Author's Note (Other Works)

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The JOJOLands

Other Works

In every volume of JoJo's Bizarre Adventure, the front folded flap of the dust jacket usually contains a picture of Hirohiko Araki himself, and more than often a quotation. The quotations featured below the picture are always different from each other and are usually about Araki expressing his opinion on certain subjects. These subjects can be about anything, including information about characters or the story itself. The following quotes and pictures below are from various one-shots or other works written and illustrated by Hirohiko Araki.

Comments

Chapter	Translation	Original

Poker Under Arms (WSJ 1981 Issue #1)

I was so excited when I heard that my work was going to be published that I wrote several diary entries about it!

自分の作品がのるときいて感激のあまり日記を書きまくった！

Say Hi to Virginia (WSJ 1981 Special Issue)

This is my second work, and my first attempt at science fiction. I'd love to hear everyone's thoughts on it.

第二作目ではじめてSFに挑戦。みなさんの感想きかせてほしいナ

Outlaw Man (WSJ 1982 Special Issue)

I've never traveled to the U.S. or done shooting on horseback before. I'm sure I will someday!

アメリカ旅行、乗馬射撃の経験はゼロなのだ。いつかかならず経験してやるゾ！

Irene Chapter 1 (WSJ 1985 Autumn Special)

I tend to prefer Irene pre-transformation, especially when she has a dazed look on her face. Look forward to the sequel, everyone!

変身前のアイリンがぼくの好み。特にポーッとしてる所。続編もかくから応援よろしく。

Irene Chapter 2 (SJ 1986 Issue #1)

Being published in SJ is an honor! Thanks to Mr. Nagazawa and Mr. Ogawa for their help. I'm starting a new series in the first issue of the New Year!

SJ（スーパージャンプ）に掲載できて光栄！長沢さん小川君手伝いアリガト！新年1号から新連載やるよ

WSJ 1989 Winter Special (Poster)

I enjoy working with four colors, so drawing this was really fun! To all my readers, please enjoy putting this up in your rooms.

4色をかくのは好きなので、楽しんでかきました！ 読者の皆様も部屋にはって楽しんでください。

Nikola Tesla (SJ 1989 Issue #6)

If possible, I'd like to write more stories about eccentrics. Thanks for your support.

できれば変人列伝の続編を書きたい。応援ヨロシク

Jump Multi World

Happy birthday to Mr. Weekly Shonen Jump. I’ve known you since you were born. I’ve received a reply to my fan letter from Ikezawa Satoshi-sensei, and won a bicycle and baseball bat as a prize too. One time a teacher found my reading during class and I cried as he cruelly incinerated you. You are my life. My pleasure from here on out.

『週刊少年ジャンプ様』ご誕生25歳、おめでとうございます。私はあなたがご誕生なされた時から知っています。池沢さとし先生からファンレターの返事を頂いたこともありますし、懸賞で『自転車』とか『野球のバット』を当てたこともございます。授業中読んでいて教師に見つかり、あなたが焼却炉で無残にも焼かれた時など思わず泣いてしまいました。あなたは私の「人生｣そのものです。これからもよろしくお願いいたします。

Under Execution, Under Jailbreak (SJ 1995 Issue #2)

In hindsight, working on this one-shot was really fun. The last one I drew was eight years ago. Please let me know your impressions.

考えてみると実に8年ぶりの新作読切で楽しんで描きました。ぜひぜひ感想を聞かせて。

Dolce, and His Master #1 (Allman 1996 Issue #11)

For some reason, this cat is always defecating on the veranda at my workplace. If push comes to shove, I'll have no choice but to fight...!?

何故か仕事場のベランダにいつも猫が糞をする。こうなったら戦うしかない…!?

Dolce, and His Master #2 (Allman 1996 Issue #12)

This is the perfect season for some delicious Italian food; wine also slides down the throat very nicely.

好きな伊料理が美味な季節。ワインも気持ちよく喉を通る。

DQ Chapter 1 (Allman 1999 Issue #12)

It's been awhile since I've worked on something new. Please tell me what you think.

久々の新作です。感想を聞かせて下さい。

DQ Chapter 2 (Allman 1999 Issue #13)

Q: "When do you feel attracted to the opposite sex." A: It depends on the person.

Q:「異性に魅力を感じる瞬間」 A:相手によりけり。

DQ Chapter 3 (Allman 1999 Issue #14)

Q: "What aspect of Japan do you think is unpleasant." A: Weeds. They're unattractive compared to the ones overseas and tend to make people care about nature a lot less.

Q:「あなたが思う日本の嫌な所」 A:「雑草」。海外と比べて醜く、自然を大切に思わせないものを感じる。

Ty Cobb (Allman 2001 Issue #1)

Q. What is the best thing about being born in Japan? A. The hot springs are great, but I don't really enjoy Kaiseki cuisine.

「Q. 日本に生まれて良かった事」A. いい温泉があること。でも懐石料理って、あれ今いち楽しくない。

Katsura-Taizen (桂大全)

Dear Mr. Masakazu Katsura, congratulations on your 30 years in the manga industry. Ever since your debut, I sensed a certain something in you that felt incredibly new and innovative, and that has not changed to this day. I pray that you continue to evolve and develop even further.

桂正和さん、画業30周年おめでとうございます。今までも多くデビュー当時からものすごく新しい感じがした雰囲気は、今も変わらないです。ますますのご発展をお祈りしております。

Usogui's 10th Anniversary (WSJ 2016 Issue #24)

On the 10th Anniversary of Usogui, Sako-sensei's body fat percentage also reached 10%. It's indeed a number worth celebrating. I wish for the prosperity of Usogui in the future.

嘘喰い「10周年」。迫先生肉体を鍛えて体脂肪「10％」。真におめでたい数字が並びましたね。ますますのご発展をお祈り致します。

Chapter	Translation	Original

TSKR - Episode 16 (WSJ 1997 Issue #30)

I went to a photo booth with Mr. Koji Koseki, an old manga artist friend of mine. I've never done this sort of thing before, but I'd say it was quite fun. – Rohan

なかよしの漫画家こせきこうじ先生とプリクラを撮りに行った。初めてだったがとっても楽しかった ＜露伴＞

TSKR - Episode 16 (Shonen Jump: Readers' Cup '97 Issue #1)

I have 60 pages left to write until I can publish my short story collection. It'll take another two years. Please wait patiently for it. – Rohan

短編集を出すまであと60ページはかかなきゃ。あと2年はかかるな。気長に待っててくれ ＜露伴＞

TSKR - Episode 2 (Jump SQ 2008 Issue #1)

Being published in the same magazine as Mr. Fujiko Ⓐ feels like a dream come true. Thank you SQ!

藤子Ⓐ先生と同じ雑誌に載せてもらえるなんて夢のよう。3Q!(サンキュ)SQ!

TSKR - Episode 5 (WSJ 2012 Issue #45)

It's been quite awhile since the last time I was allowed to write something for Weekly Shonen Jump. I'm so glad!

久しぶりの週刊少年ジャンプ執筆させて頂きお邪魔致しまぁーす。嬉しいなぁ

TSKR - Episode 6 (WSJ 2013 Issue #46)

Now that Rohan's accumulated enough pages, we can compile the series into a volume. Hooray!

「露伴」、ページ数が溜まったのでコミックスにします。めでたいなあ！

TSKR - Episode 7 (Jump SQ 2016 Issue #1)

I've been looking forward to sleeping recently, but the thought of being able to sleep excites me so much that I end up not sleeping.

最近、眠るのが楽しみで、眠れるかと思うと楽しみ過ぎて、勿体無くて「眠れない」。

TSKR - Episode 8 (Betsuma 2017 Issue #9)

It's an honor to have my manga published in a girls magazine for the first time. So I wanted to give it an unusual but happy ending.

初めての少女マンガ誌掲載で光栄です。めずらしくハッピーエンドにしたよ。

TSKR - Episode 9 (WSJ 2018 Issue #13)

I'm delighted that Rohan was able to participate in Weekly Shonen Jump's 50th anniversary celebration. Congratulations!

少年ジャンプ祝50周年に露伴が参加できてとても嬉しい。おめでとうございます

TSKR - Episode 11, Part 1 (UJ 2022 Issue #5)

The JoJo Exhibition in Kanazawa, which we have been waiting two years for, will be opening on April 30. Thank you very much.

2年間待ってた [ジョジョ展 金沢」が4月30日〜開催です。ありがとうございます。

TSKR - Episode 11, Part 2 (UJ 2022 Issue #6)

Online videos. The only ones I'll ever watch are of people falling down. Why can't there be more of them, I wonder?

