serialization was 19 pages, but I was actually drawing about 30 pages every week (laughs). (Laughs) The person in charge would say, "This is no good," or "You have to redraw this.

-- What do you mean by that?

Araki: Facial expressions. I was inexperienced, so the first picture and the last picture were different. In those cases, I was forced to redraw them.

Also, this may be a speciality of the person in charge, but I think it's the "BAKO! The "c" part of the drawn letter "c" looks like a "li," so you have to redraw it or something like that. ...... If the drawn characters are covered by the face, the entire frame has to be redrawn.

-- That's a lot of work. Do you ever wish they would give you a break?

Araki: It's a world where there is no such thing as "please give me a break.

Even Shinji Hiramatsu, whose "Black Angels" was very popular at the time, once had to redraw an entire 19-page page, so he said, "Guys like you do it all the time.

I hear that some newcomers don't like to have their work redone these days, which is unbelievable. I can't believe it. I wonder what they would do if they refuse to do something they are grateful for.

-- So you didn't bring in any assistants?

Araki: I started to include them in "Bao". However, I myself had no experience as an assistant, so I didn't know how to give instructions, and conversely, I asked what instructions they wanted me to give. ...... In the beginning, that didn't go so well, and it was stressful.

For example, when I asked him to paint a solid color here, he would paint it elsewhere (laugh). I didn't know what to do in such situations, whether I should get angry, gently tell them off, or reflect that my instructions were wrong. I went through a lot of trial and error in this area.

-- I had no choice but to manage the situation in my own way. Then, did you find that your assistants who had been working elsewhere were sometimes surprised by your unique way of doing things?

Araki: I think there was. What I actually heard was about how to draw destroyed objects. For example, when a teacup is broken, I don't like it unless the pieces are drawn so that they fit together like a jigsaw puzzle, but there are people who draw such things in a random manner.

Some people draw these things in a proper manner. I told him that I was surprised to hear Hirohiko Araki say this to another cartoonist (laughs).

(Laughs) -- It is true that at that time (in the 80s), there were not many manga artists who were so particular about their drawings. Perhaps you were a little too far ahead of the curve.

Araki: But I learned a lot from his assistants in terms of technique.



―― やっぱり、絵の上手いまんが家さんの描き方には興味があったんですか?

荒木:そりゃあ、ありましたよ! 当時、『コブラ』の寺沢武一先生の原稿がどうしても見たくて、編集者に頼み込んでコピーをもらったりしました。あり得ない方向にペンが走ってたりして、どうやって描いているのか、すごい気になってたんですよ。

―― 今では業界トップレベルの技術力・表現力との呼び声も高い荒木先生ですが、デビュー直後は勉強また勉強の日々だったんですね。


ジョジョの奇妙な冒険 -荒木飛呂彦は屈しない- ―― 『バオー来訪者』の終了から約2年後、ついに『ジョジョの奇妙な冒険』(1986年~)が始まりました。




―― それが、ジョジョであったり、ディオであったりするわけですね。でも、『ビーティー』の時もそうだったわけですけど、本流に逆らうのは大変なことだと思います。当時の編集部からは、「もっと分かりやすくて強そうな敵をバンバン出せ!」とか、そういう要望はなかったんでしょうか?


―― アンケート結果にこだわっていなかったんですね。



―― そういう意味で言うと、『ジョジョ』は、新しい部が始まるたびに全く違う方向になって、新鮮な面白さとパワーがある作品ですよね。ところで、『ジョジョ』の主人公が変わっていくという、当時としては(今でも?)かなり珍しいアイディアは最初から予定していたものなんですか?


―― なるほど。ではディオも最初からジョースター一族に関わっていくキャラクターという予定だったんですね。


―― 逆に、連載中に偶然生まれたキャラクターや設定というのはありませんか?




―― でも、だんだん認知されていって、今では定番の表現方法になっていますよね。


―― しかし、こうしてお伺いしていると、随所に「編集者」の存在が出てきますよね。荒木先生にとって「編集者」とはいったいどんな存在なのでしょうか?



―― 編集者の意見によって作品が変わるって事はあるんですか?

荒木:それはもちろん。その人の好みも入っちゃったりするし。たとえば、ジョジョの第3部でディオを倒しにエジプトに行くじゃないですか。あれは、編集者がエジプト好きだったからなんですよ。僕は、ああいう、なんていうんですか、汚い? そういう場所はイヤだったんですよ。それを編集者がむりやり一緒に行こうよって。僕は行きたくなかったんですけどね(笑)。

―― 今までの担当編集者の中で一番印象が強かった人と言うと?



―― 強烈な作品をお描きの方ばかりですね。ただ、逆に言うと、そんな椛島さんだからこそ、荒木先生の力を引き出せたのかも知れませんね。


ジョジョの奇妙な冒険 -荒木飛呂彦は屈しない-

―― 『バオー来訪者』の終了から約2年後、ついに『ジョジョの奇妙な冒険』(1986年~)が始まりました。




―― それが、ジョジョであったり、ディオであったりするわけですね。でも、『ビーティー』の時もそうだったわけですけど、本流に逆らうのは大変なことだと思います。当時の編集部からは、「もっと分かりやすくて強そうな敵をバンバン出せ!」とか、そういう要望はなかったんでしょうか?


―― アンケート結果にこだわっていなかったんですね。



―― そういう意味で言うと、『ジョジョ』は、新しい部が始まるたびに全く違う方向になって、新鮮な面白さとパワーがある作品ですよね。ところで、『ジョジョ』の主人公が変わっていくという、当時としては(今でも?)かなり珍しいアイディアは最初から予定していたものなんですか?


―― なるほど。ではディオも最初からジョースター一族に関わっていくキャラクターという予定だったんですね。


―― 逆に、連載中に偶然生まれたキャラクターや設定というのはありませんか?




―― でも、だんだん認知されていって、今では定番の表現方法になっていますよね。


―― しかし、こうしてお伺いしていると、随所に「編集者」の存在が出てきますよね。荒木先生にとって「編集者」とはいったいどんな存在なのでしょうか?



―― 編集者の意見によって作品が変わるって事はあるんですか?

荒木:それはもちろん。その人の好みも入っちゃったりするし。たとえば、ジョジョの第3部でディオを倒しにエジプトに行くじゃないですか。あれは、編集者がエジプト好きだったからなんですよ。僕は、ああいう、なんていうんですか、汚い? そういう場所はイヤだったんですよ。それを編集者がむりやり一緒に行こうよって。僕は行きたくなかったんですけどね(笑)。

―― 今までの担当編集者の中で一番印象が強かった人と言うと?



―― 強烈な作品をお描きの方ばかりですね。ただ、逆に言うと、そんな椛島さんだからこそ、荒木先生の力を引き出せたのかも知れませんね。



―― さて、今や、『ジョジョ』といえば、各界のクリエイターやアーティストにも熱狂的なファンがいますよね。そういう、別の世界で活躍していらっしゃる著名人に『ジョジョ』が愛されているということについてはどう思われますか。


―― CDジャケットやTシャツデザインなど、他業界のアーティストとのコラボレーションも積極的に行なわれていますよね。


『Catwalk』 SOUL'd OUT(Sony Music Entertainment, 2006)




荒木:そうですね、頼まれるとうれしいし、つい引き受けちゃいますね。仕事というより、気分転換って言うんですか? 休みの日に楽しんで描いてますよ。

―― 休日にお描きになってるんですか?


―― そうやって『ジョジョ』を知って、ファンになった人も多いと思います。ちなみに、まんがとイラストでは何か違ったりするんでしょうか?



―― たしかに、引き込まれるようなそんな引力を感じますね。ところで、それとはまた別のコラボレーションとして、『ジョジョ』のゲームやアニメがありますが、ああいう風に、自分の作品を、別の人間が別の作品にしていくことについてはどのようにお考えですか?



―― 最後の質問です。先生は、これからも『ジョジョ』を描き続けますか?


―― 逆に荒木先生がまんがを描くに飽きるということはないんでしょうか?



Eureka (11/2007)

Kaneda: A while ago, there was a story called "Let's Go Hunting" and I really liked how Josuke and Jotaro teamed up. First you have Josuke who always feels like he's about to burst into a rage but he's always reliable when push comes to shove. Then there's Jotaro who can get really mad and he'll barely lose the cool expression on his face. I thought them working together went well, I love that story. It's to be expected seeing as he's a scientist, but I'm really enthralled with how Jotaro knows so much about wild animals (laugh).

Araki: Yeah, I like partnerships. When I see artists that have partnerships, I get all jealous. Though I guess there's sort of a partnership between a mangaka and an editor. I liked the partnership of Josuke and Jotaro, too. They both have a kind of "pursuer" feel to them, don't they?

Kaneda: It was so cool when Jotaro said "You've got to be the one to shoot." and then went off to let himself become a decoy.

Araki: They have a relationship where they sort of bring out each other's strengths.

Kaneda: I think that because Josuke respects Jotaro so much, he feels a lot of pride from just being with him. It's an exceedingly good relationship, even one that almost crosses a certain line (laugh).

Editor: Sounds like she's reading into it in a yaoi sort of way. I guess she's excited by that sort of thing.

Araki: Oh, I see (laugh). Maybe it's better that I didn't write that, then.

Kaneda: Yeah! If you'd written that openly, there'd be no room for imagination and that'd ruin all the fun. I don't think anything like that would happen for the whole hunting thing, but if it turned into something like "After the hunt is over, do you wanna go to a hotel?", I feel like that'd be really overdoing it! (Laugh) Also, if something like that were written in the story, there would be a lot of people that really like coupling and would say things like "the only one for Jotaro is Kakyoin!" So it would actually, it would actually narrow the scope of the story. So I really think that stopping just short of that is much better.

Araki: That kinda sounds like "Beverly Hills, 90210". This person and this person are connected, and this person is with so-and-so, that sorta thing.

Kaneda: It's good to draw all sorts of jumbled lines like that (laugh). That way it never goes to the point of actual acts, it's more desirable to be potential.

Araki: I see.

Kaneda: Really, from a boy's point of view a team play is "admirable friendship". and from a girl's point of view it's has a different kind of admiration. And we want it to end with that double meaning. Personally, I think Okuyasu and Josuke make a good partnership, too. Both are good-for-nothing-types. Truthfully, if Okuyasu were smart, he would have a top-class Stand. I think that the user not being smart strikes a good balance.

Araki: He's a lovable character, isn't he? (laugh).

Kaneda: I think Okuyasu is the best person you'd want for your friend. But in regards to partnerships, I think Johnny and Gyro in the current Part, "SBR" are the best.

Araki: That was me tracing the story of Part 1 with Zeppeli making Jonathan grow and trying to write it a bit more deeply. This time they're a bit closer in age, and I'm really enjoying writing their conversations.

Kaneda: I just love those pointless exchanges between the two. Like when Johnny used his evolved nail bullets to brush his teeth and Gyro gave that monotone response about being jealous (laugh). I remember thinking "This is how boys communicate!" when I read that.

Araki: Yeah, boys tend to have those sorts of pointless back-and-forth conversations a lot, don't they? (Laugh)

Kaneda: You really feel their friendship in those sorts of scenes. Rather than hug each other or anything, that makes them really charming to girls.

Saitou: But they have a fixed relationship, so they're kinda hard to couple, right?

Araki: Yeah, there really isn't much room there for reading too much into it, is there? I wanted to have a deeper connection of friendship between teacher and disciple than I did in Part 1.

Kaneda: It's written so richly, so they don't even need to be coupled, I guess. People have ideas about how Johnny is paralyzed in the lower half of his body, so while Gyro generally seems very cold, there are times at night when he has to care for Johnny and that sort of thing.

Araki: Yeah, I like that (laugh). Well, maybe I'll draw a scene of them in a night-time camp scene.

Kaneda: That sounds good! I hope you do (laugh)! Also, I'm hoping that Dio gets involved in their relationship somehow...... Fundamentally, Dio is a character who started out in poverty. So then, because of his desire to be successful in life, he's not afraid of anyone and he's not afraid to dirty himself to make his way to the top. Girls love that sort of thing. Fujoshi-wise, I mean in my mind, at the point in Part 6 where the character of Father Pucci that feels seriously about Dio, I've made this theory of "Dio = Princess" (laugh). Like he started out from the status of prostitute, so he dirtied his body with lots of different men, but his soul never lost its purity. And the 16 year old Pucci was attracted by that...... Early on, there's a scene where Dio and Pucci are sitting slovenly on the same bed facing different directions and having a discussion ('The Time of Heaven', "Stone Ocean" Volume 11). I simultaneously could barely believe my eyes and went mad with joy. That's the effect you must've been going for, right, Araki-sensei?

Araki: Uh... I didn't really think it would be taken that way, I don't think. Guys do that sorta thing all the time. Just sorta crashing someplace. Like when you go drinking and it gets late, so you need to stay over at somebody's place.

Kaneda: Eh, then you're saying that Father Pucci and Dio were out late drinking?! (Laugh) Um, I'm not so sure these are the types of characters who would crash at each other's place because they missed the last train for the night or something.

Araki: Now that you mention it, I think I might've had something like that in mind when I drew it (laugh). But Dio's sort of a composed character that could go either way. He could go with a man or a woman.

Kaneda: Really?! As I thought, my interpretation was correct.... (laugh). So, Dio originally liked Jonathan, right?

Araki: Ah, did he?! (Laugh)

Kaneda: Jonathan Joestar was a man that had everything he didn't, so Dio felt that he wanted to make Jonathan his. That sort of thing. He couldn't allow Jonathan's first kiss to be with Erina, so he did it to Erina himself.

Araki: Uh, it kinda sounds comedic if you're gonna go that far (Laugh).

Kaneda: No, but Dio thought about Jonathan seriously, but at the same time homosexuality was a serious crime in England during that era, so Dio had to hide his desires for such a future deep inside.

Araki: Uh, I guess that could be.

Kaneda: And those feelings he'd suppressed so long finally resulted in him taking over Jonathan's body.

Araki: I see. Well if you look at it at that angle, it gives the story a fresh feel, I suppose. (Laugh)

Kaneda: Dio, someone so dirtied, wanted to profess "I like you" to Jonathan. But he was unable to and then Erina took Jonathan, so through bitter tears at the end he took Jonathan's body. "Now we've finally become one, Jonathan." That sorta thing. If he'd had time to smooth his words over a bit more, he would have said that he wanted to be part of Jonathan's bloodline.

Araki: That kind of sounds like the movie, "Purple NoonW".

Kaneda: He wanted to become Jonathan. But I think in the end, he lost track of whether he wanted to become Jonathan or he wanted Jonathan to become his. With his noble soul that harbored such sorrow, there were men showing up that loved Dio one after another. Like in Part 3, Vanilla Ice and N'Doul and those guys. Particularly in Part 3, whenever was mentioned, they talk about his almost-transparent white skin and his bewitching charm that made it hard to believe he was a man. Even Avdol felt dizzy the first time (laugh). Even Avdol, that macho guy that liked peeing outside was attracted to Dio. So he really had an aura that attracted all types of men.

Araki: Uh, I guess that's a way of looking at it, too. (Laugh)

Kaneda: ......I'm glad. If you'd said something like "There's no way there was anything like that!" and just cut me off, I don't know what I would've done.... (Laugh)

Araki: There's no way I could write that, but I'll admit that could exist as a sort of hidden meaning. He definitely had some lust somewhere.

Kaneda: Dio's confusion of not being sure himself if he wanted Jonathan's bloodline or wanted his body or wanted his heart is really juicy from a yaoi aspect.

Araki: But someone like Dio would never offer his love 100% to someone.

Kaneda: Speaking of which, he had lots of illegitimate children, didn't he? I feel bad for Ungaro being the only ugly one. (Laugh)

Araki: (Laugh)

Kaneda: So it's a bit different from the sort of love Jonathan and such have, huh?

Araki: Jonathan and the others' love is far deeper than Dio's. They didn't run purely on desire like Dio. Dio will do anything to get what he wants, but he would absolutely never pour 100% of his love into a specific person.

Kaneda: True. It doesn't sound so much like love as it does like stealing. Well, I suppose Father Pucci, pursuing the princess he would never obtain, was really the juiciest character of Part 6.

Araki: Now that you mention it, I think I really did consciously write it that way (Laugh).

Kaneda: He wanted so thoroughly to love Dio more, so when Pucci said the line "I love you as I love God", it was a real thrill. And in response to that, I'm glad Dio said "I was afraid you'd disappear". Vanilla Ice loved Dio as well, but he died spinning around in circles like that, so you wanted to have a character express their intense feelings towards Dio in a more open way, huh?

Araki: I think if Dio had lived, it could've gone a bit more in that direction. But he's dead, so all of that will just remain in the realms of imagination.

Kaneda: But there were people like this in Dio's life, so I feel vindicated.

Araki: But I don't think Dio loved Pucci.

Kaneda: I suppose so. I think for Dio, their relationship was casual. There was a sort of feeling like "You don't know anything about my life, so don't start worshipping me like a god." I guess. "I've been the object of pleasure for hundreds of men!"

Araki: He was made the object of their pleasure? (Laugh)

P. 30
金田: そもそも女性キャラが必ず男性キャラを好きになるというのが引っかかるんですよね。好きにならなくていいし、女性キャラを好きになってもんです。女性キャラが男性キャラを好きになるようになるのは、基本的にお話に華を添えるためだと思うんですけど、それは女性読者としてはいらないサーヴィスなんですよね。でも,服がビーッと破れておっぱいがばーんと出たりするのはありです(笑)。それは女性的にも嬉しい人は嬉しいので。あと、女性キャラで言うと、 『SBR』のホット・パンツが好きなんですよ。男装キャラであるところは魅力ですよね。サラシくらい巻けよと思いますけどね。

荒木: いや、あれは巻いているんだよジョニィーたまたま触っちゃつたからわかったわけで。なんか 『恋に落ちたシェイクスピア』というか「へルサイユのばら 』のようなことがやりたいんだよね。

金田: あー、なるほど。でも、ホット・パンツは女の子を好きであるか清い身体のままでいてください!荒木(笑)わかりました(笑)。 [22]

Araki x Otsuichi - The Book (2007)


―― 『The Book』を読まれて荒木先生はいかがでしたか?

荒木: ラストシーンがグッと来るんですよ。サスペンスがあって盛り上がって、その解決がガーッとあって、悲しくて切ないラストがある。杜王町にぴったりだし乙一さんにぴったりだし。ハッピーエンドとは違った豊かな感じがあるんですよ。

乙一: …「豊かな感じ」…いいですね。

―― 荒木先生は、ご自分のマンガがノベライズされるというのはいかがですか?

荒木: 別に大丈夫なんですよ。才能のある作家さんが小説にしてくれるのはすっごく面白いですし。特に今回の『The Book』はスッと入っていけるんで。

―― 『ジョジョ』の世界に入れる?

荒木: そう、馴染んでるんですよ。引き込まれるっていうか。乙一さんの仗助になっていて。マンガのノベライズってあまり読んだことが無いから誤解しているのかもしれないけど「ちょっと原作と違うなー」って思うこともあったんですよ。でも、この『The Book』はかなり熟成されていましたね。書き上げるのに何年かかったんでしたっけ?

乙一: 何年かかったのかな…、多分5年くらいだと思います。大量のボツ原稿があります。結局、2000枚以上書いたはずなんですが、思い返すと5年はアッという間ですね。

―― 執筆5年、ボツ原稿2000枚はすごいですね。

乙一: 『ジョジョ』のキャラクターを自由に動かせていないというか、操り人形しか書けていない違和感がずっとつきまとっていて…。それで、いろいろと考える必要があると思って自分で何度もボツにして作戦を練っていました。こういうことをできるのは一生に一度なんじゃないかと思うと、納得できない原稿で本を出すのは一生後悔しそうだったので、各方面に頭を下げて本が出ない状況が続きました。

荒木: でも、その甲斐はあったと思うよ。たしかにすごい本になってる。

乙一: 今回の『The Book』では荒木先生に口絵や挿絵も描いて頂いたんですが、今の絵柄で4部のキャラを見られるのは、すごくうれしいです。

荒木: 挿絵で気を使ったのが日常性なんですよ。冬の杜王町が舞台なんで背景に雪を降らせてみたり。小説オリジナルの敵も仗助たちと戦うけど、でも「悪くて強い敵」っていう感じじゃない。「町の中にいる主人公」っていう感じで、ちゃんと人生の背景がある。その辺のリアリティとかは注意しました。

乙一: どのイラストも僕のイメージ以上でした。それと巻頭口絵で描いて頂いた飛び出すイラスト、これがまたすばらしい…。

―― 乙一先生は、ノベライズの執筆で面白かった部分はどこですか?

乙一: 『ジョジョ』ファンだけに判るようなネタを散りばめてみたんですが、そういうところが面白かった。同人誌を書いている気分でした。

荒木: そういうネタ的な部分が、なんか生き生きしてるんだよね(笑)。適度にリラックスしている感じも出ていたし。

乙一: 最初はネタ的な部分を排除する方向で書いていたんですが、そうすると借り物的な違和感が出てしまって。ところがネタ的な視点を入れたら、不思議と違和感がなくなっていくような気がしたので積極的に入れようと思いました。

荒木: 乙一さんは以前から「4部を小説にしたい」って言っていたよね。

乙一: 3部と5部のノベライズがすでに出版されているというのもあるんですが、でもそれが出ていなくても4部を選んでいた気がします。不気味で好きなんです。

荒木: 4部が乙一ワールドに近いからじゃないかな? この『The Book』が出たらね、スッゲー悔しがる作家さんもいると思うよ。

乙一: 僕は、いろんな作家さんが4部の小説を書いたら面白いだろうなぁって思っているんですよ。書いた作家さんが『ジョジョ』をどう読んできたのかが出てきそうで面白そうだなぁと…。「この作家はこういうところが好きだったんだな」とわかると思います。

―― 劇中のスタンド能力(詳細は小説を読んでくれッ!)は乙一先生のオリジナル?

乙一: そうですね。

荒木: スタンドって必ず自分の人生観が入ってくるんですよ。だから考えた本人じゃないと、たいした技に思えないんじゃないかな。描く本人が「こりゃスゴイ」って思ったのがいいんだよね。

乙一: 「スタンドが人生観を反映している」…、これもいい言葉ですね。

―― 乙一先生が4部で好きなキャラクターは誰ですか?

