Interview Archive

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A chronological collection of interviews with Hirohiko Araki and others related to the JoJo's Bizarre Adventure franchise. Sources range from magazine Q&As to transcripts of live-talks. Citations are provided for translations from other online sources, and those without translations are tagged accordingly. For more thoughts from Araki not found on this page, see the Author's Note or JoJonium Interview pages.

Last Updated: 8 months ago


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1981 to 1995

TV Program
Published May 25, 1981
Tezuka: Thank you for your hard work and congratulations.

Tezuka: This is incredibly interesting. It's something you don't see nowadays... I love it.

Tezuka: There just aren't many manga artists from the Tohoku region.

Araki: Shotaro Ishimori-sensei....

Tezuka: I mean, that's about it though, right?

Araki: From Miyagi prefecture.

Tezuka: So, as his successor...

Araki: I'll do my best.

Tezuka: Please do.

Tezuka: And show me one more of your works. Just one more, please.



ๆ‰‹ๅกšใ€Œใ“ใ‚Œๅ‡„ใ้ข็™ฝใ„ใ‚“ใ ใ€€ใ“ใ‚Œใฏใญใ€ใกใ‚‡ใฃใจ่ฟ‘ไปฃใซใชใ„ใ€€ๅƒ•ใฏๅคงๅฅฝใใ ใ€


่’ๆœจใ€Œ็Ÿณๆฃฎ็ซ ๅคช้ƒŽๅ…ˆ็”Ÿโ€ฆใ€

ๆ‰‹ๅกšใ€Œใพใ ใ‚ใ‚ใ„ใ†็จ‹ๅบฆใฎใ‚‚ใ‚“ใงใญใ€


ๆ‰‹ๅกšใ€Œใ ใ‹ใ‚‰ ใกใ‚‡ใฃใจโ€ฆใใฎๅพŒ็ถ™ใไบบใจใ—ใฆใ•ใ€



Published May 1986
๐Ÿ‘ค Hirohiko Araki
โ€”โ€”Please, ask me anything

Erika: You look the same as the photo โ™ก. As soon as I entered the store, I knew it was you.

Araki: Oh, is that so? (laughs)

โ€”โ€”But the pictures in the comics are in black and white?

Araki: Those are black and white. Super comics are in color.

Erika: Date of birth...?

Araki: June 7, 1960. Gemini. Type B.

Erika: How did you become a manga artist?

Araki: Around the winter of 1980, I brought a manuscript (Poker Under Arms) to Jump. It was chosen as a runner-up for the Tezuka Award.

โ€”โ€”Oh, the entry gathered in this special edition. I'm sorry to say that I've heard the name, but haven't read it.

Araki: It's a Western story. It's pretty different...

Fumaren: Your work feels a lot different now.

Araki: I agree. It was like a gunman fighting with a poker game... it was 31 pages. That was my debut. After that, I started Cool Shock B.T. with 3 short stories.

โ€”โ€”You can't really read those, now.

Araki: Oh, my old short stories. I want to sort of leave those in darkness. (laughs)

Everyone: Huh?!

Erika: Before that, did you do entries or doujinshi?

Araki: When I was in high school, I sent in a lot of entries.

Fumaren: What kind of magazine?

Araki: Jump, of course. It was my favorite...

โ€”โ€”What kind of stuff was in Shonen Jump at the time?

Araki: ... Doberman Deka, and... I forget. (laughs) In the other magazine, there was Ai to Makoto.

Erika: Are there any people who've particularly influenced you?

Araki: Ikki Kajiwara's works.

Everyone: Oh? (laughing)

Araki: Huh? (laughs)

Fumaren: Does Ikki Kajiwara draw manga?

โ€”โ€”He's the original author of Ai to Makoto.

Fumaren: Oh, is that so?

Komiyama: Huh?!

Araki: Huh? Maybe it's a generational thing?! It's still interesting to read!

Komiyama: Do you think of B.T.'s tricks yourself?

Araki: I adapted some of them, while others I thought of myself.

โ€”โ€”Now, let's talk about Baoh. One of the reasons it was so popular with Fanroad readers is that, though it was short, it was a completed and fleshed out series- the ideal Jump piece...

Araki: That was the last thing I was thinking about. I couldn't have guessed that it would end up like this...

โ€”โ€”It's nice to understand the meaning of 'the Visitor' in the end. At first, I wondered why the 'visitors' were running away...

Araki: I thought so too. (laughs)

Erika: Is there going to be a sequel?

Araki: I do want to make one.

Fumaren: I want to see a 17 year old Sumire โ™ก What sort of image do you think she would have?

Araki: I agree, she'd be someone feminine but not very active.

Erika: Is Sumire modeled off of someone?

Araki: Honestly, I didn't base her off of anyone.

Fumaren: The ideal type...

โ€”โ€”Come to think of it, the Sumire from the 2nd page of the comic has changed a lot.