動画配信。ひたすら誰かが転んでるだけのヤツを好んで観てる。 もっとないのかと思う。

Chapter	Translation	Original

B.T. "The Wicked Boy" (Pilot) (FJ 1982 Issue #3)

I love doing magic tricks, but I always get caught quickly. I want to be as cool as B.T.!

手品が大すきだけど、すぐバレちゃうのだ。ビーティーみたいにクールになりたい

CSBT Chapter 1 (WSJ 1983 Issue #42)

Please look forward to the exciting tales of the cool, calm and daring B.T.!

冷静沈着、大胆不敵なビーティーの活躍をお楽しみに

CSBT Chapter 2 (WSJ 1983 Issue #43)

I've been listening to Jackson Browne's latest LP. It really clears the mind.

ジャクソンブラウンの新LPを聞く。心が洗われる思い

CSBT Chapter 3 (WSJ 1983 Issue #44)

My favorite food's currently persimmon rice. The autumn season is the best!

大好物は柿御飯です。秋ってサイコーの季節！

CSBT Chapter 4 (WSJ 1983 Issue #45)

I love quiz shows! I'm basically going quiz-crazy!

ボクはクイズ番組大好き！クイズクレージーなんです

CSBT Chapter 5 (WSJ 1983 Issue #46)

During the autumn season, I'll often fall asleep and end up twisting my neck. How I'm doing it is beyond me.

秋はよく寝ちがえて首を痛める。なぜなのかと首をひねってます

CSBT Chapter 6 (WSJ 1983 Issue #47)

I watched the movie Blue Thunder. I appreciate the title's initials being B.T.

映画『ブルーサンダー』を観た。題（タイトル）の頭文字BTが気にいったね

CSBT Chapter 7 (WSJ 1983 Issue #48)

A friend of mine from a nearby fishing harbor sent me some fresh mackerel pike. It's delicious!

近くの漁港の友人が新鮮な秋刀魚を送ってくれた。おいしい！

CSBT Chapter 8 (WSJ 1983 Issue #49)

I lost my bicycle key! I had to pick the lock open though I'm not as good as B.T.

自転車のカギ紛失！BTみたいにいかず、カギこじあけた

CSBT Chapter 9 (WSJ 1983 Issue #50)

I've been married 7 times according to my palm reading. Is that good or bad!?

ぼくの手相には結婚が７回と出ている。これは一体吉か凶か⁉

CSBT Chapter 10 (WSJ 1983 Issue #51)

Farewell, everyone. I'll make sure the next work I draw is even more interesting.

お別れですが、よりおもしろい作品を描くためにがんばります

Chapter	Translation	Original

Baoh Chapter 1

The goal here is to write a thrilling story that'll make your hair stand on end. I'll do my best, but please tell me what you think.

髪の毛が逆立つようなゾクゾクする話を書こうとがんばってます。感想聞かせて下さい

Baoh Chapter 2

We're looking for assistants! If you're a young and motivated person, please contact Mr. Kabashima!

アシスタント募集中！若くてやる気ある人、椛島まで!!

Baoh Chapter 3

Next to my workplace there's a temple. You'd think it would be quiet, but it's actually a kindergarten!!

仕事場の隣はお寺。静かでいいと思ってたら実は幼稚園!!

Baoh Chapter 4

I watch a lot of horror movies. Tell me if you know any interesting ones!

ビデオで恐怖（ホラー）物を見まくる。面白い物があったら教えて

Baoh Chapter 5

Thank you so much for the fan letters! I'll reply to them when I have time.

FL（ファンレター）たくさんありがとう！ひまを見て返事書いてます

Baoh Chapter 6

Whenever I write the "Baru Baru Baru" battlecry , I'll always say it outload. (It's really fun!)

“バルバルバル”　いつも擬音を発しながら執筆！絶好調（ゼッコーチョー）

Baoh Chapter 7

I'm addicted to country music! I have to listen to it once a day.

カントリー・ミュージック中毒！一日一回聴かないと×（ダメ）

Baoh Chapter 8

There's this card game they call "Uno" that's actually really thrilling and fun!

ウノというカードゲームがメチャ面白い！スリル満点!!

Baoh Chapter 9

My assistants may laugh when I say spiders are reptiles, but I believe it.

蜘蛛は爬虫類といったらアシ君ら笑う。でも僕は信じる

Baoh Chapter 10

Whenever the finger I injured half a year ago aches, it rains. Weird, isn't it?

半年前にケガした指がうずくと雨が降る。不思議だ！

Baoh Chapter 11

I wish I could skate, but I'm really bad at it. I'm just too busy to learn, y'know?

ヘタのなんとかだけどスケートしたい。でも忙しくて…

Baoh Chapter 12

I've been told recently that I resemble Nozzo. Not saying I disagree, but...

最近ノッツオに似ているといわれる。自分としては納得しないんだけど…

Baoh Chapter 13

While I'm at work, I like to tell horror stories to my assistants to keep things interesting!

仕事中は気分転換にホラ話をアシ君たちにするのが唯一の楽しみで〜す!!

Baoh Chapter 14

Rage of Angels by Sidney Sheldon was a great read. Definitely my #1 recommended book this year!

S（シドニー）・シェルダンの『天使の怒り』が良かった。今年一番のおすすめ本!!

Baoh Chapter 15

My younger sisters are twins and both look like Hidemi Ishikawa, but no one ever believes me when I say it.

ボクの妹は双子で石川秀美にそっくりなんだ。でも誰も信じてくれない。

Baoh Chapter 16

Can't wait to see Brian De Palma's Body Double. I'm a big fan of his work!!

B（ブライアン）・デ・パルマ監督の『ボディーダブル』を見たい！熱狂的ファンです!!

Baoh Chapter 17

This is the final chapter of Baoh. Thank you everyone for sticking around! I could go for some Valentine's Day chocolate.

長い間ご愛読感謝！バオーは今回で終了です。Vday（バレンタインデー）チョコ下さいネ

Chapter	Translation	Original

Cool Shock Old B.T.

This was fun! Many thanks to Araki-sensei and Demizu-sensei! (Nisio Isin) Thank you for this wonderful opportunity! I'd also like to try to draw B.T. as a kid someday! (Posuka Demizu)

楽しかったです！ 荒木先生、出水先生、ありがとうございました！ （西尾） 貴重な機会感謝です！ いつか少年ビーティーの絵にも挑戦してみたいです！ （出水）

Fujiko's Bizarre Worldly Wisdom

To all the Ultra Jump readers, thank you for your support. I'm very happy and grateful for this opportunity. (Sho Aimoto)

UJ読者の皆様、宜しくお願いします。 幸せ＆恐縮です。(藍本)

CDDH Chapter 1

I put alot of effort into this story, so I hope you'll look forward to the new adventures of Josuke and the others. (Kouhei Kadono) Learning that I'd be drawing Josuke and Co made me feel like Polnareff when he glimpsed DIO's true powers. (Tasuku Karasuma)

気合い入れました、仗助たちの新冒険にご期待ください。（上遠野） 仗助達を描く事になるとはまさにDIOの力を垣間見たポルナレフの心境です（カラスマ）

CDDH Chapter 2

Now that I have a mortar and pestle, I hope the world will soon become a place where I can make mochi with peace of mind. (Tasuku Karasuma)

杵と臼を手に入れたので早く安心して餅がつける世の中になってほしい。（カラスマ）

CDDH Chapter 3

When I heard that two black holes are going to collide soon, my worries and concerns started becoming a little ridiculous. (Tasuku Karasuma)

ブラックホール同士が衝突するという場を聞いてちょっとした悩みや心配事バカらしくなりました（カラスマ）

CDDH Chapter 4

As these days of isolation continue, I've picked up bonsai gardening. (Tasuku Karasuma)

人に会えない日が続くので盆栽始めました（カラスマ）

CDDH Chapter 5

I started my ‘braces diet’. (Tasuku Karasuma)

歯列矯正ダイエットはじめました。（カラスマ）

CDDH Chapter 6

I can't go in the same way as before, but being able to freely go to the movie theater now makes me happy. (Tasuku Karasuma)

以前と同じとはいかないけれど、映画館に気軽に行こうと思えることが幸せ。（カラスマ）

CDDH Chapter 7

My fridge broke and all the frozen goods I cherished were completely destroyed. (Tasuku Karasuma)

冷蔵庫が壊れて後生大事にとっていた冷凍食品が全滅しました。（カラスマ）

CDDH Chapter 8

I use my dog like a hot water bottle to keep warm during winter, but it keeps clinging to me even in the summer. (Tasuku Karasuma)