乙一: 吉良吉影ですね。連続殺人犯の悪役なんですが、とにかく平穏に人生を終えようと言うその思想が衝撃的で、僕の人生にも馴染んだところがあって。

荒木: 吉良は前向きなんだよね、とにかく「悪のヒーロー」を目指してたんで。じつはマンガでは描かなかったけど吉良の背景もあるんですよ。吉良の母親が虐待みたいなことをしてて父親は見て見ぬフリで、それを「すまない」って思っていたから吉良をあそこまで救おうとしてたっていう。ただマンガでやっちゃうと悪役としては悲しいヤツになるし、敵にもならないし。そこの兼ね合いは描けなかったっていうか少年誌だからできなかったのかな。でも乙一さんの小説にはそういう悲しい部分もあって、かなり良かったですよ。

―― 小説家という立場から見て、『ジョジョ』のキモはどこだと思いますか?

乙一: それは人それぞれ違うと思いますが、僕の中では演出です。普通のマンガならいきなり見せて読者を驚かす場面でも、『ジョジョ』は少しずつ周辺を固めてから提示するような、ゾクゾクする感じがあります。そういうビックリするような仕掛けがすごく好きで、『ジョジョ』を読んでいて至福を感じる時ですね。

荒木: ありがとうございます。でも何気なくやってんだけど(笑)。

―― 荒木先生から見て、この『The Book』の魅力はどこでしょうか?

荒木: この『The Book』にはね、サスペンスがあるんですよ。あと、「血の因縁」的な設定が出てくるんだけど、その辺がイイっすね。そこを外さなかったのは、さすが乙一さん。

乙一: 僕は『ジョジョ』を読んで「血縁」という言葉を気にするようになったんです。少し前から「父」とか「子」とか、そういうキーワードが好きになっていて、自分の小説でもそういった血族の話を書いたりしていました。

荒木: 『The Book』は乙一ワールドに4部のキャラクターが入っていく感じがするところもイイんですよ。億泰とか仗助といった4部の各キャラクターたちが深く描かれていて、原作よりいいかもしんないですね。

―― 小説だと、心理描写をより細かく入れられますね。

荒木: 3部や4部を描いていた頃、担当編集者から「悲しい話を描いてくれ」と言われたんですよ。僕もそれを目指したんだけど、でも若かったせいか、そこまで達していなかった。だけど、この『The Book』にはそれがあるんですよ。4部当時に目指していたものの完成形がある。完璧ですね。k

乙一: 良かった…。ホッとします。

P6 Bunko Vol.1 (04/2008)

Afterword written in the first volume of the Bunkoban version of Stone Ocean translated by LegoAlex

There are times where I'll suddenly get overwhelmed, thinking about how weird certain things are which I previously never cared about, and an unusual anger arises. It exists within me, this "Period of Hate," which is often caused by the "Season of Aggression". Some time ago I happened to be with my parents, and so with levity I said this:

"You know, near my house there is this traffic light which turns red even during parts of the day where cars are nowhere to be seen. It didn't really bother me before and if there was no one around I would just go ahead and pass anyway. However, lately I've began to see it as bad conduct, so I've decided to stop and wait until it turns green."

As soon as I finished saying this, I started getting bombarded with a flurry of comments such as "Oh c'mon nobody does that anymore!" and "You are giving me a headache! What, are you trying to play goody two shoes now?!" and even, "You are a hypocrite! You just want someone to see you so he can write about it on 2chan!" Ugh. There it is. The "Season of Aggression" has arrived. If you get attacked for saying or doing something bad there's nothing wrong with that, but I did no such thing. I mean, I didn't even pass the red light. See, this is the "Season of Aggression", that period of time when people get angry at me for reasons that I fail to comprehend. And when it inexorably presents itself again, even in arguments where I could easily counter, I just end up being assailed and suffer even more. Because of this, the only thing that I can do is sit and wait until it passes again, just like people affected by pollen allergies; on hold, until the cause of their nuisance flies away. In these circumstances, the saying, "The best defense is a good offense" does not work.

JoJo's Bizarre Adventure has finally reached its sixth protagonist, Jolyne Cujoh, and she too is in the middle of this "Season of Aggression". Ever since she was little, she's lived in Florida, and with Jotaro being very busy in Morioh, she grew up without the presence of a father figure. Jolyne has certainly inherited the tough and cool headed side of her family, but she slowly but surely went towards a path of restlessness. Her mother just scolds her. She falls in love with a guy whose affection she blindly trusts. He represents the love and affection that she never got from his father. But it's precisely this sentiment that will drag Jolyne into a crazy world. Will she be able to free herself from it like "unraveling a string"? And will she mature as a person? This is the lay out that I had in mind when writing Stone Ocean and its protagonist.

Some time ago, in the 1980s, the impulse of trying a new creative adventure made me draw "Gorgeous Irene," a short story which had a woman as a protagonist. But in that time period I just, don't know, kinda felt something was off...I perceived a weird atmosphere telling me that a female protagonist wouldn't go well in my works, and so I scrapped the idea of turning it into an actual series. Almost 15 years have passed since then, and I'm convinced that, in some way, the times have changed. Today we live in an era in which, even if a girl takes a punch, or her finger goes flying, or she gets pushed down a building, you can still have a really strong atmosphere. The responsibility is all on her dad's shoulders, Jotaro Kujo. He is the one who initially comes to save his daughter, but ultimately ends up getting saved by her. This, in turn, favors the internal growth of the girl. It seems to me that putting yourself out there by inserting a character like this into a manga really pays off. We can be men and women, but the blood relations and the sentiments which derive from them are elements which we all inherit.

What does "Stone Ocean" mean? "Stone" is the will of Jolyne, while "Ocean" symbolizes women altogether. This Stone Ocean can also refer to the image of the prison in which the story is set. After having decided to draw Stone Ocean, I wanted to collect some material and went to visit a prison in Florida. It was divided into 4 sections: juvenile detention, female detention, young male detention and death row convicts detention that I could only enter after I was granted a permit. In America, there are also "private" prisons in which a penalty discount becomes the equivalent of a commercial enterprise.

I could enter three sections, but not the male detention one because it was deemed too dangerous, I was only able to see the kitchen and the model prisoners working there. In any case, it wasn't a huge prison like the one where Jolyne Cujoh was incarcerated, rather it was a very high tech one and in some way reminded me of Roppongi Hills. (Big urban complex in Roppongi, a Tokyo district) At the entrance I was patted down to check what I was carrying with me and possible metal objects. Then I took an elevator, walked, took another elevator, walked again, then another elevator in repetition. At every passage a heavy metal door with an electronic lock would be opened and closed, then another, and another, and so on. On the way, I was escorted by some guards of average rank. Doors can't speak, but it was like they were telling me that I couldn't leave that place anymore, even if I willed it. I'm not sure if it was claustrophobia, but I was very nervous, I felt like I was in a state of hyperventilation and my breathing was ragged. Some prisoners, no matter how many times I told them I was from Tokyo, wanted me to gift them a Bible in Korean. Furthermore, there was a woman with a massive body structure who looked just like the boss from a movie, seated next to her was instead a girl with a slim figure, probably her henchman, through which she asked me how old I was. I would later heartily describe my feelings to the warden, that I was really anxious to the point of suffocation. He replied "It's the same for me every day. I always feel relieved when I can finally get out and go back home.” Writing this sixth part, I keep questioning myself with concern over Jolyne Cujoh. If I was in the same situation, I think that after just 3 hours of being put in I'd probably already feel destroyed. My impression is that, between all the previous JoJo protagonists, she is the toughest one and that I desire for her to be happy the most. Especially because, as if that wasn't enough, she is right in the middle of the “Season of Aggression”.

—Hirohiko Araki

(Translator Note: 2chan or 2channel is a gigantic Japanese forum, in which millions of posts regarding a huge variety of topics are uploaded on a daily basis, these posts are left uncontrolled and go under almost no censorship.)

P6 Bunko Vol.11 (02/2009)

Afterword written in the last Japanese volume of Bunkoban version of Stone Ocean translated by twitter user @macchalion

The truth is, I don’t really know what to say about this. Writing this sixth part of “Jojo’s Bizarre Adventure - Stone Ocean”, I started feeling a great sense of satisfaction regarding the stand’s powers. I felt like I had reached the peak of my creativity, as an author I had drawn everything my capabilities allowed. ‘Time’ that got faster and faster for humans’ senses to perceive, getting closer to the concept of infinite – given we can’t really comprehend much of it. How could there possibly be a stand power bigger than this? “There’s nothing more incredible, my creativity has reached the highest point”, that’s what I thought. I normally think that feelings like a sense of satisfaction or personal realization are extremely scary. Finding yourself in a situation where you think everything’s going well and you don’t need to do anything more is without doubt a terrible situation, as a person and as a mangaka, but also if we think about society and the development of science, philosophy, art and culture in general. People act to achieve something, to obtain satisfaction above all else, but what do they do when they reach it? This contradictory feeling crept up my heart while I was coming up with an ending for ‘Stone Ocean’.

Jolyne Cujoh, our protagonist, felt a deep void in her heart too because she was missing the paternal love that brought her to befriend the shady guy that caused her to be imprisoned, after causing a car accident. But what’s important is the progress she makes because of that, because of the actions she has to do to save her father she becomes the strong woman she is. If we look at this story as a telling of the protagonist’s growth, her story had ended. So know what should I do for the accomplishment of this manga? In other words, I don’t have anything more to draw. It’s over. ‘Jojo’s Bizarre Adventure’ has reached its summit.
This is ‘Stone Ocean’.
The end.
But this is not right, not at all, it feels wrong. The fact that I’m feeling accomplished should not be a good thing.
It’s like a red light is in front of me, what should I do?
This is what I was thinking then, until I had an idea.
Go back to the origins! Isn’t this how Renaissance happened in Italy, going back to Greeks and Romans concepts in classic art? The French painter Gauguin also built a whole new painting going back the origins that Tahiti represented for him. I need to strengthen further Father Pucci’s stand power. This way time, the characters, the bloodlines and the whole universe will have a turnaround and go back to their origins. For ‘Jojo’s Bizarre Adventure’ I had to leave modern days and return to nature. I had to change Stone Ocean’s ending right before the last chapters for this reason, I brought out all the nostalgic feelings I had in my soul and this is why it came out like that. Jolyne Cujoh’s memories might be different in the reset of the universe but her love and her feelings are still there, they became something eternal and I’m sure she’ll keep growing wiser and stronger. I want the protagonist for the seventh part to be fighting against nature in a way that teaches him how to be mature. This were my thoughts upon writing the sixth part, maybe these things shouldn’t be said or written but this is the author’s afterword right? It came out like this.[23]

—Hirohiko Araki

Newtral Interview (04/2009)

Interviewer: I'm so nervous today....

Araki: Oh, don't worry. I not here to make anyone nervous today, my goal is to be healing others: Really, please don't be nervous.

I: Thank You!

A: Oh no, Thank you.

Part1: Hirohiko Araki, Road to becoming a Mangaka

I: Well my first question is, what kind of 22 year old were you, and what was your life like after graduating from high school?

A: Um... Well, it was the 70's. The mangakas at that time were a generation after people like Tezuka-sensei, Akatsuka-sensei, and Fujiko-sensei. And it was a time when the genre of manga really diversified. Not only manga, but music too, like jazz crossing over to rock music. I spent my teen during a time when everything was fusing together, so I kind of caught the momentum of that, and then Yudetamago-sensei, who was the same age as me debuted when we were about 16 or 17. Then I realized that I can't be wasting time. Of course I studied too, but as a student, I also was really interested in art, like manga, music, film, and fine arts. I really aspired foreign countries as well.

I: How old were you when you became interested in such things?

A: Well, from around high school, or maybe even middle school... Then I dreamed of being a mangaka or have a job relating to that.

I: So, you actually read Yudetamago-sensei's works?

A: Read it, and, well, there were many mangakas, and I couldn't do anything about that, but I felt like I had to something myself.

I: Interesting, so that was your turning point in life?

A: Probably... It may overlap with some questions later but can I keep going on?

I: Yes! Please, go ahead.

A: Well, how should I put it... You know how you learn from your elders? Back then was a time when doing the same thing as your elder was really looked down at. You had to do something different. If there were several paths that your elder paved, it was like finding somewhere in between that no one else has gone before. Kind of like that.

I: So it was about doing something different?

A: Well, you had to kind of make sure not to mimic anyone, yeah. It wasn't necessarily about going your own way, but learning from your elders and not stepping in their footsteps. You were looked down if you ever stepped in it. People would say “you're just doing the same thing, just coping!” or something, and look at you with scornful eyes.

I: What did people actually say towards your works?

A: Like, “This looks looks that,” or “thats story development is identical to so-and-so,”

I: At times like that, where did you get inspiration to paved your own way?

A: Um... so, I had influences from my favorite mangakas, but also came up with my own things, or added on to it. Draw an area that hasn't been explored by others... and like that, for example, I now think theres a theory, and following a “theory of hit” makes you feel like you have to do something that sells. I didn't think of that at all, so I guess I was pure in a sense, yeah.

I: Not a manga only for the sake of selling?

A: Its about drawing something that's never been drawn.

I: Interesting. This gets a little personal, but going to art school, I really understand what you mean. You take a class with a teacher and you get drawn towards your teachers style, but are punished if you fully adopt that style.

A: Yeah, its pretty much like that, but more intense with a strong 70's feel to it

Part 2: What it feels like after becoming a Mangaka

I: So, what was it like to actually become a mangaka?

A: Well, I was worried sick and couldn't sleep during earlier works, and even when starting JoJo. I wasn't sure if it was alright.

I: And did you have a strong support, someone backing you up?

A: Ahh, yeah. In my case, I based my works on works of art from the past that I felt sure, and things that were done by people I was sure about, so even if someone saids something bad or negative, I always was able to feel sure. And the told me that I had to be bold if I wanted a serialized series. Failing a serialized series is losing to yourself, so I think it works out well for an optimistic person.

I: Do you think most mangakas are optimists?

A: I think people who can keep doing it are like that. More like someone confident than an optimist. Many of them have absolute confidence in themselves. Many seems like they go beyond narcissism. So, you don't want to cripple their pride, you have to nurture it. They're probably simpletons. Out in the real world, you have to be careful not to be scolded for that.

Part 3: Araki's Manga-ism

I: Manga has really infiltrated our society nowadays, what does “manga” mean to you?

A: Like I said earlier, its about the beauty of the art and training your “eyes for judging beauty.” Its kind of like a training. Um... I'm drawing and sometimes fall into meditation, and skip time. Kind of like that.

I: How do you feel about other mangas and works?

A: Well, yeah, I like some of them, but I'd also like to recognize those I'm not sure whats fun or interesting about them. Maybe not recognizing them, but try to think while I read them. Not only in manga but also in films, the kind of story that I don't feel interesting is when the protagonist doesn't have a reason to progress. For example, there are some that are negative towards fighting, and I personally think thats a no-no. So, if theres going to be war, it should be like “Yeah! I love war!” Thats an extreme example, but fighting in war while denying war I'd say is negative story-wise. If the is a “zero,” the denial makes it a “negative.” But fighting for one's own satisfaction, or fighting war to save one's mother, that kind of elements that makes the story “positive” is really interesting. The kinds of film fit in that. And because they fit in, I analyze from there. So, if you like “negative,” and gather a lot of “negative,” you start compiling those kinds of movies, but there are many perspectives, so there's not really a right or wrong direction. Its up to your own preference.

I: So the kind of things you're not interested are things that are negative.

A: Yeah. I can't get psyched watching or writing things like that.

Part 4: Relaxing, Araki style

I: You have been doing manga for a long time. I've heard in other interviews that you never miss an due date, and we see you as always being on schedule. Do you ever have trouble coming up with new ideas?

A: Its not really about the lack of ideas, but the scariest thing is the lack of the will to draw. Lack of idea is really losing the will to create. If you're willing to write, you will get ideas, so you shouldn't be afraid of the lack of ideas. Just keep putting things out there, and save nothing. Feeling like you don't care is the worst thing.

I: Have you ever felt like that?

A: Well, yeah, I start feeling like that when I get exhausted.

I: And how do you cope with that?

A: Um, in my case, I go discipline myself a little. Nothing serious, but go out on a walk to shrines, like that. I don't go out in waterfalls but that takes away my worries. It kind of weird, but going on a walk or a bicycle trip alone, discipline through a little exercise.

I: Not only use your mind, but also your body...

A: I exhaust myself, and theres many things. Like carrying a heavy load, and you start to realize what's really necessary. I start to think I don't need a cell phone because its heavy and I wanted to toss it, and I had no signal anyways... but I feel really healed by an iPod for some reason.

I: Why is that?

A: Somehow music is really good. So I really only need water, raincoat, and an iPod. I went to a place called Kumano Kodo once. It saids Kumano (Kuma = bear in Japanese) so I figured there will be bears in this place, so someone told me to take my cell phone. I took it, but didn't get any service... Then my feet starts to hurt, and I really started getting sick of all my luggage. I brought some bread with me but I ate it. And I started to realize that those things are not necessary. You don't need it to survive.

I: What do you feel like when you're out training at places like that.

A: Empty, and then I come back from that and start working again.

Part 5: Other Dreams

I: Your art works has been featured in fashion, a science magazine cover, and now in the Louvre. What is the meaning of working on projects besides manga?

A: Um, its the drawing... if theres story and drawing, I guess I'm better at drawing . I don't know, I'm a mangaka, so I have to draw, or otherwise people won't think me as an mangaka. There are mangakas famous for their story, but I'm more on the drawing side, so I want to draw the ultimate picture, something really good.

I: Do you not have enough time at the moment to do that?

A: You know, like the Louvre and the science magazine, especially the science magazine, theres more to that one, but I tend to think all of them as one. Physics, literature, there all the same in a sense that they are searching for the truth. Its nothing alien. So, the person who asked me the science magazine project felt the same way too. He thought that I can illustrate his scientific theory.

I: Was there anything else you were asked to do?

A: Something weird? Is there any thing weird? Maybe the CD cover? The t-shirt designs? I guess the Cell project was the weirdest, but that doctor's medical theory and my philosophy of stands were the same, so he asked me to draw. That way of thinking makes me happy, happy because its kind of like DaVinci. That really is a theory that no one can understand, borderline crazy. No one who sees those sentences agrees to the theory. It might be wrong. And if you write something wrong, someone is going t object later. So that project was a little risky.

I: What do you wish to do next, do you have any requests?

A: Umm... yeah, I probably want to do a series of pictures.

I: You mean like a CD cover?

A: Um, something like the "The Dancing Girl of Izu"

I: Oh!

A: The "The Dancing Girl of Izu" was a little different too. They asked me to draw the cover of "The Dancing Girl of Izu," and I couldn't believe it. They just asked me to do a work based on a famous literature.

I: So, did you choose that?

A: Yeah, but only from the Shyeisha-Bunko series.

I: Why the "The Dancing Girl of Izu."

A: I kind of wanted to draw the emptiness of youth.

Part 6: Message to 22 year olds today

A: I think people's actions should be based on their “eyes to judge beauty.” How to judge what's beautiful. Are your own actions beautiful, or not. And by beautiful, I don't simply mean the appearance of something, but does something fit in, can you understand it. I think studying is for training your “eyes to judge beauty.” For example, whether its physics, sociology, or literature, its a way to find out how the pieces fit together nicely, and the study of medicine is the way to discover a theory to cure beautifully. And as you layer those theories together, you are able to judge things, and if you know how judge you will be able to make a decision. I want young people to train their “eyes” so they can judge things, theories, and themselves, and I don't want them to study only as a way to become rich or for a high academic record. I think having such evil or not is important. It may sound fancy, but being something like a hero for the good is really important.[24]

Chami Araki (11/2009)

On November 21st, at Tokyo University's 60th Komaba Festival, was Araki Sensei's wife. We went to see Mrs. Chami Araki's public talk "JoJo and Chami Araki's Bizarre Life"!

With only 300 tickets being distributed, the ticket sales began at 10 A.M. and were immediately sold out. With 200 fans creating a line that extended all the way to the entrance of the emergency stairway, the mangaka's wife's lecture seemed to be the climax of the festival. At 1:30 P.M., all seats were completely filled and spectators began to line up around the outer circumference of the venue. In the Maninonrei (banners of thanks for the full house) Classroom, being greeted with a warm applause, the program director, Mr. Hiroki Terai announced the entry of Araki’s wife: Mrs. Chami Araki.

  • This report was done with the permission of Mrs. Araki. This was done through my notes and recollection of the event, and there may be parts with errors. If it’s clear there was a mistake, or there are any questions, please submit a form or e-mail me about the issue.

Reason for holding this lecture

Mrs. Chami did not get an invitation from the Tokyo University JoJo Research Society, but rather, the program director, Mr. Terai, was a friend from her student days. She heard about the offer through a mutual friend of their's. (in addition, the 2007 Cell Front Cover drawn by Araki was related to the Tokyo University Cranial Nerves Group, as well as author Kang Sang-jung and Mr. Kenichirō Mogi having relations to the school.) Since the lecture was to be in front of a large crowd, Mrs. Chami refused many times, but knowing that the fans would be enthusiastic to have her speak, Araki Sensei insisted, “What if you try once?”, and so the decision was made. Incidentally, she informed us that Araki would have stomach problems from nervousness if he had shown up.

Where is Araki right now?

  • We were told Araki was 100% not at the meeting hall.

He couldn’t come, but yesterday he went to a Shinto Shrine to pray for his wife and he joked, “I’ll scatter flyers around the university!” (Wouldn’t Araki putting out flyers in person cause an uproar?!). Now, as for where Araki Sensei was now, Mrs. Chami said, “Probably on a walk.”

Beginning of Romance with Araki

About 20 years ago, when Mrs. Chami was attending a friend’s marriage interview, sitting across from her was a man, Araki Sensei. After that moment, Mrs. Chami said she immediately clicked with him (however, it seemed like Araki wasn’t thinking about love at all). In that moment, she got Araki Sensei’s number and their friendship began. 3 months later, they were married. Certainly the marriage had a ‘Speed – A’ rating.