Araki: Her image is going to change a lot. I think of it as training.

Fumaren: Was there anyone who influenced the painting?

Araki: Sanpei Shirato, foremostly.

โ€”โ€”Also in Baoh, the duo who threw the bomb- if you use a shuriken instead of a bomb, it's a ninja thing.

Araki: That's right. (laughs) I really liked Sasuke.

Erika: Why are Sumire-chan's eyebrows so thick?

Araki: Are they too thick? (laughs)

Fumaren: It's cute when you get used to it, but when you see it for the first time...

Erika: At first I thought they were a decoration.

Araki: I like the make up of the 60s, so I tried it out a bit. (laughs) I went to a fashion design school.

Fumaren: I like the look of the eyes...

Araki: Yes, the eyes turned out well. The lips should be thicker, but I'm not drawing it anymore.

โ€”โ€”Though that granny's eyes... (laughs)

Komiyama: Why did you make Baoh a parasite?

Fumaren: I was wondering that too! It's pretty gross! (laughs)

Araki: Well, it was a little unpopular.

โ€”โ€”But in horror movies, that's what military secrets often are.

Araki: I was thinking of a way it could happen in reality, to give someone a transformation and a different level of power. Something to make you believe that he could transform.

Erika: It reminded me of Cyborg 009 when I read it โ™ก

โ€”โ€”It's a girl's interest. The lonely heroes that have their own secret power and are pursued by an organization- like 009, Wolf Guy, Chimera- all have a common tragic charm. Oh yeah, here's a question from a reader:

[Translated by Betsybugaboo]

โ€œWhen Baoh is locked up, wouldnโ€™t he fall asleep just by being submerged in water, without the need of nepenthes liquid?โ€

Araki: My assistant gave me some advice there (laughs) โ€“ while theyโ€™re adding water, Baoh melts the door and escapes!

Everyone: Ah, I see!

Araki: Kasuminome thought up things that far!

โ€”โ€”He wasnโ€™t stupid.

Fumaren: Did you like biology? Like, was it one of your best subjects orโ€ฆ?

Araki: Perhaps (laughs)

Erika: Then what about English? Since you seem to use a lot of English wordsโ€ฆ

Araki: Englishโ€ฆ (laughs) I wasnโ€™t good at it, so Iโ€™m using difficult terms on purpose.

Fumaren: The mangaโ€™s got expressions like โ€œ___ phenomenonโ€, so itโ€™s good for exams and the like (laughs).

Araki: Youโ€™ll fail if you write that!

Erika: What was your childhood like? Did you want to become a manga artist?

Araki: Not particularly. I played a lot outside and followed around the big guys.

โ€”โ€”Speaking of which, we also received a postcard from someone who went to your school in Miyagi.

Araki: Ah yes, I come from Sendai, Miyagi prefecture.

โ€”โ€”You seem to be resistant to cold.

Araki: I am indeed. I always go back to Sendai in summer.

Erika: When did you decide to become a manga artist?

Araki: After I entered design school. I graduated high school, entered design school and had no job, but was proud I was studying in such a great place, and then I decided to become a manga artist and submitted by manuscripts.

Erika: You really worked hard.

Araki: More likeโ€ฆ I begged in tears (laughs). Like, โ€œpleaseโ€ฆaccept thisโ€ฆโ€.

Everyone: (laughs)

Fumaren: Were the editors kind?

Araki: They were scary! (laughs)

Komiyama: You know, I always wondered why such a refined person like you decided to become a manga artist (laughs).


Komiyama: Jumpโ€™s New Yearโ€™s edition covers tend to feature manga artists quite a lot, and he really caught my eyeโ€ฆ

โ€”โ€”Yes, yes, true, he seems to receive at least 2 or 3 big boxes of chocolate from fans on Valentineโ€™s Day.

Everyone: Wowโ€ฆimpressive!

Araki: Thank you very much.

Komiyama: So not for the characters, but for the artist himself? Thatโ€™s great!

Fumaren: What do you do with all that chocolate?

Araki: I eat it all. I also reply sometimes!

โ€”โ€”Oh right, a postcard actually mentioned receving a fast reply from you after sending New Yearโ€™s cards to several manga artists and musicians.

Araki: (laughs) I am diligent!

โ€”โ€”Fans always pay attention to details.

Araki: I think I reply to one or two letters per week.

โ€”โ€”Do you have an official fanclub?

Araki: I doโ€ฆ do I?

Everyone: Huuuuh?

Araki: I think I agreed to it at some point, butโ€ฆ

Fumaren: Has there been talk about a Baoh animation?

โ€”โ€”Hmm, yes, Iโ€™ve heard about the possibility of a Baoh OVA, but there is nothing certain yet.

Araki: There was some talk about an image albumโ€ฆ

โ€”โ€”There was some talk about an image album, but it was called off.

Araki: What a pity.