冬は湯たんぽ代わりの犬が、夏も変わらずくっついてきます。

CDDH Chapter 9

There's a raccoon dog that shows up at my house every night to poop. (Tasuku Karasuma)

毎晩うちにタヌキがウンコをしにやって来ます。

CDDH Chapter 10

My wife started playing Seaman now. (Tasuku Karasuma)

今になって妻がシーマン始めました。

CDDH Chapter 11

I definitely wasn’t playing "Splatoon" for the entirety of my break. (Tasuku Karasuma)

休みの間 「スプラトゥーン」をずっとやっていたなんてことはけしてありません。

CDDH Chapter 12

I'm really excited about the Harry Potter game coming out next month. (Tasuku Karasuma)

来月発売の 「ハリポタ」のゲームが楽しみでウキウキしています。

CDDH Chapter 13

I've finally gotten to enroll in Hogwarts. (Tasuku Karasuma)

憧れのホグワーツに入学しました。

CDDH Chapter 14

I graduated from Hogwarts. (Tasuku Karasuma)

ホグワーツを卒業しました。

CDDH Chapter 15

Ichi Sawamura's Bakudo Nightmare was interesting. (Tasuku Karasuma)

澤村伊智さんの「ばくうどの悪夢」 がおもしろかったです。

CDDH Chapter 16

Thank you very much for the brief time we had!! (Tasuku Karasuma)

短い間でしたが有難うございました!!

Baoh the Visitor

Volume 1

Author's Note

“

I was once asked, "If you could have a superpower, what would it be?" I immediately answered, “Transform!” because with transformation, you can be anything you want. I think one would eventually get bored of precognition and telekinesis after a while, but transforming would always be fun. You could mess with other people and go to different places...... I'm sure you'd be able to enjoy yourself forever without ever getting tired, which is why I'd like everyone to check out Baoh the Visitor. It's a cool story, but also a sad one at the same time.

”

—Hirohiko Araki

“

超能力を持てるとしたら何? と聞かれ、ぼくは即「変身！」と答えました。何にでもなれるからです。

予知とか念力とかは、ある程度やると飽きてしまうと思います。 でも変身はきっと楽しいよ。 他人をからかったり、いろいろな所へ行ったり……。 きっと一生飽きずに遊べると思うな。そんなわけで『バオー来訪者』をどうぞ。カッコイイけど悲しいお話なんです。

週刊少年ジャンプ・S59年45号~

52号掲載分収録

”

—Hirohiko Araki

Afterword

“

I think my first contact with Araki was when I read his submission for the Tezuka Awards. Looking at his manuscripts, I was surprised and delighted at how similar are styles were. Araki is very meticulous with how he crafts his story, going over it several times before putting pen to paper. He's the type of person who only starts writing once he has a complete grasp of the dynamics of his characters, the circumstances they face, their outlook on the world, and so on. This method is the same one used by novelists and screenwriters, but for a serial manga artist is very detrimental.

Most of these subtle attentions to detail go unnoticed by the reader, like the sci-fi themes scattered throughout the story and the deliberate awe created by the protagonist. Nonetheless, this is precisely where a science fiction writer gets to put their skills to the test, trying to visualize what we can only see in our wildest dreams. I mentioned earlier that our styles were similar. That's because I felt that his approach to drawing manga was very close to mine. There are very few artists who can make sci-fi manga entertaining without compromising the overall quality of their work, and Araki is one of them. Given his current style, I think he'll continue to grow as a manga artist in the future.

It's important to recognize that science fiction manga isn't the same as novels or films. At first, this seems obvious, but I think it's something necessary to keep in mind. I hope the both of us will continue drawing science fiction manga until we truly understand what it means.

”

—Buichi Terasawa

“

荒木さんの作品とのファースト・コンタクト（はじめてのふれあい）は、彼が出した手塚賞の応募原稿を読んだ時だったと思う。驚きそして喜んだ。なぜなら、彼は僕と同じにおいがしたからだ。

彼は何よりもまず、ストーリー展開を何度も緻密に練りあげてから構成していく。人間関係はもちろん、それを取り巻く状況、センス・オブ・ワンダーをどこに置くかなど、すべてを完壁に把握した上でなければ語り出さないタイプだ。とはいっても、これは小説や脚本を書くのと同じ手法であって、連載マンガ家としては非常に不利な一面を持っている。

みを求めるあまり、画面の中にちりばめられたSF的感性や主人公の中にある計算されたワンダーに、すべては大気のように気づかれず読み落とされる場合が多い。

しかし、SF作家はそこにこそ自らの資質をつぎ込み、自分の白中夢を映像化しようとこころみる。

先に、彼と僕は同じにおいがしたといったが、それは彼の求める作品の方向が、僕のそれと非常に近しいと感じたからだ。

SF漫画において、作品の質を低下させずになおかつ、エンターテイメントであろうとする作家は数少ない。彼はもちろんその中のひとりであり、今後、今のにおいを持ったまま成熟してゆくと思う。

SF漫画にSF小説でもSF映画でもない。あたりまえのことのように思えるが、SF漫画を描く上ではこの認識が最も重要であり、難しいものだと思う。

お互いそれを意識し、SF漫画というものが何者であるかを知るまで描き続けていきたいものだ。

”

—Buichi Terasawa

Volume 2

Author's Note

“

I love almond-shaped eyes; they feel mysterious with an intense ghostly air and loneliness to them.

The eyes of Sting (the musician), Madonna, Nastassja Kinski, Joe Asakura, and Kamui are full of mystery and that's why I love them. They're all very attractive!

...With that in mind, please enjoy volume two of Baoh the Visitor. Ikuro's eyes are also full of loneliness...

”

—Hirohiko Araki

“

ぼくは吊りあがった目が大好きで、謎と熱い妖気と孤独を感じます。

スティング（ミュージシャン）、マドンナ、ナスターシャ・キンスキー、ガッチャマンのジョー、カムイらの目は特に謎めいていて、大好きです。みんなカッコイイ!

……と、あこがれて『バオー来訪者』第2巻をお楽しみください。育朗の目も孤独でいっぱいです……。

週刊少年ジャンプ・S60 年1・2 号~

11号掲載分収録

”

—Hirohiko Araki

Afterword

“

I have been reading this unusually-powerful story with my undivided attention since its serialization in Shonen Jump. I appreciated that the artist didn't hold back in his drawings or in the storyline. Perhaps this is because what the author has been waiting to do for years boiled over all at once in this work.

If the persuasive power of a novel comes from its style, the persuasive power of a manga comes from its drawings. It's all about what kind of pictures you can present before the reader's eyes. The persuasiveness of those drawings is the persuasiveness of the manga itself. The small details fade away.

In that regard, when I laid eyes on the drawing of the Baoh parasite, I was struck by its eeriness—in other words, its persuasive power. When the reader is presented with such a drawing, they simply have to trust the author. Masaki Yamada once wrote that "science fiction is description," and I believe that manga is a form of description as well.

A sequel to this story will undoubtedly have to be drawn before long.

”

—Baku Yumemakura

“

この異様な迫力を持った物語を、ぼくは少年ジャンプ連載時から注目して読んでいた。絵柄もストーリーも遠慮がないのがよかった。おそらくは、この作者が何年もあたためていたものが、この作品でいちどに噴き出したからであるう。

小説の説得力が"文体"によって生まれるのなら、漫画の説得力は"絵"であると思う。どのような"絵"を読者の目の前に差し出せるかである。その"絵"の説得力が、そのまま、その漫画の持つ説得力になる。小さな理屈はどこかに消えてしまう。

そういう意味で、寄生虫であるバオーの"絵"を見た時、その不気味さ、つまり説得力にぼくはうなってしまった。このような"絵"を見せられれば、読者はその作家信用してしまうのである。「SFは描写だ」と、山田正紀氏（SF作家）が何かに書いていたが、漫画も描写であるとぼくは思う。

この物語の続編は、やがて必ず描かれねばならないものであろう。

”

—Baku Yumemakura

Cool Shock B.T.

Author's Note

“

People often say to me, "You look just like B.T.!" For what it's worth, I think they're right. But if I may be so bold, if you draw a handsome enough hero, everyone starts to look like him. I know that many people have provided their support and worked hard in order to compile B.T. into a book. I'll never forget the gratitude I have and the friendship I share with those people. With that said, please enjoy the story of B.T. and Koichi's adventures.