Araki’s First Date

Araki would frequently go to a Gym Pool. He was carrying his swimsuit to the pool when he got asked out by telephone. When she arrived, (with a Mona Lisa smile) Araki said, “I’ll be swimming back and forth in the 25 meter line a few times, so just play around here” and left her alone. She was looking at the training schedule in silence while Araki continued to swim. When he gave her a sidelong glance, she appeared to be doing the flutter kick by herself… (it sounds like a manga, but it’s a true story).

Araki’s ding-dong dash!?

About 10 years into their marriage, Mrs. Chami tells us, “I felt like I was living with a first-year middle schooler.” This childish, simple-minded troublemaker, how many ding-dong dashes he was doing! (The respectable adult! The popular Jump writer!) But, the people in the neighborhood loved Araki, and the older people would call out to him as if he was a boy. Strange folk…

Araki’s fear of strangers

Back then, Araki was extremely shy. For example, when Mrs. Chami’s friend came over, he opened the door just halfway. When he looked, he said “Ah! A stranger!” and immediately closed the door without even coming out. But, at the 2003 Paris Exhibition “JOJO IN PARIS”, when he was thinking that no one from Japan would come, the successive chiefs of Shueisha arrived. Since then, his shyness has begun to be cured. Nowadays, he’ll invite about 20 mangaka over for a party. Incidentally, when Mrs. Chami sees the mangaka arrive to the party, time and time again she thinks “Mangaka are a little weird, aren’t they?...” (haha)

In Araki’s house

Mrs. Chami tells us that she's friends with his assistant. “She loves candy and sweet foods, I remember the type well, I would ask things like ‘What happened to X Chocolate?’ and talk about things like women’s fashion (interrupting?) He would imitate us and when he wanted to say something like ‘Be quiet!’, he would say ‘Your antenna is too wide’ to be more polite (haha).

A video letter from Masanori Morita!


We get a screening of a video letter from one of Araki’s mangaka friends, the author of 「ROOKIES」 Masanori Morita! At the party in Araki’s house, he drew a picture of Jotaro and before Araki was able to comprehend what he was doing, he drew 2 or 3 more. When they were drinking alcohol together, he was worrying about whether to sit next to Araki or Mrs. Chami and finally he said “Hey!” and sat next to Mrs. Chami. He said to Mrs. Chami, “Beautiful as ever”, “I hope your happy” and to Araki Sensei, “I respect you a lot”, “You were so mellow and easy to approach” and so on. At the end of the video letter, he shrewdly inserted an advertisement for the Rookies DVD and Besharigurashi Volume 9. (Looking at the video was super interesting! The playful Morita Sensei drew a large laugh from the crowd.)

Araki’s height, has he gotten taller?

At this year’s first Ultra Jump party, Araki met with 「High School! Kimengumi」’s Shinzawa Sensei for the first time again in 20 years. For some reason, he asked “Araki Sensei, your height, have you gotten taller?” Araki was petrified for about 10 seconds and then said, “No, it’s unacceptable.” (It was a surreal spectacle…)

Araki and music

According to Mrs. Chami, music is super important to Araki’s writing. For example, when there’s a battle scene, Rock, when there’s a scene with horses running, country music, and so on. He does the job of putting on music that fits the scene. Conversely, when the house is silent, it seems to be very much so. By the way, the music that was playing at the entrance of this event was chosen by Araki (the name of the song wasn’t revealed?). Initially, the JoJo Research Society were preparing to play Perfume’s ‘Chocolate Disco’.

Araki’s workspace

A few years back, Mrs. Chami entered Araki’s work area to bring some tea, and when she opened the door, Araki exclaimed in a strange voice, “Dohyaaaaaa!!” During this, his brush extended out from his manuscripts greatly and he was writing as if he was possessed by some spirit. She said she was scared and trembling, so she shut the door and went back to where she was.

JoJo’s Bizarre Hyakunin Isshu


Famous lines from JoJo were organized into a JoJo-themed card version of Ogura Hyakunin IsshuW titled ‘JoJo’s Bizarre Hyakunin Isshu’ (the following year, the sequal went on sale). While he was messing around in the house, he came across a single card that he couldn’t stop laughing at. Furthermore, (about this line) he said, “I don’t remember writing this!?” (Before, at the Jump SQ Interview, he said “I write carelessly, it’s really irresponsible, haha”). As for whether he has heard about the JoJo "HanafudaW", Mrs. Chami said “Probably.” Does Araki have a chance of winning at them!?

The Louvre

When the Louvre Art Museum was picked as the theme of “Rohan at the Louvre”, the family stayed there for 2 days. The arrangements near the Louvre allowed them to enter on a day where it was normally closed, and so they were able to see the Mona Lisa up to a centimeter close, and even got the opportunity to touch the Nike of Samothrace statue a little bit. After “Rohan at the Louvre” goes on sale in France in January of next year, a fully monochrome version will be published a few times in Ultra Jump Magazine. After that, a fully-colored version will be made into a comic, and there are plans to sell it in Japan!!

  • Speaking of the Louvre and the Mona Lisa, there’s a joke going around the Internet right now of the classic Mona Lisa painting and a picture of Hijikata Toshizō being compared with a picture of Araki Sensei. Both Araki and Mrs. Chami seem to be aware of it (haha).

Is drawing manga fun?

From what Mrs. Chami has seen, it appears as if Araki draws a diary. For example, he’ll use the things they talk about in the morning in his manga, and even if she tells him something completely unrelated, he’ll ask again, “What? What was that?” It looks like characters that resemble their friends appear in the manga, but when that character eventually gets his head blown off with a bat or something, she can’t tell them (haha). When Mrs. Chami asked Araki “Is drawing manga fun?”, he replied with, “Yup, it’s fun.”

Please teach us how to learn Ripple!

Mrs. Chami says, “I don’t fully understand Ripple” (haha), but Araki seems to say, “You can’t live long unless you lighten your hip joint.” Also, Araki puts on sunscreen often. He doesn’t like the beach, but he enjoys places like mountains, forests, etc. He lives life avoiding the sun as much as possible. (Is he a vampire as we thought!?)

Is Mrs. Chami a model for his work?

According to Araki, Mrs. Chami is something like the president (like Steel Ball Run’s main villain, haha). Will she also kill someone in such terrible ways!? (haha)

What would he have done if he didn’t become a mangaka?

As for this question, Araki has said he would’ve became a make-up artist (with a specialty in mannequins). (An enigma of a man…)

What extracurricular activities did Mrs. Chami do in her school days?

(She seemed to be surprised that someone wanted to know this) Tea Ceremony Club. (As expected of Chami).


About the “Pressure Festival”!

(Note: “Pressure Festival” is a line that first appeared in SBR Vol. 13 that was shocking and had people wondering where it came from. [haha] Araki: “My wife attacked me for it, ‘Pressure Festival, Pressure Festival’ she said.” [Roar of laughter from the crowd] From:

Regarding this line, Mrs. Chami told us, the original “Pressure Festival” appeared to be a Pro Wrestling move where the wrestler would hurl his body as an attack over and over again. Back then, when Araki was a prankster, he would make her stand at the entrance and take one! When someone said they wanted to see what this looked like, she replied with a single word: “Impossible!”

Are there any plans for things such as writing about her life with Araki after this?

She said since she wasn't a celebrity, “There are no plans.” Is this lecture the first and the last?

An extremely rare video! “Araki Hirohiko’s Cooking Class”

This video was a great surprise! It was a cooking class from Araki Sensei himself! The video was simply Araki cooking by himself. It began with Araki saying, “And now, I will cook” which drew out a great laughter from the crowd. The menu was ‘black sweet-and-sour pork with broccoli’ and ‘shrimp and Japanese scallops with linguini’. I’ll present the most interesting lines from the notes I took. (Of course, I didn’t take notes on the whole recipe), • “As for the heat… medium? Then, adjust the heat.” • “Cook the pork entirely. It’s dangerous raw.” • “Raise it until it gets to a color that feels tasty…” • “Hot… Hot…” • “Smells like garlic… Rub it in oil!” (He said this twice.) • “Eeeeeeeggg!” • “It’s done. Phew. Dojyaaan!” The food looked like it smelled and tasted delicious! Mrs. Chami told us that in regards to cooking, “Weeell… I do it occasionally.” (Is Mrs. Chami also an expert cook!? [haha])

Present Corner

Mrs. Chami brought JoJo goods as presents from Araki’s house. The Medicos Avdol Super Action Statue was for “the person who called themselves the president of the school” (-> What a woman!). The Kakyoin Super Action Statue was for “the person who came the farthest” (-> All the way from Aomori!). An assortment of figures (later these would be compiled into a collection called ‘JoJo’s Bizarre Stand Collection’) was for the person with the same initial as Araki Sensei, H and A. The Jotaro figure (previously a gift prize) was for the person who “has decided to read JoJo because of this lecture.” The SBR Glass (originally a gift for UJ readers) was for “someone who has a pet named Iggy.” Each of the respective people were given their presents.

Chami’s Pose

Finally, Mrs. Chami decided to introduce surprise guests from the ‘JoJo Posing School’, the well-known Mr. Kajipon, the Demon Teacher! A year after the ‘Tokyo University JoJo Posing Class March 2007’, Tokyo University continued to have the JoJo Posing lessons. Mrs. Chami was the one who decided that ‘JoJo Posing’ would be perfect to bring to the lecture when she saw the advertisement posters for it. The Demon Teacher’s demonic teaching (with a kendo sword in hand) was strict, saying “I’m sorry, but you can’t do it” and correcting students if they messed up even once. It makes your joints scream! (haha). However, when the Demon Teacher and Mrs. Chami pulled of ‘W JoJo Poses’ without fail, it caused quite a stir in the venue (at any rate, the Demon Teacher’s presence was incredible!). When a pose was done, the crowd immediately broke into applause! The Demon Teacher and Mrs. Chami revealed their passing conditions, all of which had to be done in a short amount of time: LV1 (JoJo Volume 4 Front Cover, Jonathan’s Pose), LV2 (JoJo Volume 8 Front Cover, Joseph’s Pose), LV3 (Risotto’s Pose), LV4 ([Pointing Finger Pose] and say Yare Yare Daze). The crowd all rose up. (Incidentally, Risotto wears flowing, striped sweatpants, and that day, Mrs. Chami was also wearing flowing, striped pants. Coincidence!? Or maybe not…)

After about one and half hours, the presentation reached the end. About 5 or 6 friends of Mrs. Chami came out and handed her bouquets of flowers. At 2:55 P.M., being sent off by a thunderous applause, Mrs. Chami Araki left the venue. (Later I was told that ‘Southern Sea Candies’ author Mrs. Shizu also slipped out during this time!) It was Di Molto fun! Mrs. Chami, Program Director Mr. Terai, members of the JoJo Research Society, and everyone else, from the bottom of my heart, ‘You have my thanks.’ (Ringo)



The right side of the classroom was decorated with flowers from Araki to his wife! To their side, flowers from Shinnosuke (SOUL’d OUT) were also placed. After the end of the lecture, I took a picture of the center of the flowers. A bizarre scene.

For JoJo‘s 30th anniversary, we wanted to once again ask Araki-sensei about the series. First we want to ask about the cornerstone of any series, its protagonist: did you have any policy when it comes to creating main characters? I always draw strong protagonists; it’s not just Jotaro, they’re all like that. I think it’s easy to draw superhumanly strong guys, and fun too. If you take fairly ordinary, everyday stuff and add in one guy with extraordinary strength, then he becomes the center of attention, right? And I guess I like when some dumb, goofy guy turns out to be crazy strong. Like in kung-fu movies where the scrawny old geezer turns out to be a martial arts master; I love stuff like that. Jotaro and Johnny both have a huge gap between how they look and what they’re capable of. Yeah. I prefer to put most of the focus on the story, so I gave them plain designs, but beyond that I think it boils down to the idea that it’s more interesting to have the weak-looking, plain guys be strong. With Jotaro, he started out just being a straight-up kid. Then I thought about it some more and made him a deliquient. I see. So then after that, Jotaro grew up… I got a lot of pushback on that at the time. Apparently in shōnen manga changing what the main character looked like was a big no-no, but I didn’t care about that. His head/body ratio made fighting hard, so I said that if the series was going to start focusing more on mind battles, then I needed to make him a teacher . But this really shocked them: “The series has finally gotten popular, and now you want to go and change everything!” That was the kind of reaction I got. How did you manage to convince everyone at the editorial office? “Convince” probably isn’t the right word. First I drew a sketch of Jotaro and sent it over to the editorial office to get their feedback. But then I started drawing the rough draft before I even heard back from them. (laughs) By the time I sent the rough draft to the editorial office, there wasn’t any time left to make major revisions, so they were just like “if you’re so dead-set on doing this, then fine…” After that Jotaro changed even further and had stars everywhere. How did you come up with that design? I gave him purple hair so that it wouldn’t be as much work for my assistant. He spent a lot of time blacking in Jotaro’s hair, and I had to erase over it. It was a real pain… (laughs) His eyes change shape as well. With the usual design for his eyes, it was hard to have him look off to one side. It made it hard to tell exactly where he was looking, so I wanted to give him eyes that would make this more clear. His eyes from right after looks up at DIO… I based those off of Clint Eastdwood. Since that look of his where he glares right at you is paralyzing! That’s what I wanted to do in the DIO's World arc… Once Jotaro gave that look, as far as I was concerned the story arc was over. I was like, “They have to start fighting now? What a pain!” My goal was just to get to that look. But when it actually came time to draw it, it turned out a bit different than how I had imagined it. I still thought Clint looked a lot cooler. (laughs) Do you have any rules for making characters? I suppose I do follow a few specific rules, but only subconsciously. Like when drawing bad guys, I won’t make them so devious and underhanded that it leaves a bad taste in the reader’s mouth afterwards. Not because I’m particularly concerned for the readers, but rather because I personally hate drawing that kind of stuff. Well, DIO was pretty underhanded, but I generally don’t draw things that are so unpleasant that it gets to you psychologically. Also, I paid a fair amount of attention to how DIO talked. After all, villains pretty much always talk rudely. I thought the contrast between his polite speech pattern and his cruelty and strength was really unsettling. When it comes to appearances, it’s often said that JoJo characters are very easy to tell apart going just by their silhouettes. I guess I just ended up doing that naturally, because I use a lot of long panels, and that makes it easy to tell where and how they’re fighting. When drawing the characters small, it’s no good if you can’t tell who’s who, so it’s best to give them each some distinguishing characteristic. Where do you start from when coming up with designs? My process for drawing characters is basically that I start with their personality, and decide on their face next… then once the face is done, I can come up with their clothes. I guess it just comes down to whatever’s influencing me at the time. And when coming up with new characters, I try to go with types I haven’t drawn much before. Like with the La Squadra, my kids were little at the time and were really into Mafia, so I thought: “Hey, those are interesting.” It was real easy, since their outfits would obviously be unique. What about DIO? I vaguely remember basing him off a queen or something in some movie.


<今後執筆などの活動の予定は?>  芸能人では無いので「予定無いです」。講演もこれが最初で最後?

<激レア映像!『荒木飛呂彦のお料理教室』>  ここでグレートなサプライズ映像! それは荒木先生による料理教室! 漫画家・荒木先生が1人で調理する様子をビデオで納めたもので、のっけから「ぼくはこれから、料理します」という荒木先生のセリフに会場爆笑。メニューは、『黒酢豚とブロッコリーの添え物』と、『エビとホタテ貝のリングイネ(パスタ)』。面白かったセリフをメモ書きから紹介すると(さすがにレシピまではメモれなかった)、

「火は…中火? 後で調節する」 「豚肉はちゃんと火を通す。生はヤバイです」 「美味そうだなぁと感じる色まで揚げる」 「あつッ、あつッ」 「ニンニクの香りを、オイルに…こすりつける!」(このセリフは2回言う) 「お玉ねェェ――――!」 「完成しました。わーい。  どジャアア~~~ン!」  料理はヨダレずびっ!においしそうだった。ちなみにチャミさん曰く、料理は「たまーにしてくれる」とか。(チャミさんよりも美味いらしい!?(笑))

<プレゼントコーナー>  ここでチャミさんから、荒木家にあったジョジョグッズのプレゼント。メディコス 超像可動「アヴドゥル」が「大統領と呼ばれた事のある方」(→なんと女性!)、「花京院典明」が「一番遠くから来た方」(→青森から!)、「フィギュア詰め合わせ」(後で聞いた話だと『ジョジョの奇妙なスタンドコレクション』だった模様)が「荒木先生と同じイニシャルH・Aの方」、承太郎フィギュア(以前プライズ景品であった物)が「今回の講演をきっかけにジョジョを読もうという方」、『SBR』グラス(UJ読者プレゼントの品)が「イギーというペットを飼っている方」に、それぞれプレゼントされた。

<「チャミ立ち」>  最後にチャミさんが招待したサプライズゲストとして、「ジョジョ立ち教室」でおなじみの、カジポンさんと鬼教官さんが登場! 「東大ジョジョ立ち」(2007年3月)以来の、東大でのジョジョ立ちが決行される事に。

 告知ポスターでもバッチリ「ジョジョ立ち」を決めていたチャミさんだったが、鬼教官の鬼指導(手には使い込まれた竹刀!)は厳しく、「残念ながら出来てないですね」とポーズを矯正されてしまう一幕も。悲鳴を上げる関節!(笑) しかし、鬼教官とチャミさんの「Wジョジョ立ち」はバッチリ決まっていて、一挙一動で会場がどよめき(鬼教官の存在感がとにかく凄すぎる!)、ポーズが決まると会場からは割れんばかりの拍手! 鬼教官から「合格」も出て、短い時間ながらも、LV1(ジョジョ4巻表紙のジョナサン)、LV2「ジョジョ8巻表紙のジョセフ」、LV3「リゾット立ち」、LV4「(指さしポーズで)やれやれだぜ」を2人で決め、会場は大盛り上がりだった。(ちなみにリゾットが掃いていたようなシマシマのスウェットパンツを、当時チャミさんが掃いていたらしい。偶然!?それとも…)


 ディ・モールト楽しかったッ! チャミさん、進行役の寺井さん、ジョジョ研の皆さん、その他関係者の方々に、心から「感謝いたします」(リンゴォ)


荒木麻美 さん江 荒木飛呂彦 ラッキーランドコミュニケーション より  教室の右前に飾られていた、荒木先生から奥様に送られた花!。その横には“Shinnosuke”さん(SOUL’d OUT)からの花も置かれていて、講演終了後、花を中心に写真を撮るという、奇妙な光景が見られた。

Hirosegawa (02/2011)


第1回 「杜王町」と仙台市との関係は? 2011.2.14 聞き手: この「私の広瀬川インタビュー」では、 仙台や広瀬川にゆかりのある著名人に出演いただくことで、 多くの方に広瀬川をはじめとする仙台の魅力を 知っていただきたいと考えています。 今日は、仙台市出身のマンガ家で 「ジョジョの奇妙な冒険」(以下「ジョジョ」)の 作者・荒木飛呂彦さんに出演いただきました。 どうぞよろしくお願いします。

荒木さん: こちらこそ、よろしくお願いします。

荒木さん 聞き手: 早速ですが、先生の作品にはデビュー当時から 仙台に縁のある地名や人名などが数多く登場しており、 私たち仙台市民は大変嬉しく思っています。 特に「ジョジョ」第四部「ダイヤモンドは砕けない」編では、 「杜王町」という日本の架空都市が舞台となっていますが、 実際に仙台にある地名やお店なども登場しており、 ファンの皆さんから、仙台市が「ジョジョ」作品の 「聖地」の一つとも思われているようです。 そこでまずは杜王町と仙台との関連について 教えていただけますか。

荒木さん: 仙台は自分が生まれ育った街なので、 なじみ深いというか、描きやすいんですね。 作品上の架空の街とはいえ、 自分の体験を下敷きにして作品に描くことは基本ですし、 何よりリアリティが出るので。

聞き手: 第四部の主要人物の一人として登場するマンガ家の 「岸辺露伴」は、読者から先生と 同一視されるむきもあるようですが、 やはり作品でもリアリティを重視していることが窺えます。

	「ジョジョ」第四部 ジャンプコミックス第34巻

<「ジョジョ」第四部 ジャンプコミックス第34巻>

荒木さん: 露伴は僕自身ではないですよ(笑)。 ただ、リアリティは欲しいですが、 あいにく第四部では殺人鬼が出てきますので、 仙台をその舞台とするのはさすがにどうかなと思い、 市民の皆さんになるべくご迷惑がかからないように 「杜王町」という架空の街を作らせていただいた、 という次第です。

	「ジョジョ」第四部 ジャンプコミックス第36巻

<「ジョジョ」第四部 ジャンプコミックス第36巻>

聞き手: 最近では、仙台市も物騒になりまして、 映画化もされた仙台市在住の作家・伊坂幸太郎さんの 「ゴールデンスランバー」の作中で、 仙台出身の首相が暗殺される時代です。 ちなみに暗殺シーン撮影時には、 エキストラとしてたくさんの市民の皆さんから 協力いただいたので、 今だったらそうしたご心配をされなくても 大丈夫かもしれませんが。


(c)せんだい・宮城フィルムコミッション <参考 「せんだい旅日和『ゴールデンスランバーロケ地紹介』」>

荒木さん: 連載時(注:第四部の連載は1992年~1995年)は S市というのが仙台市で、 杜王町はその郊外の街という設定で、 仙台市そのものが舞台ではなかったんです。

聞き手: 近年では、その杜王町も人口が増えて、 S市「杜王区」に昇格したそうですね。

荒木さん: ええ、S市内に取り込まれる形で合併したようです(笑)。

聞き手: 杜王町の地形的なモデルとしては、 岩手県の宮古市ではないか、という話がファンの間で されているそうです。

荒木さん: 地理的にイメージしたのは、宮城県の松島の北、 東松島市のあたりです。 ただ、ベッドタウンとしての街のイメージは、 当時開発が進んでいた泉市(注:昭和63年より仙台市泉区) や宮城野区鶴ヶ谷ニュータウンなどを参考にしていました。

	「ジョジョ」第四部 ジャンプコミックス第29巻

<「ジョジョ」第四部 ジャンプコミックス第29巻>

聞き手: なるほど。 そうした当時のニュータウン開発の様子が 作品に反映されているんですね。

荒木さん: 当時は東北学院高校榴ヶ岡校舎に通学していましたが、 毎日のように風景が変わっていくんですよ。 もう道路が急にバーン!とできたりして、 その変化がショッキングでしたね。 そんな体験がいくらかは反映されているかもしれない。

聞き手: 先生が仙台にお住いだった頃の仙台は、 日本の経済成長に合わせて街も 大きく姿を変えていく時代の真っ只中だったと思いますが、 その一方で、まだ戦後の面影を残したような ミステリアスなところがあったと伺いました。

荒木さん: ありましたね。あの、広瀬川には関係ないですけど(笑)、 子供の頃に小松島や与平衛沼のあたりで よく遊んでいたんです。 そこには防空壕跡みたいな所があって、 住み付いていた方がいました。 その方は、実は浮浪者ではなく、 昔大金持ちで、その財産が隠されているという 埋蔵金の噂があったんですよ。

聞き手: 先生ご自身も探しに行かれたのですか?

荒木さん: 当然行きましたよ! まあ、噂話だったと思いますが(笑)、 それが妙なリアリティがあって、子供心に 実際に何かあるのではないかと感じさせられるんです、 本当に。 その方にも知的な雰囲気があって、 英語でしゃべったりして、一体何者なんだ?みたいな(笑)。


荒木さん: そうそう。世捨て人だけど、過去に何かあったんだろうな、 という雰囲気があって、埋蔵金の話も、 まんざら噂でもないって思わせられる…

第2回 初めて覚えた言葉は「どざえもん」!? 子供時代の思い出 2011.2.15 聞き手

そんなミステリアスな雰囲気が漂っていた一方で、 どんどん宅地開発が進むという ちょうど時代の変わり目だったのかもしれません。 子供の頃に広瀬川で遊ばれたことはありましたか。


父が若林の生まれで、幼少の頃は若林区に住んでいました。 宮城刑務所の傍で、 その刑務所がまたミステリアスなんですけど(笑)。 ずっと、塀の向こうはどうなっているんだろう? と思いながら育ちました。


そうした生い立ちから「ジョジョ」は 生まれるべくして生まれたような気がします。 ちなみに宮城刑務所は、 政宗公が隠居後に過ごした若林城跡に建てられており、 堀には広瀬川から取水した水が流れています。


<参考 六郷堀七郷堀非潅がい期通水事業>


広瀬川は当時住んでいたところからも近かったので、 よく遊びに行っていましたよ。 毎年7月1日にアユ釣りの解禁日には、 父に連れられて一緒に胴長をはいて釣りにいっていましたし。


<参考 広瀬川でのアユ釣り風景>


先生が胴長をはいて川に入っているところは、 想像し難いですが、広瀬川は幼い頃から 身近な存在だったんですね。


実は子供の時に、最初に覚えた言葉が 「どざえもん」なんです(笑)。 今は広瀬川に対して、 皆さんきれいなイメージしかないと思いますが、 当時は犬の死体とか流れてくることもあって、 周りの大人たちから 「どざえもんになるから、川に行く時は気ぃつけなよ」 と言い聞かせられていたみたい。 昔はそうした危険に対して、 地域のお年寄りたちの目配りもあったんですね。



子供が初めて覚える言葉としては、 かなりショッキングな言葉ですが。


川でどうやって遊ぶかを教えてくれていたのだと思います。 川遊びは自己責任だから、自分自身で気を付けないと ダメなんだよ、ということで。




何か事故があると今だとすぐ行政が責められがちですが、 当時の川遊びなどは自己責任でしたね。 あと、南蒲生浄化センターができる前には あの辺や河口の閖上のあたりで泳いだり、 キャンプをしたりしました。 それと秋にはもっと上流で芋煮会が定番でしたね。


杜王町編には出てきませんが、 先生も芋煮会はよくされていましたか。


もちろんですよ!やはり父に連れられて二口渓谷や 奥新川などへ行ってやっていました。

広瀬川100選 奥新川ライン

<参考 広瀬川100選 奥新川ライン>

父はアユ釣りだけでなく、 雉撃ちやきのこ狩りなどもやっていましたので。


<参考 広瀬川宮沢緑地周辺の雉>


広瀬川の近くにお住まいの方は、 狩猟民族の血が流れているかもしれないですね。 この広瀬川ホームページで今年取材させていただいた 大年寺山のふもとでハチミツつくりをされている方も 冬になると狩りに行くそうですし、 以前奥新川で芋煮会の企画でお世話になった方も 渓流釣りやきのこに通暁されていましたし。


<参考 広瀬川ライフ入門vol.5>


きのこは難しいですよね。 同じ種類でも宮城県で食べられるのに、 お隣の福島県では毒を持っているものもあるそうですね。 あと、仙台の人は東京に行っても、 芋煮会の話題で盛り上がりますよね。 「芋煮会してた?」 「河原でやるんだよね」って。 でも、東京の人と話すと「それってバーベキューのこと?」 と聞かれますが、 「いや違う違う、芋煮会では煮るんだよ、 河原で肉は焼かないよね~」みたいな(笑)。


仙台出身者同士だと芋煮会って言うだけで すぐ分かり合えたりしますよね。


そうなんですよ。いや~芋煮会はいいですよね。 いろんな人とコミュニケーションできたり、 河原で家族の輪とか確認できたりして。


<参考 牛越橋上流河川敷での芋煮会の様子>


「芋煮会」と聞くともうそれだけで仙台のことを 思い出したり、故郷に帰ってきたな、 と実感できたりしますよね。




牛越橋の上流が広瀬川での芋煮会の聖地となっていて、 学生さんが中心ですが、天気の良い日は 朝から場所とりしたりしているそうです。 そろそろ寒くなってきたので、 もう下火になってきているようですが、 つい先日もここから見えるあの米ヶ袋の河原で やっていました。


<参考 米ヶ袋河川敷での芋煮会の様子>







第3回 広瀬康一君の由来は? 2011.2.16 聞き手

「ジョジョ」第四部には、語り部として「広瀬康一」君 というキャラクターが重要人物として登場します。 こうしたキャラクターに「広瀬」と名付けられた 先生の意図は、広瀬川を仙台のシンボルとして 考えられてのことなのでしょうか?

	「ジョジョ」第四部 ジャンプコミックス第32巻

<「ジョジョ」第四部 ジャンプコミックス第32巻>


やっぱり「広瀬川」を出さないわけには いかないじゃないですか! 杜王町は仙台市ではないですが。 さとう宗幸さんの大ヒット曲もありますし、 広瀬康一君は仙台のシンボル・広瀬川から、 それしかないですよ。


ありがとうございます。 仙台市に住む「ジョジョ」ファンにとって、 とても嬉しい話です。 以前広瀬川沿いに「河童」の銅像を市民の寄付で建立しよう という企画があったようですが、 「ジョジョ」ファンだったら広瀬康一君の銅像を 建てたいと思うでしょうね。 では、仙台を離れた今、懐かしく思う場所や、 今でもよく立ち寄る場所などはありますか?


少年時代に遊んだ小松島の方には今でも行きますよ。 昔からあんまり変わっていないですよね。 与兵衛沼周辺も公園区域として自然が残されていたりして、 いいですね。 あと台原森林公園や東北薬科大学側の瞑想の松とか。


<参考 杜の都緑の名所100選 台原森林公園>


<杜の都緑の名所100選 瞑想の松 撮影 高橋政吉>




本当によくあの辺で遊んでいたので。 そうですね、いいことも悪いことも いろんな思い出があります。


「動物の足跡を追っていろいろ訪ね歩くのが 好きな少年時代だった」というお話も伺いました。



先程の埋蔵金探しではないのですが、 いろんなものを追跡するのが好きで、今でも動物の足跡とか、 すごく興味があります。


今年は熊の餌となるナラの実が不作で、 人里までよく熊が降りてくるそうですが、熊の足跡なども…


仙台でも熊が降りて来るんですか? 水溜りのそばとかに爪で引っ掻いた跡があると、 背筋がぞっとしますよ。 「ほんとに、ここに居るんだ、通ったんだ」って。


ところで、今年(注:2011年)でデビューから30周年と伺っています。 1987年の「ジョジョ」連載開始からは24年が経ち、 その間に日本を取り巻く社会情勢も 大きく変化したと思います。 連載で仙台を離れられてから、 昔と比べて現在の仙台をどうご覧になりますか。


そうですね、昔の御屋敷のような建物が 無くなっちゃいましたね。 それと、いい喫茶店も無くなってしまって ちょっと寂しいです。 街自体はきれいになって、住みやすくなったとは思いますが。


戦後の面影を残したミステリアスな雰囲気は、 市街地整備が進んでなくなってしまったかもしれません。


でも、さっきタクシーの運転手さんが話されていましたが、 昨日雪が降る前に現れるというユキムシが 舞っていたそうですよ。 それも市内で出ていたそうですが、 そうした自然が身近に感じられることは 素晴らしいなと思います。


子供の頃の「どざえもん」が流れて来ていた時代や 高度経済成長期の公害問題などを経て、 自然環境を大切にしなければという意識の高まりから、 自然との共生が回復しつつあるという感じでしょうか。






そうですね。歩いて回るにしても、 電車やバスを使うにしても、ちょうど良い距離で どこへ行くにしても移動しやすい。







荒木さん 荒木さん

追跡は楽しいですね~(笑) でも本当に仙台は住みやすい都市規模だと思いますよ。 東京だと広すぎて。


コミックスの折り返しのコメントで拝見したのですが、 先生が仙台で連載を始めた頃は、 コピーが一枚40円するなど、仙台に住みながら 連載するには大変だということで 東京に引越しされたそうですが。


当時はまだ東北新幹線が開通していなくて、 東京まで電車で4時間はかかったんです。 宅配システムもやっとクロネコヤマトの宅急便が できたくらいの時期で 週刊誌で連載するのは大変だったんで、 もう行かざるをえない状況でした。


今ではインターネットなど通信技術も普及し、 またこうした自然環境も身近にあり住みやすくなって、 逆に、今だったら仙台に住みながら連載してもいいな、 と思うこともありますか?




先ほどの伊坂幸太郎さんを始め、仙台にお住まいの 人気作家の方も多いようです。


小説家の方はほぼ問題ないと思いますよ。 マンガもデジタルで描いていればインターネットがあれば 送れますけど、僕はそうではないので…。 誰かが生原稿を確実に編集部に届けないといけないんです。

	「ジョジョ」第四部 ジャンプコミックス第34巻

<「ジョジョ」第四部 ジャンプコミックス第34巻>


「岸辺露伴」は杜王町で連載できても、先生が連載中に 仙台に住むことはやはり厳しいのでしょうか…


仕事関係や友人関係といった生活基盤が今は東京にあるので、 難しいでしょうね…。 アシスタントさんたちも、東京に住んでますから。

第4回 街と自然とが共存する仙台の魅力 2011.2.17 聞き手

先生は各地を旅されて、いろいろな街を ご覧になっていると思いますが、 今の仙台の街の魅力はどのように感じられますか。


こういう、街と自然が共存している感じはいいですよね。 建物と樹木とか。 実はそういう都市ってあんまりないと思いますよ。 関東だと箱根などにはそのような雰囲気が あるかもしれないですが、別荘地的な要素もあって また違います。 日常生活の中に溶け込んだ自然という意味では、 青葉通や定禅寺通のケヤキ並木の風景などは、 まさに仙台を象徴する魅力的なところだと思います。


<参考 杜の都緑の名所100選 青葉通のケヤキ並木>


仙台駅に降り立って青葉通りのケヤキ並木を見ると、 仙台に帰ってきたなという感じがしたり。


そうそう。それと、仙台には、 オーディオや自転車、古本とか、趣味というより もっとマニアックにこだわっている人が実は結構いて、 すごいお店がありますよ。 オーディオだと「のだや」さんとか、 自転車だと「シクロヤマグチ」さんとか。 普通の街中に、すごくこだわった商品を扱っている お店があるんですよ。 一つの街に、そうしたいろいろなこだわりのお店が ある街というのは、東京でもあまり見かけないかもしれない。


自転車の話がでましたが、 広瀬川は先生が遊んでいらした若林区からは、 川沿いを自転車で河口の閖上まで行けるようになっています。 以前その取材で「シクロヤマグチ」の山口さんに お世話になりました。


<参考 広瀬川ライフ入門vol.4>


僕が仙台にいた時からずっとあるっていうのは、 すごいですね。 あと貞山運河沿いにもサイクリングロードがありますよね?


<参考 杜の都緑の名所100選 貞山運河>


ええ。2010年には、海岸公園にセンターハウスもできて、 そこで自転車の貸し出しも行っています。 周辺も整備され、多くの人たちが 楽しめるようになっています。


生活圏内にこうした海水浴場やスキー場がある街って、 すごいですよ、本当に。 東京だと、スキーに行くにしても一泊が前提だったりして、 もうそれだけで面倒で… 映画に行くにも、場所によっては 1~2時間かかったりしますから。


仙台市内中心部から泉が岳のスキー場、 深沼の海水浴場、広瀬川上流の芋煮会や温泉、 だいたいどこへも30分圏内で行けますよね。


<参考 泉ヶ岳スキー場>


そうなんですよ。 あと、最近は街を歩いている人も ずいぶんファッショナブルになったような気が…。



先生が仙台にいらした頃は、 あまりファッショナブルなイメージが…?


いやなんか、昔は女の子があんまかわいくないとか… 言われてましたよね(笑)。 今では全然そんなことないですが。


先生の学生時代には、私服の学校が流行った時だったと 思いますが、当時はガクランを着られていましたか。


僕はガクラン派でしたね。高校では私服OKでしたが、 服を選ぶのがそのうち面倒になって みんなガクランになってくる(笑)。


「ジョジョ」の登場人物は、みなさんガクランが ユニフォームみたいになっていて、先生のガクランに対する 思い入れが相当あるのではと思っていました。

	「ジョジョ」第三部 ジャンプコミックス第19巻

<「ジョジョ」第三部 ジャンプコミックス第19巻>


ガクラン、やっぱり格好いいですよ。 実は、マンガのファッションとして一番格好いいのは ガクランで、「クローズ」とかがヒットしたのは 絶対ガクランだったからですよ。 それでガクランにビニール傘をさす、っていうのがまた 格好いいんですよね。 もう、男の美学としてのマンガの黄金方程式というか。 多分、高倉健さんの影響からだと思いますけど。

	「ジョジョ」第四部 ジャンプコミックス第47巻

<「ジョジョ」第四部 ジャンプコミックス第47巻>

第5回 マンガと現実世界との関わり 2011.2.18 聞き手

近年では、「ジョジョ芸人」といわれるタレントさんや 熱心なファンによる「ジョジョ立ち」などのムーヴメントが 話題になっています。 マンガというフィクションから 今までと違った形で現実への影響が及んでいると思いますが、 そうしたファンが先生の作品を解釈して盛り上がっている 状況についてはどうご覧になっていますか?


「ジョジョ立ち」については、自分でもびっくりしていて、 世の中のほうが変わったんだなと思いました(笑)。 もともと「ジョジョ」の登場人物のポーズは、 ファンタジー性を出すためにあえて 現実にはありえないポーズを取り入れて演出しているんです。 実際の人間の関節の可動範囲はここまでというところを、 さらに限界を超えたところまで捻って表現していますが、 それを実際にやっているんですから… 写真でみると、ちゃんと再現しているんですよ! 人間の体が進化したのかな?





予想外というか真似して欲しくないというよりも、 そもそも真似しようがない表現にしているのに、 そこに現実に踏み込んでくるという… なんか、その発想からして驚きですよ。


驚かれたとも思いますが、先生にとってはそれも 嬉しいことだったのでしょうか。


嬉しい…というか(笑)。 もう、好きなように楽しんでもらえれば… と思ってますね(笑)。


最近では先生も巻き込まれて、一緒にポージングされる こともあるようですが。




今日はわれわれもぜひ先生と一緒に 「ジョジョ立ち」をしたいと思っていました。



「ジョジョ」第二部 ジャンプコミックス第4巻 (c)荒木飛呂彦/集英社   <「ジョジョ」第二部 ジャンプコミックス第4巻> 


私が中学生時代に先生の作品に触れたときは、 もっと直接的に、特徴的なセリフなどを 友達同士で真似したりとした記憶がありますが、 近年のこうした盛り上がりは、 インターネットによる影響も大きいのではとも思います。




インターネットを通じて見知らぬ人同士が結びついて 共有される、共感されるという時代なのではと思いますが、 そうした変化を実際に感じられることはありますか?


昔は口コミといっても範囲は限定的でしたが、 現代だと、インターネットによる予想のできない 展開があると思います。だから逆に怖いですね… その、作品には人間の本心が無意識にでますから。 例えば卑怯な描き方をしていると、たぶん読者の方は 見抜くと思いますが、それがネットだと 増幅されたりするのかもしれないですよね。


こうした時代だからこそ、より誠実さを求められる ということなのでしょうか。


そうですね。一見損かもしれないけど、誠実に描いてないと それがあとになって確実に効いてくる…


以前先生が東北大学で「売れるマンガ」というテーマで 講演されたそうですが、そのときも、 「売れる」ためにそれだけを狙って描くというのではなくて、 どんなに良い作品でも結果的に売れないと、読者に 届かないからだめなんだという話をされていたそうですね。


そうですね。「売れる」ことだけを狙った作品と、 読者に届けるために結果的に「売れる」作品との違いは、 読者の方は見抜くでしょう。 また、それとは別に、ネットでの発言などでそういう精神は よりはっきりと見抜かれてしまうのではないでしょうか。 インターネットの書き込みの内容から、 「この人ずるいな」と感じたり。



荒木さん 荒木さん





一線を画しておきたいというよりも、「岸辺露伴」 ではないですが、図に乗ったことを言いそうなので 自重のために(笑)。


岸辺露伴は、マンガに関しては善悪の判断基準を 超えたものすごい執着心から、ちょっとやりすぎな面が 見受けられますが、やはりそうした面には 先生の想い入れが反映されているように感じてしまいます。


そういう部分もありますが、露伴は憧れですね。 スーパーマンガ家としての。 ただ少しだけ、作品とか芸術に対して 真摯でないことへの怒りなどを表現していますが。

	「ジョジョ」第四部 ジャンプコミックス第36巻

<「ジョジョ」第四部 ジャンプコミックス第36巻>


あくまでも極端な形での表現だと思いますが、 短編「岸辺露伴は動かない」では、露伴が取材で イタリアに行き、教会の懺悔室に潜入してみて 体験の重要性を語るシーンもありました。 ファンとしては、そうしたところに実際の先生の姿を 重ねたくなると思います。




その辺は確かに実感を反映しているかもしれません。 今だとネットで調べればほとんど あらゆるものの情報は分かる時代だと思いますが、 僕自身はやはり実際に体験した上で描きたいですね。 例えばイタリア料理の絵を描く時、 別に食べなくても写真を見たりして描けますが、 でも、僕だったらその料理の匂いを嗅いだり、 実際に味わいを確かめた上で描きたいです。 その辺は、露伴にも反映されているかな。

	「ジョジョ」第四部 ジャンプコミックス第33巻

<「ジョジョ」第四部 ジャンプコミックス第33巻>

第6回 海外のマンガ事情 2011.2.19 聞き手

京都国際マンガミュージアムでは、「マンガ・ミーツ・ ルーヴル―美術館に迷い込んだ5人の作家たち―」 という特別展で、「岸辺露伴 ルーヴルに行く」という 展示が公開されていました。 (注:2010年11月5日~12月3日まで開催) また、2009年にルーヴル美術館の企画展で、 日本のマンガ家としてルーヴル史上初となる 作品展示がされたと伺っています。 ちなみに今回同行しているスタッフでそれを 鑑賞するためにルーヴル美術館に行った者もおります。





その時はフランスでも大変好評であったと 伺っていますが、今やマンガが日本の誇る 現代アートとして海外で評価される時代だと思います。 私たちが学生時代は、どちらかというと マンガに対するイメージは良くなくて、 学校の先生や両親などからは 「マンガばかり見ていないで勉強しなさい」 というような時代だったと思いますが、 その時代に先生がマンガ家を志そうと思われた 動機は何だったのでしょうか?


70年代という「時代の風」でしょうか。もう、本当に いろんなマンガが出てきた時代だったんです。 SFもあれば時代劇もあるし、 「ゲゲゲの鬼太郎」みたいな妖怪マンガや 楳図かずお先生のような怪奇マンガとか、 とにかくいろいろな作品が一気に出てきた時期で、 そのエネルギーがとにかくすごかった。


一つのメディアとしてのエネルギーが マックスだったのでしょうか。


というよりも、新しい時代の始まりという感じ かもしれない。芸術でいうとルネサンスというか、 一つの黄金時代の始まりというか、 今から思えばそんな感じがします。




そう、当てられて、もう…ほんと、 マンガ家になりたくてしょうがなかったですよ。



マンガ家になられただけでなく、今ではアーティスト としてルーヴル美術館に展示されるまでになられました。


いや、まだまだですけど(笑)…でもね、 当時は「キン肉マン」を描いたゆでたまご先生が、 僕と同い年なのに高校生でもうプロになっているという 時代でした。僕なんか普通に学校通っていた時で、 「えっ、同い年でもうプロのマンガ家なんだ!」って。 その時は焦りましたね、 「もう学校に行っている場合じゃあない!」と(笑)。 それから僕もマンガ描いて、早く投稿とかしないと プロになれない、と思いました。




そうですね。本当はアシスタントとかきちっと やりたかったですが、その前に独り立ちしてしまって… 二十歳のときにデビューさせていただいたんです。


先ほど申し上げましたように、今ではマンガが海外でも 評価される時代ですが、デビューされてから これまでのマンガを取り巻く環境の変化は どのように感じられますか?