”

—Hirohiko Araki

“

ぼくはよく人に「ビーティーにそっくりだ！」…と言われます。そのとおりだと思います。でも、あえて言わせてもらえるなら、ハンサムな主人公を描けば、みんな似てしまうのです。
ビーティーが本になるまで、多くの人の応援とご苦労があるのを知った。その人たちへの感謝と友情を一生忘れないようにしたいと思います。では、ビーティーと公一くんの冒険譚をどうぞ。

”

—Hirohiko Araki

Short Story Collections

The Gorgeous Irene

Author's Note

“

My father and mother, who are over 50 years old, do not read my manga. They look at the pictures, but they don't seem to understand them. Or rather, they don't know how to read manga. My goal is to draw a work that will make them say, "That's fascinating!" What kind of work would that be...? Also, my debut work Poker Under Arms is reproduced here with love!

”

—Hirohiko Araki

“

50歳をこす父と母は、僕のマンガを読みません。絵を見てはいるのですが、理解はしていないようです。というより、なんと！　マンガの読みかたを知らないらしいのです。
ふたりに「おもしろい！」と言わせる作品をかくのがぼくの目標ですが……それはいったいどんな作品なのだろうか？　――デビュー作「武装ポーカー」も愛をこめて併録！！

”

—Hirohiko Araki

The Gorgeous Irene Afterword

“

Regarding My Early Short Stories
What perspectives and ways of thinking did I use when writing these short stories? I'll try to remember... When I made my debut as a manga artist in December 1980, I had no doubt in my mind that the basis of a good story was suspense. There are many manga artists I like, but I especially learned a lot from the manga techniques of Mitsuteru Yokoyama (Babel II) and Sanpei Shirato (Legend of Kamui). Both of them are characterized by their prowess at building suspense: once you read a single page, you can't help but think, "Wh- What's going to happen next?!" and you'll have to keep running to the bookstore until you finish reading the final page. I need to study suspense!

Up until I turned 20, I only read novels, movies, and comics with boats in them. But looking back on them now, I realize that all of my favorite works have one thing in common: they all tell their stories by building unparalleled suspense. That's why I had to study them. I wanted to create manga with that in mind. There was one other element I needed: a style. To be honest, I didn't quite know yet what my own style would look like. Professional manga artists would take a look at my work and say, "Ah! What an artist!" and yet I hadn't the slightest idea of how to create a unique style for myself. Whenever I tried to draw detailed art, someone would say to me, "You're just copying your teacher," and so I felt like I was groping in the dark to find something that worked.

”

—Hirohiko Araki

“

初期短編について
短編作品を描く時、どういう視点や考え方で制作していたのか？　それを思い出してみる事にする。
１９８０年の12月に、漫画家としてデビューさせてもらった当時、「とにかく、ストーリーの基本はサスペンスだ」と信じて疑っていなかった。
好きな漫画家はたくさんいるけれど、特に『バビル２世』の横山光輝先生と、『カムイ外伝』の白土三平先生のマンガ技法には学ぶものが大きかった。両先生の特徴はとにかく、１ページ読みはじめたら、「どっ！ どうなってしまうんだよお~~！？」と、ラストを読み終わるまで本屋に走らねばならない、極上の「サスペンスのテクニック」だ。
サスペンスを研究しなくては！
20歳になるまでただボーツと小説とか映画とかマンガとか読んで来た。でもふり返ってみると、自分の好きな作品は共通して全てすぐれたサスベンスのテクニックで話が語られていく。
だから自分も研究しなくてはならない。そういう視点でマンガを制作しようと思った。
それともうひとつ「絵柄」だ。正直言って当時、自分の「絵柄」というものにイメージが、あまりなかった。プロのマンガ家はひと目見て、あっ！この作家だ！という特徴があり、でも自分はどうやって、そういう自分だけの特徴というものを出していいのか、さっぱりわからなかった。
特徴を出そうとすると「クセがあってヘタ」と言われるし、上手に描こうとすると「誰先生に似ている」と言われるし、どうすっかなあと、暗中模索って感じであった。

”

—Hirohiko Araki

Author's Note

“

Gorgeous Irene
I considered making it into a serialized manga, but at the time, I was a little reluctant to draw a full-length shonen manga with a woman who fights as the main character. Thus, I had to wait for more than 12 years before creating Jolyne Cujoh in Stone Ocean, the sixth part of my own work, JoJo's Bizarre Adventure.

”

—Hirohiko Araki

“

『ゴージャス＊アイリン』
連載しようか？ という企画もあったけど、当時、闘う女性を主人公に長編の少年マンガを描くのはちょっと抵抗があって、自作『ジョジョの奇妙な冒険』の６部『ストーンオーシャン』の「空条徐倫」まで12年以上待つことになる。

”

—Hirohiko Araki

Author's Note

“

Poker Under Arms
My debut work. When I drew it, I hoped to take it to my editor's office and have him want to read it to the very end, without ceasing to flip the pages and putting down the work. The reason why it's 31 pages long is that at the time, it was decided that story manga should be cut down to that number of pages. I drew around a hundred pages in total, redrew it again up to page 31, reworked the material, and brought it into my editor's office. It was then submitted to the Tezuka Award committee. I chose to make it a Western because I loved Clint Eastwood.

”

—Hirohiko Araki

“

『武装ポーカー』
デビュー作。とにかく作品持ち込みで編集者をラストベージまで “読ませたい“ と思ったし、途中でページをめくるのをやめて見捨てたりしないでください…と願って描いた。
31ページというのは当時、ストーリーマンガはこのページ数で投稿すると決まっていたため。全部で100ページくらいをとにかく描き、そして31ページまでもう一回描き、ネリ直して編集部へ持っていった。手塚賞にまわされた。西部劇にしたのはクリント・イーストウッドが大好きだったから。

”

—Hirohiko Araki

Author's Note

“

Say Hi to Virginia
This work comes from a time when I believed that the locked room provided the ultimate in suspense.
I only saw the characters as pawns who served to progress the story.

”

—Hirohiko Araki

“

『バージニアによろしく』
密室こそ究極のサスペンスだと信じていた頃の作品。キャラクターもストーリーを進行させる「駒」のひとつととらえていた。

”

—Hirohiko Araki

Author's Note

“

Outlaw Man
Due to the loss of the original manuscript, this work has never been reprinted before.

”

—Hirohiko Araki

“

『アウトロー・マン』
原稿紛失のため、今までどこにも未収録だった作品。

”

—Hirohiko Araki

Author's Note

“

B.T. "The Wicked Boy"
This short story was a pilot (the prototype) for the serialization Cool Shock B.T.. The theme of the story was intended to be the inverse of Sherlock Holmes, but my editor criticized me for calling my main character a "wicked boy." It's worth noting that there was no such thing as "psycho horror" back then.

”

—Hirohiko Araki

“

『魔少年ビーティー』
連載された『ビーティー』のパイロット版（試作品）的な短編． シャーロック・ホームズの逆的な魅力を目的としたテーマだが、少年マンガに「魔少年」なんて主人公を出すのはやめなさいと、編集部から批評があった。まだ「サイコ・ホラー」とかなかった時代。

”

—Hirohiko Araki

Under Execution, Under Jailbreak

Author's Note

“

The story collection that contained Gorgeous Irene was published in 1987, making this book my first story collection in twelve years and my second one overall. Why is it that I rarely write short stories? The answer is that my ideas for them usually go into my longer, serialized works. After all, they tend to contain my more beloved protagonists, and feature-length series tend to appeal more to readers.
The amount of effort it takes me to create a short story is about the same as it takes to write a longer one, the only difference being that the short story has to end after a few dozen pages. Even if I did have a good idea for a short story, I can't help but use it in my longer series for that reason. The stories in this collection are examples of what happens when an unexpected friendship forms between an editor and a manga artist.
When the editorial department asked me to write a short story, I was able to expand on an idea I had left out of one of my longer series, an idea that made me think, "Well, I could use this for a short story." I can't help but think it was fate. In the twelve years that it took for this book to come out, that feeling has became more and more deeply ingrained in each of my works.

”

—Hirohiko Araki

“

『ゴージャス＊アイリン』という初短編集が出たのが一九ハ七年だから、本タイトルが実に十二年ぷりの短編集という事になる。しかも二冊目。
なぜ自分は短編をあまり描かないのか？答えはアイデアを連載長編の方に使っちゃうからだ。長編の方には愛すぺき主人公がいるし、読者も短編よりは長編の方が魅力を感じてくれている。長編も短編もストーリーを０から作り上げていくのは同じ労力でも、短編は数十ページで終わりにしなくてはならない。だから、短編向きの良いアイデアがあってもつい長編の方に使ってしまう。
本書に集まった作品は、偶然に作られた編集者と漫画家の友情の結晶である。
「短編、描いてよ」っていう編集部の依頼がきっかけで、長編からはみ出ていたアイデアを、「ンじゃ、これ短編に使おう」って感じでふくらましていくので、自分としては運命的なものを感じてしまう。そして、十二年に一冊という事で、ますますその思いが各作品に深く入っていってしまう。

”

—Hirohiko Araki

Author's Note

“

Under Execution, Under Jailbreak
(Published in Super Jump 1995 No. 2)

What's the difference between a short story and a long story? The average reader might say that "it doesn't make a difference, does it?" But as a writer, if you don't understand the difference between the two, you may be walking down a dangerous path. Let's think about it for a moment. What types of short stories are there?