マンガには、例えばストーリーが面白いとか、 画がうまいとか、デザインが素晴らしいといった、 いろいろな要素から成り立つ総合芸術的な魅力も あると思います。 でも、そのうちのどれか一つだけでも成立すると 思うんです。話が面白くなくても、画がうまいと それでプロとして成り立ったりするんですね。 普通だったらこのストーリーだと幼稚だな、 というものでも売れちゃうんです。 売れるというか、芸術として成り立つんですね。 逆に、画がこれは子供が描いたの?という作品でも、 とにかくストーリーが面白かったり。 いろんな魅力があるんですよ。 でも、僕には理解できないものもありますが(笑)。




それはもうたくさんあります。 若い人たちはすごいですよ。 でも逆に、画もうまくないし、ストーリーも面白さが わからないけど売れる、という作品もありますね。


東北大学での講演時にもストーリーは 起承転結が非常に大事という話もされていたそうですね。


そこから完全に外れているマンガでも、 かなりファンがいたりとか… それはそれで、すごいですけどね。


そうした懐の広さというのもマンガの持つ 魅力かもしれませんね。一方で、海外では マンガはどのように受け止められているのでしょうか。


フランスのマンガは「バンド・デシネ」というのですが、 その描き方はこちらとは明らかに違います。 例えば、日本ではまず表紙に主人公を描くんですよ。 メインのキャラクターをバーン!と。 それを、ルーヴルのスタッフは表紙にキャラクターを 描いてくれるなというんです。 ルーヴル美術館は人物の背景として描いているのに、 背景のルーヴルをメインで描いてくれって。 確かにフランスのバンド・デシネを見ていると、 表紙のメインが背景なんですよ。




主人公は背景のどこかに、 よ~く見ると小さく写っていたりとか、 建物の上を飛んでいる飛行機に ちょっと乗っていたりとか、 運転している車の操縦席からちらっと 見えていたりとか(笑)。 そういう画を描いてくれって言われました。 逆に、日本の場合は絶対にファッション雑誌の 表紙の様に主人公が前にガーン!と出ている。 そこはまるで違いますね。




ええ。だから、「日本はこういうやり方なんです」って 説明して描いたんですよ(笑)。 なかなか分かってもらえなかったですが、 「日本人のマンガ家に依頼したんだから、 日本のマンガの方法論でやらせて下さい」と 説得しました。


先生がデビューされた当時の週刊少年ジャンプでは、 10m離れても見ても誰が作者なのか分かる画を描く、 というのが基本だったそうですね。




でもそれとは逆で、向うの人は一目で誰が描いたのか 分からなくても、いいと。


まず全体的なムードを描いてくれ、という感じですね。 あなたならルーヴル美術館をどう描きますか、みたいな。 あくまでもルーヴルがメインという考え方ですね。


「ジョジョ」の作者というよりも、アーティストという 位置づけだったのかもしれませんね。

第7回 今後の仙台市とジョジョ作品との関わりは? 2011.2.20 聞き手

確かに欧米では、マンガやアニメは子供のもので、 大人が見るものではないという区分けが はっきりなされているようですね。 我々ファンは、荒木先生が遂に世界に認められて ルーヴル美術館に展示された、ということで 嬉しく思っていますが、先生にとっては、 マンガ家の立場とアーティストの立場で 葛藤があったのでしょうか。




京都の展覧会では、ヨーロッパの作家さんと 一緒に展示されていますが、その作家さんたちとの 交流はありますか?


その時来日されていた、ニコラ・ド・グレシーさんには お会いしました。


日本語訳が出版された際に推薦の帯を 書かれたそうですね。 先生の作品と相通じるところはあるのでしょうか?




ファンの方が運営されているサイトで 紹介されていましたが、先生のファンならば、 これはこれでひとつの完成された奇妙な世界のように みえるそうですが。






ええ、なんかねこう、大人がお茶とか お酒を飲みながらゆっくり鑑賞するようなイメージで、 日本のマンガみたいに電車の中とかでバーッと読む 感じではないですね。




ワイン片手に鑑賞しながら、「ンー」みたいな(笑)。 あるいは週末の午後はこれを観ながら ゆっくり過ごそうかな、みたいな感じで。

	「ジョジョ」第五部 ジャンプコミックス第48巻

<「ジョジョ」第五部 ジャンプコミックス第48巻>


日本でもそんなマンガ文化があれば面白いですね。 先生の画集などは、おそらくそういう楽しみ方も できると思います。

画集等 荒木さん

そうした要素も少しずつ取り入れたいとは思いますが、 でも、電車の中で読むっていうシチュエーションも また大切なんだよね。


家に帰るまで待ちきれない楽しみというのも ありますから。


そうそう。「来週どうなるんだろなあ~」って。 僕が子供のときは、少年ジャンプは本当は 火曜日発売なのに、仙台駅だけは月曜の夕方に 買えたんですよ!もう一刻も早く読みたくて 駅まで買いに行ってました。 そういうのは必要ですよね。


ワクワク感といいますか、続きがどうなるんだろう、 という楽しみが生活の中にあるのは大事ですよね。 その意味でマンガの役割は、大きいと思います。




こうして話を伺っていると、先生のアイデンティティは かなり仙台で生まれ育ったことに起因する部分も かなりあるように感じますが、そのご活躍や 「ジョジョ」作品を知っている仙台市民は多くても、 実際にご出身が仙台だということは、あまり 知られていないような気がします。


そうかもしれないですね、僕自身あまり仙台を アピールしていなかったかも(笑)。




主人公が旅をするストーリーが多いので、 僕自身がどこかに定住しているイメージが ないのかもしれない… 「ジョジョ」で日本を舞台としているのは、 第四部の杜王町シリーズだけだし。




今度はもっとその辺をアピールしますか、 杜王町を舞台にしているのは、「ジョジョ」の作者が 仙台市出身だからだよ!って(笑)。





でもね、殺人鬼とか出てくる話ですから、 仙台市民の方が怒るのではないかという心配が 強いんです。本当に仙台の人たちに ご迷惑をおかけしたくないから。


今年(※注2010年)は市内でも事件があり、 仙台が全国的に注目された時期もありましたが、 裁判員制度も始まり自分の住んでいるところでも、 そうした事件が身近に感じる時代に残念ながら なりつつあるかもしれません。


「こちら葛飾区亀有公園前派出所」のように 街にとって良いイメージがあるような作品であれば 良いのでしょうが、僕の作品のイメージだと、 ちょっと…(笑)。 あんまり大々的に仙台をそうした舞台とするのは 気が引けます。


ところで、以前先生にエコバッグのデザインを お願いしたことがありましたが、先生に描いて いただいたものは大人気で あっという間になくなってしまいまして。

エコバッグ 荒木さん

嬉しいですね、エコバッグで少しは仙台市に 貢献できたのかな。


大変話題となったのですが、エコバックの制作枚数 自体がそれほど多くはなくて、あっという間に コレクターアイテムになってしまったみたいです。


市民の皆さんに喜んでいただけるなら、 今後も頑張ります。


「ジョジョ」ファンの皆さんは、仙台を 聖地巡礼として訪れる方がいらっしゃるようですし、 また仙台市での「ジョジョ立ち」も大変盛り上がったと 伺っておりますので、ぜひ、仙台で「ジョジョ」を リアルに感じてもらえたらと思います。 ちなみに仙台市では「彫刻のあるまちづくり事業」を 行っていて、市のシンボルである定禅寺通りの ケヤキ並木の下などにも、ファンには「ジョジョ」の 世界観を感じさせる彫刻もありますし。


<参考 定禅寺通の彫刻 エミリオ・グレコ作「夏の思い出」>




熱心なファンの方でしたら、「ジョジョ」とは 全く関係がなくても「捻り」が入った彫刻を見て 喜ばれると思いますが、実際に「ジョジョ」を モチーフとした作品を仙台市で鑑賞できたら、全国から ファンの方がたくさん仙台市を訪れてくれると思います。 ちなみに、仙台市役所にも「ジョジョ」の熱心な ファンがいて、 作品に登場するエピソードや 名所などを巡るルートを設定して、仙台市としても セールスポイントをつくろうという企画がありました。


いやそんな、恐れ多い(笑)。でも夢のような話としては、 なんだか、楽しそうですね。


実際に青葉区花京院にある郵便局などをファンの方が 訪れて、「郵便局なのにやっぱり緑色だ!」という話も あったそうです。普通の郵便局だけでなく、 街のいろんなところに「ジョジョ」ワールドを 見出す熱心なファンの方がいるようです。

第8回 仙台出身者はいつまでも若い?! 2011.2.21 聞き手

「ジョジョ立ち」もそうですが、フィクションの世界に とどまらず、作品の魅力が現実世界に侵食してきて いるということだと思います。 また、2010年のNHK朝のテレビドラマ小説で 「ゲゲゲの女房」が大ヒットして、 モデルとなった水木しげる先生の故郷に たくさんの観光客が押し寄せるようになったそうです。 テレビ放映前は、ファンの方が訪れるくらいだったのが、 放映後には人口の数倍の一般の観光客が訪れるように なったそうで、経済効果としても大きな効果があったと。




せっかくですから、今後は何か仙台市でも、 「『ジョジョ』の作者・荒木飛呂彦のルーツはここにあり」 みたいな企画などできたらと思います。




ご存じかと思いますが、仙台市は自然環境に恵まれて いるものの、正直なところ全国からどっと人が 押し寄せる観光地というよりも、どちらかといえば 実際に暮らしてみて、 いいなぁと思う土地柄だと思います。

荒木さん 荒木さん



ですから、仙台の良さをPRする上でやはり 「人」がカギになると思います。 仙台の良さを知っていただき、 実際に住んでみていただいて、 ああ、本当に素晴らしいですね、 と思っていただくためには、そこで暮らす人たち自身が いいところだと実感していることは前提ですが、 その上で人と人とのつながりによって 魅力を発信していくことが大切だと思います。 「ジョジョ」ファン同士には非常に固い絆があると 思いますから、仙台市の地域振興、魅力の発信という 観点からもぜひ先生のご協力をいただければ、 と思っております。 「水木しげるロード」ならぬ 「荒木飛呂彦『ジョジョ』ロード」ですとか。


本当に夢みたいな話ですね。 仙台市のために協力できることがあったら これからも何かできればと思っています。


ありがとうございます。 生命科学研究者の瀬藤光利さんが、 アメリカの医学生物学誌「cell」の表紙用イラストを 先生にリクエストされたように、 リアルタイムで「ジョジョ」を読んで育った世代が、 作品から受けた影響をマンガ以外のフィールドでも どんどん現す時代になってきたと感じます。 また、新たな若い読者も増えているようですし。


すごく嬉しいですね。 これからも幅広い世代に渡って読んでいただけたら いいですね・・・水木先生のように。


やはり長く連載されているからこそ、 そうした意味でも広くアピールできると思いますので 今後も末永いご活躍を願っております。


水木先生はもうすぐ90歳になられますが、 それでもなお素晴らしいですよね。


以前先生は、週刊誌連載では非常に体力を消耗するので、 連載は50歳くらいが限界、というようなことを おっしゃっていました。現在は月刊誌での連載となり、 週刊誌よりはいくらかご負担が減ったと思いますが、 今後はどのくらいまででしたら大丈夫と 感じられていますか。


いや…こればっかりは、本当に分からないですね。 でも、あと10年は最低でもやりたいですね。


先生は1960年生まれと伺っていますが、 こうしてお話を伺っていながら、 正直に申し上げますがとてもそうは見えません。 噂では「ジョジョ」の登場人物たちと同じく 「波紋使い」ですとか、 奥様が波紋の使い手で、ご自宅で「波紋」を 浴びているとか…

	「ジョジョ」第二部 ジャンプコミックス第11巻

<「ジョジョ」第二部 ジャンプコミックス第11巻>


いや歳相応ですよ(笑)。 「波紋」じゃなくて…仙台の人は、 皆さん若いからだと思いますよ(笑)。




こうした自然環境や気候とか、お米や食べ物とか… そうした要素があるかも。

荒木さん 聞き手

では先生もこのまま変わらず、あと私たち仙台市民も、 いつまでも若々しく「ジョジョ」を楽しむことが できますね。


でも、この仕事は本当に危ないんですよ。 油断できませんから。 手塚先生は60歳で亡くなられていますし。


創作にエネルギーを注ぎ込んでしまうから なのでしょうか。


どうしても無理してしまうのかもしれないですね。 若い時とは違ってもう徹夜できないのに、 描いているとやれると思ってしまうとか。


描いているとアドレナリンが出て 疲れを感じられなくなってしまったりするのでしょうか。


集中していたら、あっという間に時間が飛びますから。 気づいたら何時間も同じ姿勢で描き続けていて、 腰がもう…(苦笑)。


まるでディアボロのスタンド「キングクリムゾン」 の攻撃にあったみたいに、時間が消し飛び、 腰の痛みだけが残る。 私たちも「波紋」が使えるのでしたら、 先生に生命エネルギーを送りたいですが(笑)。

	「ジョジョ」第五部 ジャンプコミックス第59巻

<「ジョジョ」第五部 ジャンプコミックス第59巻>


ありがとうございます。 いつでもエネルギーは欲しいですので(笑)。 でも今日は、皆さんから元気のエネルギーを たくさんいただいた気がしますよ。

第9回 荒木先生からのメッセージ 2011.2.22 聞き手

では最新作の話をお伺いします。 先日(2010年11月)、第7部「SBR」の第22巻が 発売されました。その中で、 我々行政機関で働く職員にとって 非常に印象的なエピソードがありました。 この世の不幸をどこか自分たちの住む地域とは 別の世界へ追いやるという絶大な能力を得た アメリカ大統領が、世界中のすべての人間が 幸せになることはありえないので、 自分は愛国心に基づいて、この能力を使って 正しい行いをしていると主張するシーンがあります。 行政職員としては、より多くの市民が幸せを 感じられるような施策を行うことを考えながら、 一方ですべての市民にとって満足のいく施策は 難しいというジレンマがあり、 やはりこの大統領の主張にも 肯かされるところもあるように感じてしまいました。

	「ジョジョ」第七部「SBR」 ジャンプコミックス第22巻

<「ジョジョ」第七部「SBR」 ジャンプコミックス第22巻>


予め断っておいた方がいいと思いますけど、 このヴァレンタイン大統領は、悪役ですからね(笑)。 参考にしないで(笑)。でも、実はある意味では その主張が正しいという悪役にしたかったんです。


そうですよね、実際、ストーリー上では主人公が そのシーンで「あれ?間違っていたのは僕?」 みたいな感じで…



	「ジョジョ」第七部「SBR」 ジャンプコミックス第22巻

<「ジョジョ」第七部「SBR」 ジャンプコミックス第22巻>


先生が「悪役」と言われるのでそのセリフを 真に受けてしまってはダメなんでしょうが、 リーダーシップとしてはありなのかな、とも思えますが。


いや、現実世界ではありだと思いますよ。 僕自身もこの大統領のようなリーダーシップの方が、 本当は好きです。


上に立つものとしては、やはりそうした覚悟を 背負う必要があると。



そう。全員にとっての幸せが無理なら、やはりどこかに 視点を置いて考えなければいけないでしょうから。 結局物事において絶対的に正しいとか悪いことって そんなにないと思います。だからこそ、 もうここだという線引きが重要だし、 政治はそのための仕事でしょうから。 それで、覚悟を持って決めたからにはもう、 突き進んでいくべきだと思います。 ちょっと何か言われたくらいで心が折れたり、 前言撤回したりすることは良くないなと思います。


そういう意味では、ヴァレンタイン大統領は、 政治家としてはOKですよね。 もうこのまま行くしかない。




一方で現実世界は、いろいろな価値観がぶつかり合う 本当に難しい時代です。 今の政治にヴァレンタイン大統領のような精神を 求めることも厳しいかもしれませんが、 それでも寄って立つべき信念は必要ではないか と思います。大統領は「愛国心だ」と言っていますが、 私たち一市民として持っておくべき信念としては、 先生の作品のテーマにつながる話かと思いますが、 改めてお聞かせいただけませんか。


愛国心とまではいかなくても、 やはり家族を守ろうという感情や、 あるいは自分が生まれた故郷や今暮らしている地域 への想いなどに繋がる部分だと思います。

	「ジョジョ」第四部 ジャンプコミックス第 巻

<「ジョジョ」第四部 ジャンプコミックス第29巻>


「ジョジョ」が「人間賛歌」をテーマとしている といわれる由縁ですね。やはり先生の仙台への想いも そこから来ているんですね。


そこの辺を…自分としては、おろそかにして 欲しくないですし、おろそかにするような人には 上に立って欲しくないと思いますね。


仙台市役所職員は自分の住む街を思う気持ちは もちろん持っていると思いますが、その上でさらに 覚悟を持って仕事に臨まなければいけませんね。


そうですね。厳しい時代ですから、 風当たりは強くなるかもしれませんが。


そこはやはり、「ジョジョ」を愛する市職員としては、 作品で描かれているような「『正義』の輝きの中にある 『黄金の精神』」を参考にしたいと思います。

	「ジョジョ」第四部 ジャンプコミックス第47巻

<「ジョジョ」第四部 ジャンプコミックス第47巻>


「ジョジョ」作品の中での戦いだと、 最後まで勝ち残るのは、 多分一人二人くらいしかいない世界ですし、 また現実も相当厳しい時代ですが、頑張ってください。




さて、広瀬川ではNPO団体が約20年振りに 貸しボートを復活させたり、 市民団体が中心となって企業や大学などと 流域一斉清掃活動などを行ったりと、 市民の皆さんがいろいろな活動を行っています。 最後に、先生から広瀬川に関わる活動を行っている 皆さんへ応援のメッセージをいただけますか。


<参考 NPO法人広瀬川ボートくらぶによる貸しボート事業の様子>


広瀬川だけでなく、こうした自然環境を守っていく上で、 これからの時代は行政だけで何もかもやっていくことは 不可能だと思います。 昔は、例えば神社の落ち葉掃除などを 近隣に住む人たちが自然にやっていましたよね。 先ほど愛国心の話もありましたが、 そこまでいかなくても 市民が自分の住む街を大切に思う気持ちから、 ボランティア活動などを行うことは とても大切なことだと思います。 そうした活動をされている方が広瀬川に たくさんいらっしゃることは、 素晴らしいことだと思います。


市民一人ひとりがそうした地域を愛する気持ちを持って、 連携していければ広瀬川だけでなく仙台市も さらに素晴らしい街になりますよね。


そうですね。 誰か一人の力で何とかなるものではないと思いますから。 そのためにも、みんなで芋煮会をしたりして 仲良くなったり、付き合いが広がっていけば いいですよね。何よりも楽しいし(笑)。


芋煮会はコミュニケーションを深められるだけでなく、 広瀬川をこれからも守っていくことにつながりますね。


そういった活動がさらに広がっていくことを 願っています。僕もそのために何かできることが ありましたら協力したいと思います。


ありがとうございます。 先生の広瀬康一君にこめられた想いに負けないように、 私たちもこれから頑張りたいと思います。 今日はお忙しいところ本当にありがとうございました。

第10回 こぼれ話 2011.2.23 聞き手

今回は、ここイタリアンレストラン「アル フィオーレ」 をインタビュー会場としてお借りしました。 こちらのお店からは、ご覧いただいているように、 広瀬川と仙台市街地を見下ろす 素晴らしい景色が望めます。


<参考 広瀬川と仙台の街を鹿落坂付近から望む>


そうですね。 この場所にこんな素敵なイタリアンレストランが あるなんて、僕が仙台にいた頃には 考えられなかったことすね。



このロケーションも素晴らしいのですが、 こちらのお店に伺った理由はもう一つあります。 「ジョジョ」第四部、「杜王町」という日本の架空都市を 舞台とした「ダイヤモンドは砕けない」編で、 主人公「東方仗助」と親友の「虹村億泰」が、 イタリア料理店「トラサルディー」を訪れるという エピソードがあります。

	「ジョジョ」第四部 ジャンプコミックス第33巻

<「ジョジョ」第四部 ジャンプコミックス第33巻>


スタンド使いのシェフ・トニオさんが、スタンドで 料理を食べた人を健康な状態に直してしまうというお店。

	「ジョジョ」第四部 ジャンプコミックス第33巻

<「ジョジョ」第四部 ジャンプコミックス第33巻>


私も大好きなエピソードで、「ジョジョ」ファンならば そんなお店が現実にあった絶対行きたい、 というお店ですが、実はこのお店のシェフ目黒さんも、 スタンド使いではありませんが、様々な食材も 手づくりされていて、こちらに吊るされている ハムなどもシェフ自らが作られているんです。


トニオさんみたいに料理にスタンド「パール・ジャム」 が入っているかも。


実は東京に行っていちばん衝撃を受けたのは、 パスタなんです。 こんなに美味しい食べ物があったのかー!って、 本当に圧倒的な衝撃でした。 僕が仙台にいた頃は、 今のようなイタリアンレストランはなかったんですよ。 こんな素敵なイタリアンレストランがあるというのは、 当時から考えたら夢みたいです。


こちらの目黒シェフは先日TBS「情熱大陸」に出演され、 仙台のイタリア料理界では注目のお店で、わざわざ 東京から足を運ばれるお客さんもいるくらいです。 ちなみに、お店のメニューも、お客さんの好みに応じて シェフと相談して決めるというのが基本です。


同じじゃないですか。 まさか、「ジョジョ」の方が後からだったりして…


お店は開店して間もなく6周年、 現在の場所に移転されてからは、4年周年とのことです。


よかった、「トラサルディー」のオープンが先ですね(笑)。 ところでこのタルト、香りが素晴らしいですね。 僕は食材の香りを活かしている料理が好きなんですよ。

洋ナシのタルト 目黒シェフ

紅イモのアイスクリームピュレを添えた 洋ナシのタルトです。 その上にパルミジャーノ・レッジャーノを 振りかけています。


本当にパルミジャーノ・レッジャーノの香が・・・すごい。 あとこの紅イモの甘みが・・・美味しいですね~。

荒木さん 聞き手

ぜひ今度仙台にお越しになる際にはこちらで食事を 召し上がっていただければと思います。 シーズンになったらジビエ(野獣)料理もお勧めです。


ジビエといっても、例えば海側でとれる雉と野山で 獲れる雉とでは、潮風とか食べる餌の違いらしいですが、 味が違うらしいですよ。 そんな話を聞くと、その違いを探ってみたいですね。


では今度、こちらのお店のシェフに 海側の雉と山側の雉を取り寄せていただいて…


二種類出していただいて、今度ぜひ 食べ比べしたいですね(笑)。 でもこちらのデザートをいただいたら 何だか元気が出てきましたよ!

	「ジョジョ」第四部 ジャンプコミックス第33巻

<「ジョジョ」第四部 ジャンプコミックス第33巻>


シェフ、先生がデザートを召し上がって 元気が出たそうです! やっぱりスタンド使いだったんですね(笑)。



目黒シェフと荒木さん 取材協力 AL FIORE(アル フィオーレ) [25]

ARAKI x Arakawa (2011)


おお〜! そんな昔から読んでくださっているとは、嬉しいですね。ありがとうございます! 
怖さ倍増でしたね。もうハマらないわけがない! という状況でした(笑)。当時は子供だったので、波紋法をマネしたり、「こんなスタンド欲しいー!」と騒いだり(笑)。そして今回お会いするにあたって、改めて「私にとっての『ジョジョ』の魅力とは」を考えてみたのですが、やはり勇気をくれるところではないかと。
わぁ、ありがとうございます! その、人間の根源を考える時「勇気や誇りって何だろう?」という部分は外せないと思うんです。そこへいくと『ジョジョ』の登場人物は敵も味方もみんな誇りをもって、懸命に生きている。「あっぱれ」だと思います。特にイギーは……あの、ガムをクチャクチャやってたイヌに泣かされるとは……! あと、リサリサの逆さ煙草のシーンもグッとくるし、シュトロハイムのブレのなさもいいですね。本当、どのキャラも大好きです。

Houyhnhnm (9/2011)











―今回のマンガのタイトルが『岸辺露伴 グッチへ行く』ですが、以前のルーヴル美術館とのプロジェクト作品『岸辺露伴 ルーヴルへ行く』との関連性はありますか?









荒木:ん~なんですかね。スタッフのプロ意識ですかね? それは本当にすごかった。やっぱり職人というか、働いている人たち全員がプライドを持って仕事をしているんだなと感じました。いろいろなブランドがあるけれど、向こうの人たちにとってグッチで働くということは憧れなんだそうです。みんなグッチが一番良いと言ってましたね。















―なるほどですね。マンガの最後が「このバッグはスタンドだったんだ......」というオチですよね。ファンとしては、あのバッグのスタンド名は何だったんだろう? とすごく気になったんですが。

荒木:確かに! 確かにそうですね。スタンド名か~。考えてなかったなあ。何が良いだろう!? 音楽っぽいもので何か......。バッグに関連する曲は知らないなあ(笑)。そうそう。じつは初期段階のストーリーでは、バッグではなくて財布だったんですよ。





―そうそう。お祖母ちゃんの形見のバッグということは『岸辺露伴 ルーヴルへ行く』で冒頭にチラッと登場した、あのお祖母ちゃんですよね?

荒木:そのとおりです。温泉宿を経営していたお祖母ちゃんです。もう既に死んでるんですね。『岸辺露伴 ルーヴルへ行く』は、露伴が17歳のときの話ですからね。
















荒木:次は富士山とか良いですね(笑)。 だってNYとか行かなそうじゃないですか? どうせだったら露伴が絶対に行かなさそうな、マニアックなところに行かせたいですね。

GUCCI × HIROHIKO ARAKI × SPUR 「岸辺露伴 新宿へ行く」展 会期:2011年9月17日(土)~10日6日(木) 会場:グッチ新宿 住所:東京都新宿区新宿3-26-11[27] 先生、肩こりや眼精疲労などの症状はありませんか。 でも今日は、食事を召し上がっていただく時間がなくて 大変残念ですが・・・ ところで、「ジョジョ」第五部「黄金の風」編で イタリアを舞台とした作品を描かれていることもあり、 先生はイタリアが大変お好きなのではないかと 思っておりました。

荒木さん 荒木さん

実は東京に行っていちばん衝撃を受けたのは、 パスタなんです。 こんなに美味しい食べ物があったのかー!って、 本当に圧倒的な衝撃でした。 僕が仙台にいた頃は、 今のようなイタリアンレストランはなかったんですよ。 こんな素敵なイタリアンレストランがあるというのは、 当時から考えたら夢みたいです。


こちらの目黒シェフは先日TBS「情熱大陸」に出演され、 仙台のイタリア料理界では注目のお店で、わざわざ 東京から足を運ばれるお客さんもいるくらいです。 ちなみに、お店のメニューも、お客さんの好みに応じて シェフと相談して決めるというのが基本です。


同じじゃないですか。 まさか、「ジョジョ」の方が後からだったりして…


お店は開店して間もなく6周年、 現在の場所に移転されてからは、4年周年とのことです。


よかった、「トラサルディー」のオープンが先ですね(笑)。 ところでこのタルト、香りが素晴らしいですね。 僕は食材の香りを活かしている料理が好きなんですよ。

洋ナシのタルト 目黒シェフ

紅イモのアイスクリームピュレを添えた 洋ナシのタルトです。 その上にパルミジャーノ・レッジャーノを 振りかけています。


本当にパルミジャーノ・レッジャーノの香が・・・すごい。 あとこの紅イモの甘みが・・・美味しいですね~。

荒木さん 聞き手

ぜひ今度仙台にお越しになる際にはこちらで食事を 召し上がっていただければと思います。 シーズンになったらジビエ(野獣)料理もお勧めです。


ジビエといっても、例えば海側でとれる雉と野山で 獲れる雉とでは、潮風とか食べる餌の違いらしいですが、 味が違うらしいですよ。 そんな話を聞くと、その違いを探ってみたいですね。


では今度、こちらのお店のシェフに 海側の雉と山側の雉を取り寄せていただいて…


二種類出していただいて、今度ぜひ 食べ比べしたいですね(笑)。 でもこちらのデザートをいただいたら 何だか元気が出てきましたよ!

	「ジョジョ」第四部 ジャンプコミックス第33巻

<「ジョジョ」第四部 ジャンプコミックス第33巻>


シェフ、先生がデザートを召し上がって 元気が出たそうです! やっぱりスタンド使いだったんですね(笑)。



目黒シェフと荒木さん 取材協力 AL FIORE(アル フィオーレ) [28]

ARAKI x Arakawa (2011)


おお〜! そんな昔から読んでくださっているとは、嬉しいですね。ありがとうございます! 
怖さ倍増でしたね。もうハマらないわけがない! という状況でした(笑)。当時は子供だったので、波紋法をマネしたり、「こんなスタンド欲しいー!」と騒いだり(笑)。そして今回お会いするにあたって、改めて「私にとっての『ジョジョ』の魅力とは」を考えてみたのですが、やはり勇気をくれるところではないかと。
わぁ、ありがとうございます! その、人間の根源を考える時「勇気や誇りって何だろう?」という部分は外せないと思うんです。そこへいくと『ジョジョ』の登場人物は敵も味方もみんな誇りをもって、懸命に生きている。「あっぱれ」だと思います。特にイギーは……あの、ガムをクチャクチャやってたイヌに泣かされるとは……! あと、リサリサの逆さ煙草のシーンもグッとくるし、シュトロハイムのブレのなさもいいですね。本当、どのキャラも大好きです。

Houyhnhnm (9/2011)


For JoJo‘s 30th anniversary, we wanted to once again ask Araki-sensei about the series. First we want to ask about the cornerstone of any series, its protagonist: did you have any policy when it comes to creating main characters? I always draw strong protagonists; it’s not just Jotaro, they’re all like that. I think it’s easy to draw superhumanly strong guys, and fun too. If you take fairly ordinary, everyday stuff and add in one guy with extraordinary strength, then he becomes the center of attention, right? And I guess I like when some dumb, goofy guy turns out to be crazy strong. Like in kung-fu movies where the scrawny old geezer turns out to be a martial arts master; I love stuff like that. Jotaro and Johnny both have a huge gap between how they look and what they’re capable of. Yeah. I prefer to put most of the focus on the story, so I gave them plain designs, but beyond that I think it boils down to the idea that it’s more interesting to have the weak-looking, plain guys be strong. With Jotaro, he started out just being a straight-up kid. Then I thought about it some more and made him a deliquient. I see. So then after that, Jotaro grew up… I got a lot of pushback on that at the time. Apparently in shōnen manga changing what the main character looked like was a big no-no, but I didn’t care about that. His head/body ratio made fighting hard, so I said that if the series was going to start focusing more on mind battles, then I needed to make him a teacher . But this really shocked them: “The series has finally gotten popular, and now you want to go and change everything!” That was the kind of reaction I got. How did you manage to convince everyone at the editorial office? “Convince” probably isn’t the right word. First I drew a sketch of Jotaro and sent it over to the editorial office to get their feedback. But then I started drawing the rough draft before I even heard back from them. (laughs) By the time I sent the rough draft to the editorial office, there wasn’t any time left to make major revisions, so they were just like “if you’re so dead-set on doing this, then fine…”

Jotaro's eyes change shape as well. With the usual design for his eyes, it was hard to have him look off to one side. It made it hard to tell exactly where he was looking, so I wanted to give him eyes that would make this more clear. His eyes from right after looks up at DIO… I based those off of Clint Eastdwood. Since that look of his where he glares right at you is paralyzing! That’s what I wanted to do in the DIO's World arc… Once Jotaro gave that look, as far as I was concerned the story arc was over. I was like, “They have to start fighting now? What a pain!” My goal was just to get to that look. But when it actually came time to draw it, it turned out a bit different than how I had imagined it. I still thought Clint looked a lot cooler. (laughs) Do you have any rules for making characters? I suppose I do follow a few specific rules, but only subconsciously. Like when drawing bad guys, I won’t make them so devious and underhanded that it leaves a bad taste in the reader’s mouth afterwards. Not because I’m particularly concerned for the readers, but rather because I personally hate drawing that kind of stuff. Well, DIO was pretty underhanded, but I generally don’t draw things that are so unpleasant that it gets to you psychologically. Also, I paid a fair amount of attention to how DIO talked. After all, villains pretty much always talk rudely. I thought the contrast between his polite speech pattern and his cruelty and strength was really unsettling.[30]

JOJOmenon Araki Interview (10/2012)

Interviewer: “JoJolion” has been a bit more erotic in comparison to previous arcs but is this a conscious decision? Is there a motive behind this shift?

Araki: I wanted to draw something that I had never drawn before. Therefore, it’s probably the first time bust shots have made an appearance. As for the art, I want to draw a looser style. Instead of having a constant focus on intense fights, I think the readers also enjoy the off-beat interactions as well. Up until now I was pursuing the element of fear but I also want to incorporate a sense of relatability and looser aspects.

Interviewer: How have you specifically actualized these ideas?

Araki: For example, I have increased the number of white panels. I try not to draw everything to perfection but rather with a little more openness. I could illustrate as dark as I did previously but I intentionally included more white elements so the reader could pass through a section without being heavily invested in a facetious scene.

Interviewer: I do really enjoy how the art throughout the “JoJo” series has constantly evolved.

Araki: Rather than trying to change, I try to avoid illustrating old, already existing art. However, I do realize there are characters like Hirose Koichi or Kobayashi Tamami whose heights have gradually shrunk and that’s not great.. haha

Interviewer: Like, Funny Valentine from part 7 was the opposite as he steadily grew.

Araki: Ha, That’s okay because he was working out! (lol) In reality, the characters constantly move through their lines and poses and they just happen naturally like the flow of nature.

Interviewer: Regarding the dialogue, it’s really amazing because the lines are so memorable that they even publish books such as “Famous quotes from JoJo’s BIzzare Adventure”

Araki: It’s amazing isn’t it! Haha! When I see my work being accepted by the younger generations, I feel glad to have been drawing all this time.

All Star Battle's Guidebook (08/29/2013)
I don't play fighting games myself, so I can't comment on that aspect, but I think it's amazing how perfectly they were able to recreate everything. It's beautiful. Whenever people try and adapt JoJo they always want to use a bunch of different colors. But this game actually suppresses the colors and makes them refined/quiet. I think this is good, because it will keep players' eyes from getting tired. I think the more colors on the screen increases the exhaustion in one's eyes. I also think the cutting-edge CG technology they used did a great job of capturing the atmosphere.

The characters have been recreated so well, they may look cooler than they are in the manga. (Laugh) There's a psychological level to the battles here. I like how they've made it something more than just a fighting game.

The town of Morio-cho appears in Parts 4 and 8, but they're parallel worlds linked in time or space. The two Josukes would likely meet each other at some point. With this game, though, it becomes possible. At first I was bit taken aback. But then the bizarre nature to it all really got me interested. It's very entertaining. I would never allow something like this in the manga, but since this is a game, it's cool. Same thing with Jotaro fighting Dio Brando. The way the characters look is so different over the parts, though, that normally if you lined them all up they'd look very out of place with each other. But this game fixes all that, and I think that's one of its strengths.

Personally, I play a lot of horror action/adventure games. I like exploring a lot, not just fighting. I like puzzle games too. And I like sports and racing games too, as you might have figured from my inclusions of F-MEGA and Oh! That's a Baseball! in part 3. Lately games have been getting really "real." I still like cheap-looking games like F-MEGA.

Lately, though, I haven't really played any fighting games or shooting games. When I get excited during battles, my Adrenalin pumps up. I want games to heal me. That's why I play horror games. Horror heals me. (Laugh) Even in this game, the punch animations are just too fast for me. I'd rather watch them in slow motion.

I wish I had a technique that girls liked. (Laugh) Or, I wish I could appear as a side character, who says "Do your best!" and offers up an energy drink or something.

People who started reading JoJo when they were young have now become adults and are contributing to this project. I'm really amazed. And moved that we can work together to let the next generation read JoJo. I was so surprised when I heard they were going to make an anime. For 20 years, I've thought about how unsuited JoJo was for TV. (Laugh) It ended up being a lot bigger than I imagined it would. I'm so glad the fans enjoyed it.

People say my gallery showing in Florence was a success, but I don't have any strong feelings about that personally. But one thing I did notice is that whenever I go to Italy, I always hear people talking about Japanese manga. Dragon Ball, Naruto, and Yu Gi Oh are all very popular. And whenever people talk about Japanese manga they always talk about Japanese soccer. I suppose Captain Tsubasa has had a lot of influence over there. Whenever you mention Japan in Italy, it's either Naruto or Nagamoto (soccer player).

I listen to country and Western music a lot. It's like American "enka" music. I like the pure, "human" sound of the vocals.

As for movies, I mainly watch suspense and horror. Recently I saw "Life of Pi" and "Gangster Squad." They were very good. There look to be a lot of good horror movies coming out in 2013, including the Evil Dead remake, so I'm excited.

From here on out, in JoJolion, I plan to focus on the Higashikata family in more detail. But it won't be linked to Part 4 in any way. People keep asking me when Kishibe Rohan will appear, so let me answer that question: he won't. (Laugh) That is absolutely set in stone. Another weird doctor will appear, though.

Q. What is manga to you?

A. Like how food is a blessing from the sky and earth, I think manga is a blessing from society. I'm receiving ideas and inspiration from Japan.

Q. Who do you respect?

A. Many people... Shirato Sanpei and Fujiko Fujio I've respected since long ago. Recently, I've really thought about how amazing pro mangaka who came before me are. Like how they've polished themselves so much, how much work they were able to handle... it'd be impossible in the present day. They were always so pure about how they faced their work. They weren't drawing manga because they wanted to become someone great. they just wanted to draw. That's what's so amazing.

Q. What's the most important thing in the world to you?

A. A lot is important to me... hmm. The most important thing would be my breathing technique, I suppose. (LOL) If my breathing gets bad, my stomach starts to hurt. So every morning, I use a special breathing technique. I store up breath around my ribs. It trains my inner muscles and connects me with the universe. It's pretty deep.[31]

—Hirohiko Araki

JoJoveller (2013)


椛島さんとの対談でも少し話が出ましたけど、 第1部はディオを描きたかったんですよ。 とにかく彼を描くためのストーリーみたいなところがあってディオをどう動かすか」 を常に考えていた気がします。 「 善と悪」 「 白と黒」 みたいな主人公とライバルの対比を見せる漫画にしようと思っていた。 そのためには敵が強力じゃないと絶対面白くないんですよね。 だからディオは、 「 どうやって主人公はコイツに勝つんだ! ? 」 と読者が思ってくれるような「 究極の悪」 にしました。 ただ、 読者がちょっと憧れるような部分も持った悪、 「 共感できる悪」 にしたいとも思ってまし

ディオを究極の悪にした分、 その対比としてジョナサンは純粋すぎるくらいのキャラクターになりましたね。 ジョナサンは今だったら、 もうちょっと違う味付

けができるんだけど、 当時は僕も若かったから。 主人公のジョナサンという名前に、 そんなに深い意味はないですね。 外国人が主人公なので名前は「 とにかく読者が覚えやすいものにしよう」 と思っていました。 「 スティーブン· スピルバーグ」 みたいに、 頭で韻を踏んでいると印象が強いように感じたので「 ジョナサン。 ジョースター」 。 今では受け入れられているけど当時は外国人が主人公

の漫画なんて少なかったから、 馴染みがないというか違和感がありました。 自分でも描いていて「 人気は出ないかもな」 という意識もありつつ、 でも「 こういうのも認めてほしい」 という気持ちもありました

ディオは『 魔少年ビーティー』 の主人公· ビーティー· ピーティーの発展系なんです。 嫉妬だとかハングリー精神といった人間の感情の影の部分を、 ビーティーよりももっと深くしたキャラクターです。 悪役であるディオを描いていた時は自分の精神面にも

影響はあったかもしれない。 イライラするようなことたかもしれないはないんだけど、 例えば普段の暮らしの中でも、 ふとダークなことを考えてしまったり、 ディオと同じ視点になっちゃつて人間を昆虫観察するような目で眺めてしまったり、 そういうことはあったかもしれないですね。

『 魔少年ビーティー』 を描いていた頃もそうだったんだけど、 第1部や第2部の当時に目指していたのは少年漫画へのアンチっていうか、 友情· 努力· 勝利っていう「 週刊少年ジャンプ」 ( 以下、 WJ) の世界に挑戦して開拓していこうっていう生意気な気持ちもありました。

第2部の主人公のジョセフという名前は、 ジョナサンと同じく「 ジョジョ」 になればいいってことだけで、 これも深い意味はない味1。3なしです。 お調子者の性格は、 生真面目だったジョナサンと対比させたからですね。

物語で目指したのは「 誰がいちばん強いのか」 「 どういう人間が怖いのか」 を描くこと。 敵が「 究極生命体」 という設定は、 まさにそこですね、 食物連鎖の頂点。

当時は「 とにかく自分の作風を作らなきゃ」 11かくと思っていました。 僕の先輩の方々1970年代の有名な作家さんは、 皆さんご自分の作風を持っているんです。 そこには何か大事な意味があるんだろうと思っていました。 だから自分の漫画の人気がないからといって「 ホラーを描いていたのに、 急にスポーツ漫画やラブコメ漫画を描くようになっちゃダメだろう」 と。 「 そこは突き詰めていかなきゃダメなんだ」「 ブレてはいけない」 と思うようになったんですそれは自分で自分を追い込むことになるけど、 今でも続いていますね。 行き詰まったら終わりかもしれない。 … でも道は必ず開けると思えばこそです。

第3部は、 第1部と第2部の主人公が外国人で続いた

ので、 日本人になったってうのはあるかな。 でも向かう場所はエジプトだし、 仲間も外国人が多かったんですが( 笑) 。 主人公の名前は「 承」 の字には「 受け継ぐ」 という意味があって、 本当は「 しょう- という読み方だけjごナどぉどお寺の名前とかで「 じょう」 じよAと読ませることもあったので、 それに決めました。 「 空条」 の方は、 第3部が始まる時に鎌倉に取材に行ったことがあって、 鎌倉幕府の執権だった「 北条」氏からですね。 それで「 ジョジョ=空条承太郎」 としました。

Daisuke Ono (04/2014)

Ono’s first encounter with Jojo’s came in middle school, when Part 3 of the manga -- Stardust Crusaders -- was running. It wasn’t until he went off to college, however, that he realized just how powerful Jojo’s truly was.

“I had a lot of free time as a college student, and I ended up getting totally sucked into Jojo’s, to the point where I spent what little money I had on the whole series up that point. And then during the course of my going to school, as I read it over and over again, I realized everything I needed to live my life was in that comic.”

A big part of that realization was the rather adult nature of Jojo’s, which mixes horror and suspense elements in a bid to live up to the Bizarre part of its title, and, at least according to Ono, became even more satisfying when viewed through the eyes of an adult.

“As I started to understand the little subtleties and quirks of life, as I experienced doubt, confusion and frustration and accumulated life experience, I found more and more things in Jojo’s that resonated and stayed with me,” Ono said.

Ultimately, Jojo’s was part of the reason he decided to enter the world of broadcasting, and part of how he found success. Ono found himself frustrated with weak communication skills, unable to get others interested in what he had to offer professionally, and floundering in general. It was during this period of his life that he encountered Jojo’s again, discovered a love for radio, and met common friends who would shape the rest of his life.

“The people I work with, my closest friends and acquaintances who I see on a daily basis, are all huge Jojo’s fans. In a way, reading Jojo’s pointed the way forward during the time of my life when I most felt frustrated and unsure of what to do next.” An inspiring story, but how did he feel about getting the chance to play Jotaro Kujo, one of the most iconic characters in manga and anime history?

“Well, Jotaro’s a representative character of the series, and from the part that I think most people are aware of in general, so I felt a lot of pressure at first, followed by more pressure, culminating in… really, it was just all pressure.”

There were also a few questions asked about the audition process for the Jojo’s Bizarre Adventure: All Star Battle video game, which Ono also played Jotaro in. As is often the case in these kinds of situations, the audition process for the Stardust Crusaders TV series was completely separate from that of the game, and Ono found himself having to re-audition for Jotaro all the way from square one. It all ended up working out in the end, though.