A. A work that follows the thoughts and actions of the characters.
B. A short story that captures a brief moment in time and symbolizes a life or theme in it like a flash of light.
C. Nonsense, suspense, mood, design, eroticism, and gore. A work that aims to portray itself.
D. Diaries, essays, letters.

Are there any other types? The rest are composite works of each type. When you think about it that way, what's the difference between a short story and a long story? There doesn't seem to be much of a difference at all. A short story is simply shorter, and a long story is simply longer. I suppose Hirohiko Araki's conclusion is that "it doesn't make a difference." For that reason, Under Execution, Under Jailbreak is a suspense story written for the sole purpose of drawing suspense, based on the idea of having a death penalty and a jailbreak at the same time, all in just over thirty pages as requested. The prison is strange, and I like the fact that the people who built it have an eerie presence despite never actually appearing. (I'd call it a C-type work.)

”

—Hirohiko Araki

“

『死刑執行中脱獄進行中』
（スーパージャンプ　95年2号掲戴）

短編と長編の違いって、何なのだろうか？　読者にとっては「そんなの、どうでもいいじゃん」って感じかもしれないけど、描く方にとっては違いを理解してないとヤバイ道に踏み込んでしまうかもしれない。ちょっと考えてみよう。どんな短編のタイプがあるのか？
Ａ登場人物の行動や思いをひたすら追いまとめた作品。
Ｂほんの短い時間の出来事を切り取って、そこに人生やテーマを閃光のように象徴させる作品。
Ｃナンセンスやサスペンス、ムード、デザイン、エロ、グロ。それそのものを描くのを目的とした作品。
Ｄ日記やエッセイ、手紙。他にあるかな？あとはＡＢＣＤそれぞれの複合的作品。こう考えると、短編と長編の違いは？ あんまり差はないように思える。
単に短い作品が短編で、長いのが長編。やっぱり、「どーでもいいじゃん」って結論に荒木飛呂彦も落ちついた。そーゆー理由で『死刑執行中脱獄進行中』は三十数ページという依頼ページで、死刑と脱獄を同時にさせるというアイデアから思いついた、ひたすらサスペンスを描くために描いたサスペンス。監獄が奇妙で、ここを作ったヤツら、姿は登場しないけど、不気味な存在がある所が好き。(作品タイプで言うとＣ)

”

—Hirohiko Araki

Author's Note

“

Dolce, and His Master (Dolce: Die Hard The Cat)
(Published in Allman 1996 No. 11-12)

When your page numbers are limited, your story becomes more powerful if the characters and settings are also limited. This is a work that began from that idea. My editor at the time of writing this story said to me, "I love cats. I can't help it. They are my heart's hope in life." I replied, "But I bet you'd eat one if you got lost in the Andes." Thus, a story was born from my wicked personality. (I'd call it a B-type work.)

”

—Hirohiko Araki

“

『ドルチ ～ダイ・ハード・ザ・キャット～』
(オールマン　96年11〜12号掲戴)

ベージ数を限定されると、登場人物や物語の舞台も限定した方が話に迫力が出る。そーゆー発想から作り始めた作品。
この作品執筆時の担当編集者が、「猫が好きで好きでしょうがない。生活する上での心の希望なんだよ」
とまで言ったので、「でも、アンデスの山中で遭難したら、食べちゃうよ、きっと」と言ったイジ悪なわたしの性格が生み出した一編。(作品タイプはＢ)

”

—Hirohiko Araki

Author's Note

“

Deadman's Questions
(Published in Allman 1999 No. 12-14)

I wrote this story with the idea of a protagonist who, even after death, seeks peace of mind and continues to "live" in this world in the form of a spirit. (I'd call it an A-type work.) The protagonist of Deadman's is actually the ghost of the main villain from the fourth part of JoJo's Bizarre Adventure, the deceased homicidal maniac known as Yoshikage Kira. In the world of the dead, if there indeed is one, it probably wouldn't be a place where everything is possible; rather, it'd be regulated by rules similar to our own world's. The idea that ghosts have to struggle just as much or even more than normal people is quite peculiar... That's the idea I had in mind when writing this story. Even so, when I got to the scene where he discovers he can no longer listen to his favorite music, I got a little teary-eyed.

”

—Hirohiko Araki

“

『デッドマンズＱ』
（オールマン　99年12〜14号掲戴）

死んだあとも心の平和を願って、精神的に生長していこうとする主人公の行動を、スケッチ風に描いた作品。（作品タイプでＡ）　主人公のデッドマンは『ジョジョの奇妙な冒険第４部』の最大の敵・吉良吉影という、死んだ殺人鬼である。
死後の世界、もし魂が残っているのなら、それは何でもありの世界ではなく、この世と同じ『ルール』があるはずだ。幽霊も生きてる時と同じか、それ以上に苦労しなくてはおかしい……という発想で描いた。それにしても、好きな音楽を楽しめない彼を描いてて、何か涙が出て来た。

”

—Hirohiko Araki

The Lives of Eccentrics

Foreword

“

Why The Lives of Eccentrics?

Or rather, what motive did I have in creating a series around that theme? I don't have an answer to that. But I've got to remember something, find some reason for it. I know it's in my mind somewhere.

When I was a kid, I heard about a famous mountaineer who was asked why he wanted to climb a mountain. The mountaineer's response was something to the effect of, "Because it's there." It was an answer I understood entirely, and yet one I couldn't understand at all. And, being a kid, thinking about the future, I thought, "Why do people choose the jobs or careers that they do?" Politicians, doctors, soldiers, clergymen, judges, and all the other prominent people in society... What made them want to take those positions? I felt that it was something I was incapable of understanding. And isn't it terrifying being, say, a karate practitioner, a racer, or a diver? Does whatever motive they have surpass that fear? Doctors have to see blood, and enemies attack karate practitioners all the time... It was a way of thinking I could never hope to possess.

Around the same time, I heard rumors in books or from acquaintances: that a French painter named Gauguin went to an island named Tahiti on the other side of the world just to paint, and passed away there; that there was a woman who continued to build her mansion for the rest of her life; that a man once lived for weeks on top of a chimney; that some scholars insisted that the inside of the earth is hollow, and that gravity allows us to gently enter the interior through a hole at the North Pole.

"What in the world? Why would someone do that? Why would they stake their lives on something like that? There's not much to be gained from it, but I can't help but feel there's something wonderful about it all...

What does it mean to be human, anyway?"

As a kid, I used to read and listen to stories like those with that thought in mind. And when I heard about those people, while I considered them fools, I also found myself listening to their stories with my full attention. I found myself feeling some kind of hope, or courage, or maybe empathy toward their foolish and worthless actions. I often get the feeling that I, too, act with no clear motive and fail without ever knowing the reason why. Within the lives of eccentrics exists an ode to humanity no different from that found in the biography of a great man. That is my motive in writing this series.

...That said, these biographies are based on facts, but I also had a set of selection criteria in mind. I read a lot of books and did a lot of searching to find individuals worth drawing, but it wasn't easy to find eccentrics who met my criteria. After all, my selection criteria was criteria for an ode to humanity. That strict selection criteria is as follows:

Hurdle No. 1: An eccentric must believe that their actions give people hope or peace of mind. (It wouldn't do to depict, say, a criminal.)
Hurdle No. 2: An eccentric must keep up their eccentricity for the rest of their life. (Temporarily conspicuous spirits and those who give in later in their lives are false eccentrics, and do not deserve respect.) In other words, it has to come naturally to him or her.
Hurdle No. 3: An eccentric triumphs over their enemies. (However you want to interpret triumph, it always involves winning against some kind of enemy.)

The people who satisfied these three hurdles are the ones depicted in this book. There's an inventor, an athlete, and one from the country of Japan we take such pride in. There are two women, and even a pair of brothers. I think it's safe to say the characters are diverse. At the risk of repeating myself, it's not about following in their footsteps. They are by no means social heretics, but unique people with extraordinary passions, and the fact that they existed provides hope and peace of mind to the future of humanity.

”

—Hirohiko Araki

“

『なぜ変人偏屈列伝なのか？』

…というか、どういう動機でこういうテーマで連作しようなどと思ったのだろうか？
その答えは良くわからない。でも思い出してなんらかの理由を見つけなくてはならない。自分の頭にあるような気がする。
子供の頃、よく聞いた話に「人はなぜ山に登るのか？」という、ある有名な登山家にした質問があった。その登山家は
「そこに山があるから」
……と答えたそうだ。なんだか、わかったような、わかんないような答えだ。
そして子供の頃、将来のことを考えてたら、思った。人はどういう理由で仕事とか職業を決めるのだろう？……と。だいたい政治家だとか医者だとか軍人だとか宗教家だとか裁判官だとか、そういう社会的にりっぱな人たちでさえ、なんでそういう仕事に就こうなんて思うわけ？　ぜんぜん自分の概念の外だと感じていたし、空手家だのレーサーだのダイバーだの、恐ろしくないわけ？　動機はその恐怖を越えているのか？　医者とかは「血」をみたりするわけだし、空手家なんて敵が襲って来るんですよ……。絶対に自分にはありえないモノの考え方だと思っていた。
そんな時、フランスの画家でゴーギャンという人が、絵を描くだけのために地球の裏側のタヒチまで行って、そこで死んだという話や、一生、屋敷を増築し続けた女の人がいただとか、煙突のてっぺんで何週間も生活し続けた男がいただとか、地球の内部は空洞になっていて北極の穴とかから重力のためになだらか(・・・・)に内部に入って行けるという考えを力説した学者がいる、といった話を、本とか知人から読んだり聞いたりした。
いったい何なのだ？　なぜそういう事をするんだろう？　どうしてそういう事に命を掛けるれるんだろう？　何かトクになる事はあまりないような気がするけど、でもなんかチョッピリすばらしいモノがあるような気がしないでもないしぃ……。
「人間(・・)」ていったい何者なのか(・・・・・・・・・・)？
子供の頃、そんな風に感じてこういった話を読んでだり聞いたりしていた。そして、こういう人たちの話を聞いた時、「愚かな人々」と思う反面、すごい集中力で話を聞く自分を発見するし、同時にその『愚かな得にもならない行為』に、なにか「希望」だとか「勇気」だとか奇妙な「共感」といったモノを感じずにはいられないのも事実。自分だって動機不明の行動や、理由も分らず失敗したなあ〜と思う事がしょっちゅう。奇人偏屈の人々の人生には、偉人伝と何ら変わる事のない『人間讃歌』が存在するのだ。それがこの列伝を描こうと思った動機である。
……とはいうものの、この列伝は事実を基に構成されているのだが、選考基準というモノも存在する。いろんな本を読み、いろいろ探して描く人物を決めたわけだけれど、なかなか選考基準を満たす人っているわけではなかった。「選考基準」イコール「人間讃歌基準」でもあるわけである。その厳正なる選考基準は以下のとおり。

ハードル①
変人偏屈な人は、その行為が人々に「希望」と「安心」を与える魅力がなくてはならない。（たとえば犯罪者だとかはダメである）
ハードル②
変人偏屈な人は、その行為を一生やり続けていなくてはならない（一時の目立とう精神や、人生の途中でやめた人は本物ではなくニセ奇人なので、尊敬に値しない）。つまり彼（彼女）たちは自然体なのだ。
ハードル③
変人偏屈な人は、敵に勝利している。（勝利にはいろいろな解釈があるけれど、とにかく敵に勝っている事）

この3点を満たしている人物たちが、本書の収録基準である。「発明家」「スポーツ選手」、我らが誇る「日本人」にもいました。「女性」も2人いるし、「兄弟」もいます。キャラクターは片寄らずにそろったと思います。
もう一度いいます。彼らを見習えという事ではありません。彼らは決して社会の異端とかではなく、人並みはずれた情熱を持った唯一無二の人々であり、これからの人間の未来に生きる「希望」と「安心」を与えてくれる「存在」なのです。

”

—Hirohiko Araki

Afterword

“

Sorry for keeping you waiting. The Lives of Eccentrics has finally released. It's been 15 years since the release of the first entry, so those of you who read Nikola Tesla in Super Jump must be really old by now... I really am sorry for the wait.

The Lives of Eccentrics was my first work published in a magazine, so I have nothing but nostalgic memories of Nikola and all the other stories. Originally, Mr. Araki was supposed to be in charge of the series all the way up to the page layout, but as you all know, he was working on a weekly serialization and didn't have time to draw one-shots. So I, who had recently been brought on as an assistant, was placed in charge of the series instead. Without this work, Onikubo would not be the manga artist he is today, and I can't thank Mr. Araki enough. (And thanks to Fujii, too, for co-writing the story for Nikola.)

But when I went to reread it, all I could see was my poor drawing style, and I just had to hold my head and think to myself, "Agh, everything about this needs fixing! I can't let it become a volume..." But in the end, I gave up and decided to accept it as just another Araki manga.

If I hadn't worked with Mr. Araki on this project, I only would've known about Nikola and Ty Cobb, but I wouldn't have understood how problematic they were. Ty Cobb, for example, would have ended up as the batter who heard everything, just how I knew him as a boy, and Nikola would've been the great man who invented alternating current. The only one mentioned in this book who is still alive is Yoshio Kou, the man behind Oliver, but I myself was deceived by him. (Though, is it really fair to say I was deceived?) Judging by that, I might have found it interesting to live alongside the great men of the world in real-time.

It's funny to imagine how people were pushed around by these great eccentrics back then. I hope you enjoy this book with that image in your mind.

”

—Hirohisa Onikubo

“

え〜、お待たせしました。『変人偏屈列伝』の発売です。第1作から15年経っての発売になりますから、1作目の「ニコラ・テスラ」をスーパージャンプ誌上で読んでいただいた方は、もぉいい歳になっちったワケでして…本当にお待たせしました。

私にとっても、この『変人偏屈列伝』は初の雑誌掲載にあたりますので、「ニコラ」などは懐かしい想いで一杯です。本来なら、このシリーズは作面まで荒木先生が担当する筈でしたが、皆さんもご承知のように週刊連載をされている先生が読切を描く時間がない為、当時アシスタントとして入ったばかりの私が担当させていただきました。この作品がなければ、今の「漫画家」としての鬼窪は無かったと思うと、荒木先生には感謝してもし足りない位です（「ニコラ」で共同作面してくれた藤井クンもサンキュ）。
ただ改めて見返してみると、自分の作面の拙さがモロ前面に出ていて「あ〜全部直してェー。コミックスにしたくない〜」と頭抱えてゴロゴロしてますが、諦めて「これもひとつの荒木漫画だ」と納得する事にしました。
荒木先生と組んでこの仕事をしていなければ、ニコラやタイ・カッブなどは知ってるだけで「本当はンなヤなヤツだったんだ」と判らないままだったと思います。タイ・カッブなどは、私が少年時代に知っていた「挙ひとつ聞けてバットを持つ選手」で終わっていた筈ですし、ニコラなども「交流を発明した偉い人」でした。この本で取り上げてる人物で存命しているのは「オリバー君」の康芳夫氏だけですが、この方には私自身も騙されたワケで（騙されたっていうのは御幣がありますかネ）、そういった意味では、地の偉人達とリアルタイムで生きていたらもっと面白く感じたのかもしれません。

当時の人々がこの「ちょっと変わった偉人」達にどう振り回されていたか想像すると笑っちゃいますよネ。そんな事を考えながら、このほんを楽しんでいただければ幸いです。

”

—Hirohisa Onikubo

Thus Spoke Kishibe Rohan

Author's Note

“

As you might already know, Rohan Kishibe is a spin-off character from Part 4 of JoJo's Bizarre Adventure (see Volume 34) who works as a manga artist. He has a Stand ability that allows him to turn people into books; this allows him to read their raw memories and thoughts as text, as well as write into and manipulate them. This book is a short story collection of Rohan's observations. I drew the first of these works in 1997, so I am very happy and grateful that they have finally been gathered into one book. This collection of five spooky stories features a wide variety of settings, from Italy to the mountains to the coast. If you were to enjoy them, it would make me even happier.