“Jotaro is a character who’s cool and collected and on the verge of boiling over all at the same time. He takes those two contradictory elements and makes them work together at a high level,” Ono said. “He’s a guy who’s cool on the surface, but deep down inside he’s white-hot.”[32]

『ジョジョの奇妙な冒険 スターダストクルセイダース』 /

■ 生きていく中で自分に必要な要素が全てこの作品に入っている

―アニメ!アニメ!(以下、AA) まず、ジョジョに初めて出会ったのはいつでしょうか?

―小野大輔さん(以下、小野) 小学生の時、第3部をやっていた辺りが最初の邂逅だったと思います。そのあとは大学へ入って上京してから、第5部を連載している辺りです。 大学時代なのでとにかく時間に余裕があるわけですよね。ドハマりして、なけなしのお金で全巻買いました(笑)。大学生活を送りながら「生きていく中で自分に必要な要素が全てこの作品に入っている」と思って何回も読み返してました。

―AA 小学校での出会いから、大学までは間が空くんですね。

―小野 小、中学生の時期は、サスペンス要素もホラー要素も入っている文字通り「奇妙な」作品、ジャンプの中でも大人びた作品だったのでハマるまでは行かなかったんです。大学時代にいろんな人生の機微がわかり始めて、自分がやっていることに疑問を抱いたり、道に迷ったり挫折したりと人生経験が多くなればなるほど、ジョジョから受けとるもの、響くものがどんどん増えていって。これはもしかしたらとんでもなくすばらしい作品を見逃していたのではないかと、やっとそこで気づいたんでしょうね。

―AA その辺りで、ご自身に転機が訪れたということですか?

―小野 中学、高校時代は自分が将来何になりたいか、かっちり決めてる人はなかなかいないと思います。自分も「大学に行って放送のことを勉強して放送業界になんとなく関わりたい」っていうことしか決めていませんでした。


―AA 日本大学芸術学部に進学されています。

―小野 そうです。ただ、入ってから「自分は人とのコミュニケーションが苦手だ」ということに気づいたんです。僕は放送学科・テレビ制作コースにいたのですが、テレビを作るとなるとものすごく多くのスタッフさんとコミュニケーションが必要だし、企画や演出ですとさらに多くの人に指示を出さないといけない。つまり自分に興味を持ってもらって、やりたいことを伝えないといけないんです。僕にはそれが全くできなかった。 テレビ制作に関する勉強もしてなかったし、ただ好きなだけで放送学科に入ったので、そこで挫折してしまって。そこで、ラジオ制作に行くんです。 ラジオは2人いれば番組作れちゃう。マンガやアニメ、そうしたサブカルチャーがすごく好きだったので、「これを仕事にしたいな」と思い始めたんです。ジョジョに触れたのはその時期なんですよ。 例えば、第3部のホイィール・オブ・フォーチュン(運命の車輪)戦のセリフ「『道』というものは自分で切り開くものだ」という言葉。すごく感銘を受けました。

―AA 刺さる言葉です。

―小野 実はその時の仲間は今でもすごく連絡を取ったりしますし、現場で会ったりもするんですよ。 アニメの制作スタッフさんにいたり、今ライターやってる友だちもいます。親友であり戦友である存在です。それは大学時代、道に迷っていた時の自分がジョジョに出会って変わったからこそだと思うんです。

―AA ジョジョに導かれて、今の小野さんや友人たちがいるわけですね。

―小野 僕の周りの人、親友として今でも付き合う人ってみんなジョジョ好きで(笑)。コミュニケーションを人と取るということに挫折した時から、ジョジョという作品が人生の指針になる、ということがはじまっていた気がします。

―AA そういった小野さん自身の人生の指針になるような大きな作品に、主人公として関われるということが決まった時のお気持ちというのはどういったものだったのでしょうか。

―小野 第3部はジョジョを代表するような、象徴的な部だと思います。一般的にも一番認知度が高いパートになっていると思うので、その主人公・空条承太郎を演じるというのは、最初はプレッシャー、さらにプレッシャー……本当にプレッシャーでした。

(C)荒木飛呂彦&LUCKY LAND COMMUNICATIONS/集英社・ジョジョの奇妙な冒険SC製作委員会[33]

Naokatsu Tsuda (07/04/2015)

Note: Naokatsu Tsuda is the creative director in charge of David Production's enthusiastic anime adaptation of the iconic JoJo's Bizarre Adventure manga. This is an interview for Mr. Tsuda at Anime Expo, Los Angeles on July 4, 2015 by Anime News Network.

ANN: What is the difference between your role as director and Kenichi Suzuki's role as "series director," as far as how things are managed?

Naokatsu Tsuda: The best way to think of it is not as co-directors, but one as the executive director and one as the actual director.

So he's in more of a producer position and you are the creative director?

We're both creative, but I have final say in everything.

How were you approached about directing a JoJo's television series and what was your reaction?

So, the story starts off with me being an employee at our production company, David Production. My previous work was directing Inu X Boku Secret Service and our Vice President, a man by the name of Kajita, asked me, "You like JoJo?" And I said "Yes!" And he said, "Okay, you're directing JoJo." That's it! Very easy.

When looking at the material, did you feel that there was much adaptation that needed to be made for language and references, since it is over twenty years old, or did you feel that it was timeless and you didn't have to change much?

The main adaptation needed for a modern audience would be in the visuals. If you look at the original JoJo's Bizarre Adventure, the lines are very detailed and I question if a modern viewer would be able to relate to these details. Also, we do need to simplify the lines for animation. So simplifying the lines was something we definitely prioritized. But the JoJo's graphic novels, over the years, have become something of an internet meme, or at least they are the source of a lot of internet memes. One thing we can do today that wouldn't have been possible 20 years ago is pick up on already established memes and see how we can pull those into the anime. Many parts of the series are already finished, so we are in a unique position today where we can do a wholesale retrospective on them. Also, modern audiences have a preference for higher-paced dialogue, so that's also different today from how it would've been adapted back then.

That's very interesting to hear about the meme culture of JoJo's. So you were aware of that stuff going in and you consciously said, "Oh we have to get this right, we have to make this feel classic for fans of the manga?"

Yes, in fact that was fully intended. We wanted to make a show where a fan could watch the animated episode and then go back to the graphic novel and see that their idea of JoJo was faithfully animated. We wanted to make something that could be shared as a new source of fan memes, and something where everyone's idea of JoJo could come to life through it.

One of my favorite things about JoJo's is the incredible sound design and music work on this show, both the soundtrack and the use of sound effects visually is very powerful. I feel like viewers can listen to this show and understand the story almost as well as seeing it. What was your philosophy going into the music and sound effects for the series?

The written words that show up in JoJo's is something that we call a "word effect." This comes directly from the manga, where if you look directly at the panel, the written sound effects are an integral part of the layout. Usually, when you animate a graphic novel, all those sound effects would be taken out, but that also changes the visual layout of the panel in translation to the screen. Now when you look at streaming culture today in Japan, especially when you look at websites such as Niconico, all the users just paste up their text reactions as part of the video stream, and that's part of the actual fan culture. My takeaway from that was younger audiences of today don't actually have any problem seeing written sound effects onscreen. So rather than changing the original manga layout, we wanted to incorporate that into the anime as well and use word effects in choice places for favorite lines and favorite sounds, perhaps sound effects that the viewer might want to shout out along with the show. So it's just thinking about things backwards and then making them work out. I don't think you actually need to be able to read the text, because it's more of a visual element than a language thing.

For the music, I really wanted to incorporate film-style music rather than something that resembled a variety show. When you use music in film, it's often set to a specific character or emotion or scene. In the first two parts of Jojo's, the music is really set to the scene and only once in a while is it set to the emotions of the moment. Part 1 takes place in 19th century England, which isn't exactly a place anyone has first-hand experience living through. So we used the music to establish a sense of history and location and period that we can relate to. Then we skip over to Part 2, which takes place in Art Deco America. So we had to establish something more stylish and pop in tone there. Since there's a graphic visual difference between Part 1 and Part 2, we wanted the audience to be transported 50 years forward through the music as well as the visuals.

What was the process for choosing the ending theme songs like "Roundabout" and "Walk Like an Egyptian?" Is this a tradition that you want to continue in future parts?

Well, those came from the author of the original graphic novel, Hirohiko Araki. They're all songs that he was listening to back when he was drawing the individual parts. Mr. Araki only listens to Western music because he doesn't understand English, so none of the lyrics come across to him as language, but as pure sound. So we got a list of these songs that he was listening to back when he was writing each part, and we chose songs for the closing animation based on which ones Warner was able to secure the rights for. It was up to Warner to actually do the negotiating. So if there is an anime production of the next part, we'll probably go by the same process. Traditionally, JoJo's Bizarre Adventure has been a gateway to learn about Western music for Japanese readers. For American fans, a lot of the music and names featured in JoJo's are more an acknowledgement of familiar artists, but this is also cause for Warner to be engaged in a lot of negotiations to secure those rights.

Yes, the names of these characters are changed in the official subtitles for American viewers. Vanilla Ice becomes Cool Ice, Oingo Boingo becomes Zenyatta Mondatta, and so on. The fans always know the real names, so they see that and sort of laugh at it. They feel like "what, are they afraid of lawyers?" How do you feel about American audiences being given changed names?

Well, I do think someone may have tried to err on the sensitive side of things in translation. When you look at characters like Oingo and Boingo, if the musical artist of the same name wasn't happy with the idea of being depicted as such comical characters, perhaps erring on the sensitive side might have been the right decision.

On that note, where did the Oingo Boingo Brothers song come from? It was a very fun surprise!

Part 3, Stardust Crusaders, is split into two halves for television airing. At the time, the music producer at Warner, Mr. Oomori, had asked if there was any scene-specific music that I wanted to have in the series. You might be familiar with a specific practice in Japanese animation where episode one and episode three are very important for a show's production. If episode one doesn't execute well, a lot of viewers will write off the show and never watch it. And you also need to have a new development or twist take place in episode three, or more established viewers will abandon the show. It's not such an issue with episode four onwards, but that's the unfortunately reality of the industry right now. The Oingo Boingo episode in question is actually episode three of Stardust Crusaders' second half, so we knew we had to make it stand out. Boingo is an enemy who uses manga as their gimmick, so for the ending we thought this could be the first and only instance of a character song. I thought it would be something that the viewers would be very happy to see. So I went to producer Oomori, he greenlit it, and the Oingo Boingo Brothers happened.

And the Hol Horse Boingo Combo as well! Now do you have a favorite Joestar or a favorite character? Not just in the three parts that are animated, but from any of it?

Well, since I just finished working on Stardust Crusaders, I'm most sympathetic to Jotaro. In part 4, my favorite is still Jotaro. As a high school reader of the manga, my favorite Joestar was… well, it's actually questionable if he's from the Joestar family, but he's the main character from part 5, Giorno Giovanna. He's actually Dio's child, but he inherits a very large portion of the Joestar family spirit.

You mentioned that the manga's art could be difficult to adapt to animation. What were your thoughts on adapting the manga's striking color design in a way that wouldn't be too overwhelming?

One thing that makes anime different is that once you establish the color setting, you can't change it, whereas there's no set color for a lot of things in the JoJo's graphic novel. Once we established the color setting inside the anime, we knew there might be a lot of fans who would object to the choice of colors. As a JoJo fan myself, I do really understand the kinds of things they would object to. So we decided on scene-specific coloring, so that the "set color" could still change depending on the specifics of the scene. Since the graphic novel doesn't actually have set colors for a lot of things, I think that was one way to take advantage of its style, while creating something that would be acceptable to fans.

One last question: JoJo's is filled with great moments of elation, and it must be exciting for the voice cast to do that sort of thing. What was the most powerful moment for you, vocally?

There's far too many to mention, but if I were to choose one, it would be the final episode of Stardust Crusaders, where Jotaro and Dio are having their showdown, and it is the battle of ORAORA and MUDAMUDA.

I knew the story, so I knew it was coming, but I was still surprised when Dio shouted "ROAD ROLLER!"

I'm very happy to hear that.[34]

Dream Talk Session (2015)

Jojo’s Bizarre Adventure X Assassination Classroom Araki Hirohiko & Matsui Yuusei

Dream talk session

A chance meeting between Matsui Yuusei, author of the popular Weekly Jump manga "Assassination classroom", and Araki Hirohiko, who has built a unique world within his "Jojo's Bizarre Adventure". During this relaxed discussion, they raise the curtain on their work methods.

Even though I look like this, I'm an outdoors type of guy (laughs). -Araki

Thank you for coming today! Matsui-sensei ate Araki-sensei's cod roe spaghetti and chicken soup. Can you give us an impression?

Matsui: Really, I'm overwhelmed by being able to eat the food an artist I look up to made. The chicken soup had a really gentle flavour and I felt it was very invigorating. The spaghetti was good too!

Araki-sensei, you said you like to cook as a divergence from your work. Are making food and making manga similar in any way?

Araki: Well, not really (laughs). However, I make both manga and food in gratitude of many things, so I guess they spring from the same source.

You just ate together. Do you do anything special to keep up your health, and what are your favorite foods?

Matsui: I just eat stuff I buy at the convenience store. I take nutritional supplements and go out to eat some proper food every now and then, so I really don’t fuss over my health much yet.

Araki: I don’t eat anything after 6pm. I eat whatever I like in the morning and afternoon, but I don’t eat anything in the evening. If you eat while working in the evenings, you’ll definitely get fat. If you get fat, you won’t want to move and you’ll fall into a downwards spiral, so I’m careful about my health.

Matsui: You’re still very slim. Do you exercise regularly?

Araki: I do.

Matsui: When did you start?

Araki: I think that when people hit their 40s, they’ll want to take up running because they’re tense about their health. I used to like diving and mountaineering, so from there I started running. I actually like exercising. Even though I look like this, I’m an outdoors type of guy (laughs).

Matsui: I didn’t mind exercise before I started Assassination Classroom, but as soon as the serialisation started, my will to exercise disappeared. Moreover, I feel like muscles get in the way when I’m just sitting and letting my mind work at full force, so it can’t be helped. To draw manga you just need your head and hands. Anything else is unnecessary. Although I do think I should keep up my stamina while doing a serialisation, so it’d be bad if I kept going like this.

Mangaka can take a break whenever they want, but they don’t get any holidays. –Matsui'

Photo caption: Jojo has moved to Ultra Jump since Steel Ball Run. Araki-sensei is currently working on Jojolion, but he says the current amount of pages matches his personal rhythm better.

How do you two gather data and materials?

Matsui: I’ve been relying on the internet a lot recently.

Araki: For me it’s still books. However, I have to buy them at a physical bookstore, or it won’t work. I want to choose a book from a bookstore that I like.

Matsui: Where do you buy them normally?

Araki: In Shinjuku or Aoyama. If I go there I’ll know what’s popular, or what the staff recommends. I want to see those things. If I look online I’ll just see the things I like. Without realising I’ll only look for the things I like, so bookstores and CD shops in which I can see what others recommend are an indispensable source of information for me.

I’d like to ask about your weekly schedules and how you work. Araki-sensei, has your work pace changed since you moved from Weekly Jump to Ultra Jump?

Araki: Weekly Jump was 19 pages per week, but that rhythm didn’t work for me. I really wanted to draw 21 pages per week. Since I’ve gone to Ultra Jump it’s become 45 pages per month. This matches my natural work rhythm better, so I can draw comfortably every month.

Matsui: That’s unusual! For me, 19 pages per week is a bit too much. Bringing that to 21 pages even… doesn’t it become a bit demanding? (laughs)

Araki: That’s true. But for Jojo I want the decisive panels to be big, so the page count goes up anyway.

Matsui: That’s typical of Jojo. If you put in “gogogogo” leading up to the decisive panels…. You’d have 21 pages very quickly.

Araki: Perhaps, yes. But what do you do when your name* ends at 17 pages? (*t/n: A name is a manga manuscript)

Matsui: It’s not that hard to increase the amount. If I’m 2 pages short I’ll consult with my editor. He’ll generally say something like “let’s add these elements”, and when I incorporate those it usually turns out fine. That’s the easiest way.

Araki: I see.

Matsui: On the other hand, it’s much harder to take things out of the material I’ve already got. I take care not to waste too much time on that. I’ve already got my hands full just trying to get it done every week. How did you manage when you worked weekly?

Araki: On Sunday I’d do the name. On Monday I got that checked by my editor, and from Tuesday to Thursday I’d draw with the assistants. On Thursday we’d also discuss the next chapter. Friday and Saturday were my days off.

Matsui: What an ideal week. For veterans like you or Akimoto-sensei* it’s okay, but there’s no one of my age that can pull that off.

  • 1… Akimoto Osamu, the creator of Weekly Jump’s longest running manga, Kochikame. He’s looked up to by other mangaka for thoroughly keeping to his schedule and never missing a deadline in over 40 years of serialisation.

Photo caption: Matsui-sensei is giving his all for Assassination Classroom. He doesn’t have time to take a holiday at this point.

Araki: What does your weekly schedule look like?

Matsui: 3 days for the name, 2 days for the sketches. Finishing up with the assistants also takes 2 days. Recently I’ve changed this to 4 days for the name, 1 day for the sketches and 2 days for finishing up with the assistants. There isn’t a day where I can take the whole day off. However, I think the 4 days I take for the name do include breaks of some kind. Mangaka can take a break whenever they want, but they don’t get any holidays. If you have some free time, you have to use every spare moment to make your story more interesting. It’s hard to take a proper holiday. In that sense, you veterans are good at relaxing. The better you get at work, the better you get at play.

Araki: Fujiko A-sensei* is amazing. I think it’s something personal, that exceeds technique, which brings forth that sort of appeal to a manga.

  • 2…A veteran mangaka famous for works such as Pro Golfer Saru and The Laughing Salaryman. Also famous for associating with a wide variety of people, such as the actress Rie Miyazawa and the singer Inoshita Yousui.

Matsui: In my own generation there aren’t that many people that can relax like that. Myself especially, I can’t even say I have a hobby of any kind. That unrelenting energy and willpower, staying active as a mangaka until your 60s…. I can’t imagine it. Last year was Jojo’s 25th year, but you don’t draw it thinking “I should keep going” or anything do you?

Araki: I don’t.

Matsui: Your body moves naturally?

Araki: No. But 30 years pass in no time at all, you know. And I have examples like A-sensei and Akimoto-sensei.

Matsui: To me, you’re a great example as well!

Araki: Thank you. I’m already 53, but I think I should try to keep going until I’m about 60. I think you should take it easy and focus on making your current work interesting!

Next, I’d like to hear about your works. I’d like to talk about Jojo’s Bizarre Adventure first. How was it when your serialisation first started a quarter century ago?

Araki: When I debuted in the 80’s, Jump was full of people that emitted this intense power. I debuted amongst that, so in order to survive I had to emit a power strong enough to stand up to them. In other words, I had to show my own style. When I started Jojo, I think I finally managed to show something like that. I finally found my own direction. In the 7–8 years before that, I kept wandering, struggling to find my originality, my colour. Those were my twenties.

Matsui: But from our point of view, the works you made before that, like “Magic Boy B.T.” and “Baoh”, are pretty distinct as well! No matter how you look at it, it’s Araki-ism.

Araki: Back then, I used to draw while looking at Shirato-sensei’s* works. I moved my pen, wondering what to do.

  • 1…One of the pioneers of the “narrative comic” genre of manga in the 1960’s. He gained fame with his ninja works such as “Sasuke”, and managed to draw adults to manga with the philosophical elements of “The Legend of Kamui”.

Matsui: I get that. To me, you were my Shirato-sensei. When I was young, I tried really hard to get rid of your influence. I think I’ve finally managed to shed all of it recently.

Araki: ‘Hiding’ those things means you’ve finally found your own sense of direction. You can clearly draw whatever it is that you want to draw. You can’t have any doubts there.

Matsui: That’s right. But I think it’s too late to escape things I already know. For instance, if an enemy is slowly following someone and it’d be good to put in “gogogogogo”, I think to myself “If you put it in, you lose”, but I still end up putting it in. It’s like that. I mean to put in something original, but then when I look back at it later I often think “This was influenced by that work”.

Araki: For me, it’s the main characters’ thick eyebrows. It took me 10 years to get those thick boy’s magazine-style eyebrows back to thin eyebrows. Truth be told, I just can’t do it because thin eyebrows gross me out. Maybe it’s just bias, but without realising, this influence became deeply ingrained within me.

Matsui: Jotaro had some pretty thick ones too.

Araki: Yes. A supporting character like Kakyoin can have thin eyebrows, but for a main character like Jotaro I just can’t make them thin.

Matsui: Back then, there was that kind of formula where characters with thin eyebrows had weak emotions, so they were supporting characters.

Araki: But when you’re trying to follow your own path, you should break away from those formulas.

Matsui: That’s true! By the way, how old were you when you started Jojo?

Araki: I was about 26-27. You see, people who were at the top like Yudetamago-sensei* and Takahashi Youichi-sensei*already found their style in their teens. So I was really fretting. At the time it gave me a serious complex.

  • 2…A famous manga duo known for the superhuman pro wrestling comic “Kinnikuman”. You can still read new episodes of Kinnikuman in Weekly Playboy Webcomic!
  • 3…The mangaka of the immortal soccer manga “Captain Tsubasa”. His works gave rise to an immense soccer boom amongst primary school kids, and has influenced many J-leaguers and world-famous soccer players.

Matsui: Nowadays people are quite premature. I was quite late as well, debuting at 25, so I was pretty frantic until I became 30.

I think that even amongst all those other manga, Jojo is a particularly ambitious work. – Matsui.

Araki: Have you ever had your manuscript rejected by an editor before?

Matsui: Actually, it’s only been small comments like adjusting the dialogue in one panel. I haven’t really had any rejection, so I can say I’ve been allowed to draw freely. What’s rejection like?

Araki: I was once made to redraw all 19 pages! That’s how it was back then. New mangaka all had to undergo this kind of baptism. If you said “I only have two days left, do I really have to redraw everything?” they just replied with “Kurumada-sensei* does it too”.

  • 4…Kurumada Masami-sensei of “Kojirou of the Fuuma” and “Saint Seiya” fame. One of Weekly Jump’s top runners, churning out hit series since the 70’s.