”

—Hirohiko Araki

“

ご存知かもしれませんが、「岸辺露伴」は「ジョジョの奇妙な冒険　第４部」（JC34巻）に登場する、職業が漫画家のスピンオフキャラクターです。人を本にして、その人物の生の記憶や想いを文字で読むことができ、また書き込んで操ることが可能というスタンド能力を持っています。本書は、その露伴先生の見聞録短編集です。
一番最初に描いたのが１９９７年の作品なので、この度、一冊に集まってくれたのが本当に嬉しくて感謝したい。
内容も舞台がイタリアから山奥から海岸まで、バラエティに富んでいる５つの不気味話がそろってくれたので、楽しんで頂けると更に嬉しく思います。

”

—Hirohiko Araki

Author's Note

“

The Stand user who works as a manga artist, and can read and write people like books... This is volume two of Rohan Kishibe's book of observations. Also, I'm glad these stories have been compiled into one book. When I look at them all together like this... I don't think I was aware of it when drawing them, but I feel like each episode has a different flavor as a result of being published in different magazines. I especially feel the influence of Bessatsu and the app. That's a happy occurrence, too... to Rohan Kishibe, I mean.

”

—Hirohiko Araki

“

職業は漫画家で、人を本にして「読んだり」「書いたり」する事が出来るスタンド使い――岸辺露伴の取材見聞録、『第２巻』。
また、各話がそろって一冊になってくれました。嬉しい。
こうやって、そろったものを眺めると、描いてる時、意識してるつもりは無いのだけれど、掲載誌の違いで、エピソードの味わいが違うように感じます。「別マ」や「アプリ版」で、その場所の影響が出ています。そのあたりも、幸せものだな。岸辺露伴は。

”

—Hirohiko Araki

Episode 16: At a Confessional

Author's Note

“

In 1997, the editorial team asked for a short story. The terms were: less than 45 pages and no spin-off of an existing series. Ta-dah! And here's a spin-off for you (laughs). I obviously made the first draft without Rohan, but isn't it so much better with him as the narrator? Just read the panels without him, just to see. It's like a tasteless meal, isn't it? When I think about it, without that interdiction, I would never have drawn the other Rohan spin-offs. Above all, I'm grateful for that.

”

—Hirohiko Araki

“

１９９７年。編集部から短編執筆の依頼があり、条件は45ページ以内で、『スピンオフ・外伝は絶対禁止』。ドジャーン。スピンオフ作品ができちゃいました（笑）。最初、露伴が出てこないバージョンをもちろん描いたのですけれど。露伴先生が解説してくれた方が、断然良いと思うでしょ？
露伴先生登場部分をカットして読んでみてください。香りのない食事みたいに感じてしまうでしょう。そして今となっては、この「禁止令」がなければ、露伴スピンオフ作品は以後描かなかったとも思います。何よりそういうことに感謝したい。

”

—Hirohiko Araki

Author's Note

“

Thus Spoke Kishibe Rohan - Episode 16: At a Confessional
(Published in Weekly Shonen Jump 1997 No. 30)

When I was a child, my father and grandfather used to scold me by saying, "People like you should move to a deserted island," or, "I'll go ask the prison to lock you up!" (There was a prison near our house.) I thought, "I'd like to go to a deserted island," but I also thought, "Prison is so scary, please don't let me go there!" One particular rebuke he used was, "If you live your life mocking people, you'll be struck down when you are happiest." I still find it terrifying. I fear being struck down whenever I'm happy, and as I grow older, I'm becoming more and more afraid of it. I don't think I'm cheating anyone, but I still don't like it. However, I do like the main character of this work, who remains undaunted. The "Thus Spoke" part of the title means that Kishibe Rohan is not the protagonist, but instead the navigator of the story. (I'd call it a B-type work.)

”

—Hirohiko Araki

“

『岸辺露伴は動かないーエピソード16：懺悔室ー』
（週刊少年ジャンプ　97年30号掲戴）

子供の頃、父や祖父がよくわたしを叱る時、「無人島へ行け！おまえのようなヤツは！」とか、「刑務所に頼んで入れてもらうぞ！」(家の近所に刑務所があった)とか言われて、「無人島は行ってみたいなあ」と思ったが、「刑務所はすごく恐ろしくて、カンベンしてくれえ」と思った。そんな叱りの言葉の中に「普段、人をあざむいて生活していると一番幸福な時にバチがあたるぞ」というのがあって、それはいまだに恐ろしい。ハッピーって時に突き落とされるのが、ヤパイって感じがあって、大人になるにしたがって恐怖の度合いが増して来てるんですけど。別に人をだましてはいないと思うんだけど、イヤな感じ。でも、それでもヘコたれない本作品の主人公は好き。タイトルの「動かない」というのは、岸辺露伴は主人公ではなく、物語のナピゲーターですよ、という意味。(作品タイプで言うとＢ)

”

—Hirohiko Araki

Episode 2: Mutsu-kabe Hill

Author's Note

“

Whenever I write a short story, I always think about how "youth is horror." That's the goal I aim for. I think Mutsu-kabe Hill is a really creepy story. As I was drawing them, I started to feel as if the "creatures" in the story actually existed somewhere in Japan, which horrified me. That said, why exactly was Mutsu-kabe Hill named Mutsu-kabe Hill? I can't remember it at all. I'm sorry. It really is terrifying.

”

—Hirohiko Araki

“

短編に望む時の心構えは、いつの時代も「青春とはホラー」。これが目指す目標だ。
『六壁坂』は本当に不気味な話だと思う。そして、ここに出てくる「生き物」は、描いてる途中で、だんだん、この日本のどこかに実在していそうな気分になってきて、ヤバかった。
それにしても「六壁坂」というネーミングはなぜ「六壁坂」にしたのだろうか？　全然記憶がないんです。スミマセン。本当にヤバイ。

”

—Hirohiko Araki

Kishibe Rohan Meets Gucci

Author's Note

“

I am honored! It was a genuine adventure into the unknown! I found myself having to produce a manga about the famous Gucci brand. Trying to find a way to take on this subject was a real conundrum, but then I thought about Rohan. I actually didn't have him in mind from the start. He really is able to travel in any circumstance for his work, which is really convenient for me. Once I made Rohan the protagonist, the story came together in no time. I tried to have him hold the traditional bag from the brand and wear some of Frida Gianinni's creations while respecting the details to the best of my ability. I'd also like to thank the decisive courage of Spur magazine.

”

—Hirohiko Araki

“

なんと名誉なことに！　まさに道への冒険！　ファッションブランド『ＧＵＣＣＩ』のバッグを題材にした漫画を描く事態に。どんな話にしたら良いのか？と、不安と悩み考えた時に思いついたのが「露伴」の存在。実は露伴起用は後なのです。彼は色々な条件の場所に取材に行ってくれるから、本当にありがたい。露伴を主人公にしたとたん、あっという間に話ができてしまいました。しかもＧＵＣＣＩファッションを着せて、なかなかサマになってくれたので、良かったです。伝統的なＧＵＣＣＩのバッグ、そしてファッションデザインは全てデザイナーのフリーダ・ジャンニーニさんのものを可能なだけ正確に着させました。また、ＳＰＵＲ誌の勇気と決断に感謝いたします。

”

—Hirohiko Araki

Episode 5: Millionaire Village

Author's Note

“

The greatest benefit I obtained from Millionaire Village is Kyoka Izumi, the editor character. Even though she has an annoying personality, I love the character and consider her a masterpiece. I swear upon my own honor that no editor among my entourage was used as a model. It's true, and I'm not just saying that because I fear reprisal.

”

—Hirohiko Araki

“

この『富豪村』の大きな収穫は、登場する女性編集者＝泉京香のキャラクター。この女性に対し、ムカつきながら描きました。でもキャラとしては大好きで傑作の出来と自負します。
名誉のために言っておきますか、モデルはぼくのまわりの編集部にはどこにも存在いたしません。本当です。怖くて言い訳しているのではありません。

”

—Hirohiko Araki

Episode 6: Poaching Seashore

Author's Note

“

What I most wanted to portray in Poaching Seashore was the exchange of the lines, "We're going to poach them," and "That's why I'm interested." Rohan might cross the boundaries of modern society's rules for the sake of something more important, but he never forgets to pay respect to tradition and history. In the end, I think that feeling was the reason why he survived and avoided drowning. Also, the chef, Tonio Trussardi, is a spin-off character from Part 4 of the Jump Comics JoJo series.