Matsui: That’s unfair! In those 2 precious days you could have thought of some valuable topics.

Araki: However, if I look back at it, my drawings were really kind of unstable. The faces on the first and last page are a little different.

Matsui: Couldn’t you have tried getting really angry to see if your editor would give in? (laughs)

Everyone bursts out laughing.

Araki: I tried to protest, but it was futile. Even my popular seniors redrew their work if the editor demanded it. A beginner like me had no margin to object, so I resigned to redrawing.

Matsui: Back then they had that style of training where rookies were burdened both mentally and physically.

Araki: That’s right. Something like the Showa* style. In any case, it was ridiculous! (laughs) (*t/n: Showa is the historical period lasting from 1926 to 1986)

Matsui: I think that these days the editors don’t need to test them that much, since there are a lot of people who will draw without complaining or fighting. Even though it’s the same Weekly Jump, it really changes with the times.

Araki: Though I think the passion to bring interesting manga to the readers hasn’t changed.

Matsui: That’s right. I agree!

Matsui-sensei, you think that Jojo is the greatest masterpiece in history when it comes to drawing grotesque things. But what do you think is so greatly grotesque about Jojo?

Matsui: A lot of the grotesque things are in plain view, and it’s not as if these things can just be healed again. That’s impossible in other manga!

Araki: That’s why I got a lot of rejections. I couldn’t show erotica either. Even if I used stands to portray things, it was all rejected.

Matsui: I think they allowed a lot more than in other works though.

Araki: Well, there were many unprecedented things in Jojo, so the hurdle was pretty low. Still, there were a lot of topics that got rejected.

Matsui: Wow! I’m really curious!! But I’m sure they’re kind of embarrassing to say.

Araki: Yes (laughs).

Matsui: I think that even amongst all those other manga, Jojo is a particularly ambitious work. I’m really interested in the things you thought up that were too ambitious for your editor to understand. I wanted to see those things. It’s a real pity…… Ah, I also get the feeling that you’re alternating between drawing Jojo in a small and a large world setting. Were you aiming for that?

Araki: Maybe I was, yes. Thank you for noticing. When you’ve drawn a small world for a long time, don’t you feel like travelling? I’m just repeating that process.

Matsui: So Morioh, which also appears in Jojolion, is an example of that too?

Photo caption: In Sendai, which stood model for Morioh, there have been many collaborations, like celebrating Jojo's 25th anniversary with an exhibition last year.

Araki: Yes. I used my hometown of Sendai in Miyagi prefecture as a model for Morioh. I made it into a fictional place because I thought they might complain, but they were really happy I used it. I thought “The times sure have changed”.

Matsui: I was actually pretty surprised you drew such a familiar world for your manga.

Araki: Someone told me “I was surprised to see you do something Japanese”. Is it that surprising?

Matsui: Yes. Even when Morioh first appeared in part 4, it still had something foreign.

Araki: But in my personal life I don’t really get out of the neighbourhood I live in. Before I drew part 5 I went to Italy every year though. Recently I haven’t gone out of the country for anything non-work related.

Jojo is currently up to part 8, but what has been the main cause for you to continue for over 25 years?

Araki: It’s accidental. I didn’t plan for it to be like this, nor did I expect it. I don’t even know what will happen next year.

Last time you said you wanted to continue drawing until you were 60, but what part is Jojo up to by then?

Araki: I’m really not thinking about that! I’m just giving Jojolion my all right now. We’ll know when we get there, won’t we (laughs).

Matsui: That reminds me….. you like zombie movies and horror-type things don’t you?

Araki: I love all zombie movies, from the masterpieces to the absolutely terrible ones.

Matsui: I really don’t have a hobby, so I’d like to have one. I don’t really like gaming either. If I had to say anything, it’d probably just be eating good food.

Araki: You don’t watch horror movies?

Matsui: I watch some every now and then, but I can’t say I watch them all or anything. I’m the type of person who decides what to use from a small number of good and bad movies, rather than learn from watching a lot of them.

Araki: Ah, I see….. I thought you must be a horror movie fan too though.

Matsui: Well, it’s true that I love horror movies. Jojo is like horror movies in that at a glance, it seems to be in a genre that people would avoid, but is loved by everyone anyway and does really well.

Araki: You’re too kind. But it’s good to be perverse too! It’s fine to be perverse as long as you keep it limited. If you get serious about it no one will like you.

Matsui: Yes. If it doesn’t have some kind of charm about it, people won’t like it in the end. Even the most inhumane character should have some kind of charm point. In that sense, don’t you think zombies are super charming?

Araki: Exactly! Zombie movies are really great. I think there’s something wrong with people who say “I can’t watch zombie movies because they’re scary”, even though they haven’t watched any (laughs). But I’ll go on forever if we keep talking about zombie movies, so let’s end it here.

Everyone bursts out laughing.

Araki: We’d need 2 hours if we had this conversation, so let’s talk about zombie movies another time.

As long as the starting point is controversial, it’s fine to be moral afterwards. -Matsui

Photo caption: Korosensei has many tentacles. The gap between his striking appearance and his personality as a humorous, ideal teacher has been reflected in the story since its beginning.

Araki-sensei, I’d like to hear your thoughts on Assassination Classroom.

Araki: It deals with a pretty risky theme, so if it was handled wrong there’d be a lot of complaints. Within that theme you’ve managed to draw about things like school life and friendship, while still keeping morality in mind. It thought that was splendid.

Matsui: I always take great care in making sure no one will copy the actions in my work. For that reason I also needed to create a teacher that isn’t human. The students also use fake knives for their assassinations, so I’m really careful.

Araki: I see. But that edge is what makes it charming. The title, “Assassination Classroom”, is pretty controversial too.

Matsui: It’s just that though. I make the start controversial and then play it safe on the rest.

Araki: But having “assassination” as a theme is still pretty controversial.

Matsui: Thank you! That reminds me. In Jojo, people would slip in the bath and look up at the ceiling… which point the battle starts. I don’t think there’s anyone else but you who could turn such an every-day scene into a dramatic, tense battle.

Araki: That’s thanks to working for Weekly Jump all those years. You simply have to draw battles. That’s a very unique working culture, isn’t it? But it’s also a curse that’s quite hard to get rid of.

Matsui: It makes me want to see you draw something that isn’t about battles. What would it be like if you drew a genuine story manga?

Araki: Wouldn’t that be pretty boring? (laughs) In the end, I think battles are the foundation of manga. There’s a main character, a villain and friends. I think my themes are pretty conventional, such as “Good and Evil” or “Conflict”. But even if you make it romance or gags, isn’t everything a battle in the end? Whether you’re deciding to have curry or ramen for lunch; every choice you make is a form of battle.

Matsui: I see! I’m also pretty conscious of what kinds of characters would appeal to kids these days. The kids niche might change and all. Maybe I dealt with it the wrong way, but when I drew this pretty bad character getting beaten up, some people still disapproved of that, even though I got a lot of votes*. (*t/n: The popularity of manga in WJ is decided by a system of voting through a survey card that is attached in the magazine every week. You pick your three favourite manga of that week and send it in.)

Araki: So you should have let them reconcile.

Matsui: No matter how bad the character is, if you just beat them up it’ll end up leaving a bad taste.

Araki: In Jojo they’re just beyond recovery though. When I think “I don’t need these guys anymore”.

Everyone bursts out laughing.

Matsui: “They put me through all that, so I can have my revenge”, right? I’m jealous that your unique worldview is so accepted by the readers.

I think Assassination Classroom’s story will progress rapidly from here on out, but will we be seeing any new characters?

Photo caption: The students keep developing through their time with Korosensei. The story will expand even further in the second semester!!

Matsui: I had a very solid structure for the first semester. Introducing the characters, introducing the world setting. By now I think everyone will remember the students’ names and faces, so I want to gradually expand the story through the second semester. I’m thinking I could show the kids using their assassination skills in the outside world a bit more.

We look forward to future developments! Finally, if you could give each other some words of encouragement, as well as a message to the Jump Live readers?

Matsui: I couldn’t say everything because I was so nervous, but since middle school, Jojo has been part of my youth. I can’t put it all in one word, but if I must say something it’s….. I love it!!

Araki: I don’t get many chances to meet artists from the new generation, so I was really glad to be able to do this. I’m honoured to have been asked for this and I’m grateful we were able to have such a deep conversation. This time it was a video and a discussion, but next time I’d like to draw manga too. Thank you for everything today.

Matsui: Aw, you’ve said everything already.

Everyone bursts out laughing.

Matsui: Assassination Classroom is contributing to Jump Live in various ways, like mini-games and special drawings. Korosensei has a pretty simple form, so it’s easy to make him appear in all sorts of things. I’d like to have him use that light footwork and appear in Jump Live again sometime, so please keep supporting us!

And just like that, this bizarre special discussion comes to an end! Look forward to Araki-sensei and Matsui-sensei’s further activities![35]

2016 to 2025


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[36]

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.[37]

Yasufumi Soejima (11/2016)





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。[38]

P7 Bunko V1 (02/2017)

In 2004, I started drawing JoJo's Bizarre Adventure: Part 7 “Steel Ball Run”. This was the story of Johnny Joestar and Gyro Zeppeli and their participation in the great race throughout the North American continent, going from San Diego on the West Coast to New York on the East Coast. I'd like to now share with you all some memories regarding the genesis of this work.

Part 1: The Protagonists
Each one of them has their own family problems: Johnny's relationship with his dad and Gyro's lineage. It's almost as if their births are a contradiction and their desire to take control of their lives pushed them to enter the race. The other characters have a positive attitude as well and those who hide the power of a Stand are very confident in themselves. That being said, maintaining a positive attitude is a tiresome way to live life. After all, to find a bit of peace they only have 2 choices: retire from the race or reach New York.

Part 2: The Stands
Up until now, I've created Stands with the intent of visually representing elements which are impossible to perceive with earthly eyes yet still very much exist. This includes all physical phenomenons and creations, stuff like transforming flames into characters or drawing time itself. With my previous work "Stone Ocean," I had accomplished a certain sense of fulfillment and was wondering, "What I should do next?" When I started drawing SBR, I had a predilection for rotations (specifically spiral rotations). The flames that I designed resembled whirlwinds, splashing water flew like vortexes, body joints bent as if screwed together, hair grew in a sinuous way, the branches of plants and trees connected curved into the main stem, petals of flowers were like spirals, the shadows of rocks seemed like they were rotating, etc.. By constantly drawing things like these, I reached the conclusion that rotations and spirals gave a clear explanation to every phenomenon in this world of ours. Had I made a Stand out of them it probably would have been extremely powerful. Additionally, by connecting the concept of "rotation" to "rebirth," then ideally the story would return to its starting point. It's through this reasoning that I convinced myself that SBR had to be set in the same time period as Part 1, that being the end of the XIX century.

Part 3: Research
I love stories in which characters grow throughout a journey and I believe tends to be a universal experience. These days, you can obtain information on anything you need through searching on the internet, and as a result research trips are no longer necessary. However, there are places where its necessary to be there in person, in order to really perceive their magnitude. To truly comprehend the other side of the coin, we must live in these places to experience their miseries and inequities, and understand what would happen if, for example, we were to find ourselves without milk. Pushed by the desire to experiment with these sentiments, I went on a discovery trip on a Cessna and in a car starting from a desert in the Far West. It wasn't necessarily related to SBR, but I was particularly fascinated by the abandoned crash sites of planes right in the middle of nowhere.

Later on, I hiked for 5 days and 4 nights in the mountains of Kumano Kodo (a group of ancient pilgrimage footpaths, patrimony of UNESCO since 2004) in the prefecture of Wakayama in Japan. I wanted to find out what would happen to me if I walked 20 kilometers every day, and so I did. Maybe this experience in particular has some relevance to SBR. Everyday, the marvelous view offered by the forests would become increasingly darker after 4 o'clock, more than you could imagine. One day I happened to see an old lady all alone, coming out of the dark and saying "If I hadn't met that kid I would have certainly been lost and I would have been in trouble!" (what kid was she talking about?!). After 2 days of walking my muscles started to hurt a lot, the phone had no signal and it seemed so heavy that each day I would ponder the idea of just throwing it away. The contradictions of useless inventions.

Part 4: The Enemies
President Valentine,who appears in the second half of SBR is the final boss, the worst enemy, the big bad, an extremely evil person. However, I would like to explain why he is a villain from the POV of the protagonists, Johnny and Gyro. President Valentine uses the Steel Ball Run race to collect the treasures necessary to transform his native country into the greatest and biggest nation in the world and to steer it towards a new era. Basically, through this event, he plans to conquer the sympathy of the people and obtain the rights for his fellow countrymen. He is aware that the future will bring forth the movement from horses to machines, and knows that democracy means the acquisition of the rights of a capitalist economy. That being said, a person who doesn't know egoism is truly terrifying. In practice, the ideas of President Valentine are much more valid than those of our protagonists Johnny, Gyro, Stephen Steel, etc.. As a result, this president who wants to follow the rightful path is the antagonist by 'antonomasia'. In him resides the contradiction that exists between good and evil. It's sort of a paradox. However it may be, what is happiness? If happiness coincided with the victory of truth, then would it have to be the objective of this era? In the end, will Johnny and Gyro really be able to achieve it?

Part 5: Area
The publication of this work switched from Weekly Shonen Jump to the monthly Ultra Jump, not just because after many years the weekly deadlines began to feel stressing, but also because I felt that in SBR the "area" which I could draw had grew a lot (I'm referring to the number of pages per chapter). I sensed that I could improve on the proportions between backgrounds and characters and also felt that I had found an ideal rhythm to develop this manga which, by its nature, is more suited to being monthly.

—Hirohiko Araki

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
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.[39]

—Hirohiko Araki

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.[40]

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.[41]

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)



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。







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。







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。


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。


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









一究 役 水橋 かおり


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。


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)


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。


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。[42]

Terumi Nishii (09/2017)

Graduating from the Specialized Osaka Design Course, Terumi Nishii joined Studio Cockpit , where she met Yoshihiko Umakoshi . 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.[43]

Escape Interview (10/2017)


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.




  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。


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)。


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。


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。


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。



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)。


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。


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)。


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。



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。


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。


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。


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。


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。



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。


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。


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。


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。


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)。


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」[44]

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. [45]

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)














「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




「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。



















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。




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









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


「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。








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。


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








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。















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.


ANN (08/2019)

After many years of waiting, JoJo's Bizarre Adventure fans were rewarded in 2018 with an adaptation of the manga's most popular arc (in Japan at least): Golden Wind! We got the opportunity to sit down with two of the producers behind this thrilling anime series, Hiroyuki Omori (Warner Bros. Japan) and Takamitsu Sueyoshi (SHUEISHA) and discuss Part Five's journey from page to screen.

ANN: Golden Wind has a reputation for being one of the most popular Jojo's arcs in Japan, with some of the most beloved characters. Why do you think it is so adored?

Takamitsu Sueyoshi: Unlike previous Jojo's series, the protagonist is not exactly a straightforward man of justice. Giorno's way of life may make him seem more like a bad person, but he's very direct about what he believes in. Araki-sensei told us that through Golden Wind, he wanted to illustrate very beautiful men, so the characters themselves are all more beautiful than before. So that's probably two of the biggest answers to that question.

Hiroyuki Omori: For any series, when it comes to broad appeal, the attractiveness of the protagonist is quite high on the list. In the case of Golden Wind, we already had quite a number of attractive characters to work with on the protagonist's side. As we produced the animation, once we reached the first team of antagonist hitmen, the series' popularity grew immensely. So I think one of the reasons that Golden Wind is more popular than the other Jojo's parts is probably the sheer number of such highly attractive characters.

Which character in Golden Wind do you personally identify with most and why?

Sueyoshi: Guido Mista! I hold a very personal adoration for him, because he's such a positive guy, and he's good with a gun.

Omori: It's Narancia for me. He's actually older than Giorno, even though he seems much more childish. However, when he engages in battle, he always looks so cool, so I'm attracted to the gap between those attributes.

What unique production challenges did Golden Wind's material pose to the staff that you hadn't encountered with previous arcs?

Sueyoshi: One of the hurdles that we encountered starting with this series was that all the clothing for each character became so fashionable right away, so we wondered how in the world we were going to put that into animation. That was a real issue!

Omori: The soul-swapping episodes were a real challenge too.

Sueyoshi: Ah, that's right!

Omori: Having Mista's seiyuu play the role of Trish...

I had not read the manga, so I was experiencing this story through the anime for the first time, and I remember thinking "Why is Mista talking so weird?" When the twist was revealed, it was the most shocking and unexpected turn in the story for me.

Omori: We were afraid that it was just going to be chaos for the audience.

It made sense to me! It was a lot of fun. Now that the season is complete, what was your favorite battle in the Golden Wind anime and why?

Sueyoshi: Oh no, it's so hard to narrow down to one! I'd have to say the battle in Venice between Ghiaccio and Mista, in episode 19 or 20. Even after Mista got shot so many times, he kept fighting. He seems to be kind of a happy-go-lucky person, so seeing him take the battle so seriously was quite impressive.

Omori: Probably the battle in episode 10 or 11, Narancia vs. Formaggio. Flames totally engulf the city, and once they are burning at their absolute peak, they turn purple. It looks pretty cool. But it's so hard to choose just one battle.

There's so many! I think Golden Wind has the best fights in Jojo's so far.

Omori: So what is your favorite?

Off the top of my head, I'd have to say Narancia's big fight in Venice, where his tongue gets possessed. I love the way it builds, because the villains are so sure that Narancia isn't going to catch them, but he keeps finding ways to overcome every challenge they put in front of him, and mostly by himself.

What was the process like for producing the series' first opening theme, "Fighting Gold", and how does the Jojo's team keep coming up with such incredible theme songs?

Omori: I work on the music myself, and in the case of Jojo's, we've always tackled the composition first, and then we work on the lyrics afterward. The reason for this is that we want to choose a singer who will best represent the song after we finalize the sound. For Fighting Gold, we actually didn't go through that usual process. Back when we were working on Part 2, Battle Tendency, the composer for that theme song was Toshiyuki Omori, and the singer was Coda, which resulted in "Bloody Stream". When Golden Wind came around, we had already made the decision to return to that composer and singer combo for the theme song before all else. There's a saying in Japan that you might translate as "going back to the original thinking." This was on our minds for Golden Wind, because we didn't want to risk becoming arrogant about the strong popularity of this work and the positive reactions we were already seeing from fans at the announcement. We wanted to put in a sincere effort for this new theme song to be great. Originally, I was told by others that because the original work was so popular, it was guaranteed that the anime adaptation would be successful. That was the common thinking in that moment, but I thought that the reality would never be that easy. I always thought that I would have to put in a serious effort to make the best anime possible, so that our audience would love it on its own quality. And when I tried "going back to the original thinking" about how we started, and the kind of passion we felt at the beginning, I thought of returning to that specific musical collaboration. I know this response is pretty long, but I'm serious about this, so hopefully that's fine. You can always cut it shorter, I hope.

Oh no, it's good! Long answers are good. On that note, it's been my experience in America that the poor fan-translations of the Golden Wind manga created a misconception for English-speaking fans. People didn't really understand what was happening in the story, so even though this arc is very popular in Japan, it was not really appreciated in America as a manga. So creating the anime to be the best version of itself was very important, because now I believe Golden Wind is the best part so far, and fans everywhere are like "Oh, this was great all along, we just didn't know."

Sueyoshi: Oh wow. We should tell the team doing the official English publication for the manga to get it done faster!

Omori: And to start working on 6 and 7, they are great as well!

On a similar note to my previous question, what was the thought process behind choosing Jodeci's "Freek'n You" for the Western closing theme of Golden Wind?

Sueyoshi: In selecting the ending theme song, of course we asked for Araki-sensei's advice, and he said the genre would have to be gangster rap, because this is a story about gangsters. So when we asked for a list of songs in that vein, he came up with a few, one of which was Jodeci's "Freek'n You." Once we started listening to it, we realized that it wasn't really gangster rap at all, it was more R&B. But the mood of the song itself fit so well with the series' aesthetic that we wanted to use it, and I think that choice was successful.

There were a number of unique adaptation changes in the Golden Wind anime, most notably the addition of Fugo's backstory in episode 12. Did Hirohiko Araki propose such changes himself, and what was that adaptation process like?

Sueyoshi: For the details about how those anime-original elements were chosen, I will leave it to Omori-san, but in the case of Fugo, he was the one character whose past was never described in the original manga. So in developing the anime's scenario, that was one of the big challenges we knew we had to tackle. We talked at length with the scenario writer about how we would like to approach telling Fugo's backstory, and then we brought our finished proposal to Araki-sensei. We thought it was very important to detail Fugo's past for this version of the story, so we worked hard on it.

Omori: In terms of our general approach to creating original elements for animation, they have to be something that will enhance the work's appeal. Even though these elements are new, they must never step away from the intent of the original work. That's the angle we work hardest on, always thinking about how the audience will feel about the story.

Golden Wind expresses the most intense and dark emotions in JoJo's Bizarre Adventure so far. How did the team approach the balance between keeping the series fun and adventurous when there's so much tragedy and horror in the story compared to the previous arcs?

Sueyoshi: It's not that we set out to create a good balance between a dark story and a fun one. I think we just wanted to be true to the original work. As long as we stay true to that spirit, we believe the balance will be maintained, so that was our focus.

Omori: The one thing we always kept in mind when producing the animation was maintaining the balance of emotions that you would feel when reading the original manga.

There was a much greater gap between the announcement and premiere of Golden Wind compared to previous Jojo's seasons. What was the cause for this extra time being taken with production?

Omori: The reason was that we really wanted to make a solid work for Part Five. We even took the three directors to Italy for location scouting. So that research trip is one of the biggest reasons we had a greater gap of time between series.

Well, I'm happy for that. I think Golden Wind is the most impressive production in Jojo's adaptation history so far, and it's a joy to watch every week. Thank you so much for working so hard on it.

Omori: Thank you! [48]


  37. Newtype magazine, August 2016
  40. Naokatsu Tsuda Q&A at Anime Boston
  41. Naokatsu Tsuda Anime Boston Interview
  44. 「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!