”

—Hirohiko Araki

“

『密漁海岸』で描きたかったのは、「密漁します」「だから気に入った」のセリフのくだり。
露伴は現代社会のルールの境界は、より大切なもののために超えていくかもしれない。でも伝統や歴史には敬意を払うのを忘れない。ラスト、彼が溺れずに生き残れたのは、その気持ちのおかげだと思う。
また、料理人トニオ・トラサルディーはジャンプコミックス『ＪＯＪＯ』の第４部に出ている、スピンオフキャラクターです。

”

—Hirohiko Araki

Episode 4: The Harvest Moon

Author's Note

“

Times are changing and so is manga. As part of the launch of their exclusively digital magazine, Shonen Jump honored me by publishing this one-shot for their first issue. In the way that they respect their family tradition and celebrate the moon together, the Mochizuki family is reminiscent of the Higashikata family in JoJolion. Although the drafts were drawn on paper, this story has only been published on paper too thanks to this re-edition. It's like opposite elements found each other here, in the end. In any case, the moon will stay where it is.

”

—Hirohiko Araki

“

時代も漫画も変化して、「少年ジャンプ」がデジタルのみの雑誌を作るとの事で、その創刊に載った誠に名誉ある短編。
家族でお月見をするという古風な習慣。『ジョジョリオン』の東方家とリンクするような望月家。原稿の執筆はアナログだが、紙に印刷されるのはこのコミックスが初めて。何もかもが正反の対のギャップがそろったみたいだ。でも、月という空の天体は不変だなぁ。

”

—Hirohiko Araki

Episode 7: A Rainy Monday

Author's Note

“

"So it once existed here on Earth!" When I think about dinosaurs, horrible giant dragonflies and other ancient creatures, my heart skips a beat. I also like to think about new chimeras, like the man-faced fish or the chupacabra. I don't believe in their existence, but each time I think I catch a glimpse of them, I get shivers down my spine. I like that feeling.

”

—Hirohiko Araki

“

『かつて、この地球上に存在してたのかぁ』と、恐竜だとか、気持ち悪い巨大トンボだとか、古代の生物の事に想いをはせるとワクワクします。
逆に存在しても居ない新しい生物の事を考えるのも、とても楽しい。信じてはいませんけれど、人面魚とか。チュパカプラとか。でも、もしかしたらチラリ、居るかもなぁ、と思った瞬間はゾッとします。その「感覚」は好きです。

”

—Hirohiko Araki

Episode 8: Deoxyribonucleic Acid

Author's Note

“

When I was a kid, I used to read Bessatsu Margaret as early as Shonen Jump, or even earlier! When I went to visit my relative's sister, I would find an issue of it in the bathroom and read it. I was given the opportunity to draw Deoxyribonucleic Acid for Bessatsu. Well, Bessatsu still made me anxious after all. Usually, I aim to have a scary ending, but this story turned out to have a touching happy ending, perhaps because of that anxiety. I think it's wonderful. I'm also glad that I could draw Yukako Yamagishi again.

”

—Hirohiko Araki

“

子供の頃、僕が読者として、「少年ジャンプ」と同じくらいか、もっと早かったのが「別冊マーガレット」！　親戚のお姉さんの所に遊びに行くと、トイレとかに置いてあって読んでいました。そのなんと「別マ」に描かせて頂いたのが、この『Ｄ・Ｎ・Ａ』。いやあ、「別マ」はやはり緊張しました。多分その影響あるかと思いますが、普通、怖いラストを目指しますが、感動ハッピーエンドになりました。良かったと思います。山岸由花子を再び描けたのも嬉しい。

”

—Hirohiko Araki

Episode 9: The Run

Author's Note

“

I revived the muscular characters I had aspired to draw in JoJo's Bizarre Adventure back in the '80s. In doing so, I surprised even myself. I really feel that something was revived. I also feel that someone like Yoma Hashimoto might really be out there somewhere. What a truly terrifying character.

”

—Hirohiko Araki

“

80年代、「ジョジョの奇妙な冒険」で目指していた、筋肉キャラクターをここに来て復活させてしまいました。なんとその事に、僕自身が驚いています。
復活させてまったという感覚です。
「橋本陽馬」どこかに居る感じがします。本当に恐ろしいキャラだ。

”

—Hirohiko Araki

Miscellaneous

JoJo's Bizarre Words

Author's Note

“

I write my manga lines with the hope of "conveying" my thoughts. When I first drew a Stand, I found it frustrating because it was hard to convey the concept. But because it was a manga with pictures and dialogs, I was able to convey it in the end. If this had been a movie, animation, or a novel, I think the nuance of the message would have been a little different. I don't try to write good lines from the beginning, because lines are born from the desire to convey something. Therefore, I feel embarrassed when I say to myself, "This is a great line," because I feel like I'm taking advantage of the situation. I think it is the reader's sense of value that determines whether or not a chosen line is a "quote". You can be moved by the lines of JoJo, you can think they are cool, or you can laugh at them. I'll leave that up to you. In celebration of the 25th anniversary of JoJo, it's nice to have my work touched in a different way. So please enjoy the world of JoJo's words and deeds.

”

—Hirohiko Araki

“

想いを「伝えたい」という願いをこめて、僕はマンガのセリフを書いています。初めて「スタンド」を描いた時はその概念がなかなか伝わらなくて、もどかしく感じました。ても画があって、セリフもあるマンガだから最終的に伝えることができた。これが映画やアニメ、小説だったら、届くニュアンスは少し違った気がします。そういう「伝えたい」という思いからセリフは生まれるものであって、最初からいいセリフを書こうとは考えていません。だから自分から「これが名言だ」と言うのは、図に乗っている感じがして恥ずかしいものです。選んでもらったセリフが「名言」かどうかは、あくまでも読む側の価値観だと思います。『ジョジョ』のセリフに感動してもらってもいいし、カッコいいと思ってくださってもいいし、笑っていただいーも構いません。そこはみなさんにお任せします。『ジョジョ』二五周年の記念として、自分の作品にいつもと違う形で触れてもらうのはありかたいことです。それではどうぞ、『ジョジョ』の言業の世界をお楽しみください。

”

—Hirohiko Araki

HIROHIKO ARAKI WORKS

Author's Note

“

The manuscript of a manga is something that is printed, made into a book, and then delivered to the readers for them to appraise. In the printing process, lines sometimes get blurred, other times they're printed too fine, or the printing paper and manuscript paper differ, or if a part that was colored orange somehow comes out red. Even if I put in a request to print it as close to the manuscript as possible, there are limits to what they can do. This is the fate, and rule, of manga manuscripts. (On occasion, lines that got blurred during printing actually created a neat effect.) Some may think that a pro should take the printing process into account when drawing the manuscript, but I wonder if other mangaka have the luxury of doing such a thing. At the very least, I don't. I consider it a rule to treat a manuscript as a manuscript, and a book as a book when I draw.

Regardless, these manuscripts are typically stored in my file book, which is put away in a cabinet. But I'm very happy that for this occasion, they return to the open air and light of day, as if awakening from a years-long sleep, in the form of this original art exhibition for you to enjoy. It also feels like a grandiose feat to me. But, I'm sincerely thankful to the fans, who have read JoJo's Bizarre Adventure for 25 years, for giving me this opportunity.

You may try to find the differences between the originals and the printed versions as you read this book, or recall the feel of the original art once you return home. At any rate, nothing would make me happier than if you enjoyed your time here.

”

—Hirohiko Araki

“

マンガ原稿は、印刷されて、本になって、読者の目の前に届き、そして評価されるものです。

印刷でちょっと線のタッチがつぶれちゃってるとか、逆に線がかすれてるとか、紙質が原稿用紙と違うとか、カラー原稿で、オレンジ色に塗ったのに、赤色にしか見えないとか。「原画になるべく近づけて印刷して下さい」と注文とかお願いしても限界はどこかにあって、それがマンガ原稿の宿命であって、ルールです（逆にタッチがつぶれてくれたおかげでシャープで良い感じになったりとかあったりして）。印刷されたときのことを計算に入れて描くのがプロだろ？と思われる方も居られるかと思いますが、そんな余裕が他の漫画家の先生達とかあるのかなあ？少なくとも僕には余裕なんて無くて、原稿は原稿、本は本、と割り切って描くのがルールと思うようにしています。

とはいえ、その「原稿たち」が普段、「ファイルブック」の中に保管されて、戸棚にしまわれているのに、何年もの眠りから目醒めるかのように、このたび、空気と光の下に出されで、皆様の目の前で原画展という形で見ていただけることになったのは、本当に嬉しいことです。何という大それた行為なのか…とも思います。でも、”25年”、「ジョジョの奇妙な冒険」を読んでいただいている、読者の皆様のおかげでこんな光栄な機会を与えていただき心から感謝いたします。本書を見ながら「原画と印刷絵」の違いを見ていただくのも良いし、お家に帰ってから原画の感じを思い出されるのも良いし、とにかく楽しんでいただけたら、それ以上言うことは何もなく、幸せなことです。

”

—Hirohiko Araki

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