Erika: Would you like to see an anime based on your manga?

Araki: โ€ฆ I would. I canโ€™t say it would make me particularly happy, but I would.

โ€”โ€”The voice actors seem to be the most difficult aspect (laughs).

Fumaren: The live action adaptation would obviously be a splatter movieโ€ฆ

Araki: It would be all *pop*pop*pop* (laughs)

Fumaren: That sounds gross (laughs)

Komiyama: Then you should play the main character!

Everyone: Huh, heโ€™d fit!

Araki: No way (laughs)

โ€”โ€”Oh, so you donโ€™t like things like making the โ€œbarubaruโ€ pose.

Fumaren: You can leave the poses to JAC [Japan Action Club] or stuntmen and only play as Ikuro.

Erika: This kind of thing seems to be popular abroad.

โ€”โ€”Baoh became โ€œThe Visitor from the Underworldโ€ in Taiwan.

Erika: No, not there, a bigger country, like the USโ€ฆ

Araki: I wish the words stayed the same.

Fumaren: They were told they canโ€™t use those English words (laughs)

โ€”โ€”Sounds scary. Itโ€™s like that strange Japanese often used in American movies.

Araki: Baoh and B.T. are made up words too. I was wondering what to name themโ€ฆ so I just made my choices depending on the sound.

โ€”โ€”So itโ€™s not an abbreviation for anything?

Araki: Nothing of the sort. I thought the โ€œTโ€ sounded nice, and when I started thinking about the first letter, AT, BT, I just settled on โ€œbee-teeโ€.

โ€”โ€”Well now, this conversation has reached its end. Heave-ho, letโ€™s all cheer for a new serialisation in Jump as soon as possible!

Everyone: Good luuuuckโ™ก

[Translated by Dijeh][1]









่’ใ€Œ80ๅนดใฎๅ†ฌใใ‚‰ใ„ใซใ€ใ‚ธใƒฃใƒณใƒ—ใซๆŒใกใ“ใ‚“ใ ใ‚“ใงใ™ใ€‚ๅŽŸ็จฟใ‚’โ€”โ€”ใ€Žๆญฆ่ฃ…ใƒใƒผใ‚ซใƒผใ€ใจใ„ใ†ใ€ๆ‰‹ๅกš่ณžๆบ–ๅ…ฅ้ธใซๅ…ฅใฃใŸใ‚„ใคใงใ™ใ€

โ€”โ€”ใ‚ใ‚ใ€ไปŠๅ›žใฎ็‰น้›†ใซ้›†ใพใฃใŸใƒใ‚ฌใ‚ญใงใ€ๅๅ‰ใ ใ‘็Ÿฅใฃใฆใ„ใ‚‹ใ‘ใฉ่ชญใ‚“ใ ใ“ใจใŒใชใใฆๆฎ‹ๅฟตใฃใฆใฎใŒๅคšใ‹ใฃใŸใงใ™ใ‚ˆใ€‚



่’ใ€Œใใ†ใงใ™ใญใ€‚ใƒใƒผใ‚ซใƒผใ‚ฒใƒผใƒ ใฟใŸใ„ใชใฎใ—ใฆใ‚ฌใƒณใƒžใƒณใŒๆˆฆใ†ใฃใฆ่ฉฑใงโ€ฆโ€ฆ31ๆžšใงใ—ใŸใ€‚ใใ‚Œใงใƒ‡ใƒ“ใƒฅใƒผใ—ใพใ—ใŸใ€‚ใใฎๅพŒ






่’ใ€Œ้ซ˜ๆ กใฎใ“ใ‚ใ€ใ‘ใฃใ“ใ†ๆŠ•็จฟใ—ใฆใŸใ€


่’ใ€Œใ‚„ใฃใฑใ‚Šใ‚ธใƒฃใƒณใƒ—ใ€‚ๅฅฝใใ ใฃใŸใ‹ใ‚‰โ€ฆโ€ฆใ€


่’ใ€Œโ€ฆใ€Žใƒ‰ใƒผใƒ™ใƒซใƒžใƒณๅˆ‘ไบ‹ใ€ใจใ‹โ€ฆใ‚ใจๅฟ˜ใ‚ŒใŸ(็ฌ‘)ใ€‚ใƒžใ‚ฌใ‚ธใƒณใ ใจใ€Žๆ„›ใจ่ช ใ€ใชใ‚“ใ‹ใญใ€






โ€”โ€”ใ€Žๆ„›ใจ่ช ใ€ใฎๅŽŸไฝœใจใ‹ใ‚„ใฃใฆใ‚‹ใงใ—ใ‚‡ใ€‚







โ€”โ€”ใใ‚Œใงใฏใใ‚ใใ‚ใ€ใ€Žใƒใ‚ชใƒผใ€ใฎใŠ่ฉฑใ‚’โ€ฆโ€ฆใ€‚ใƒ•ใ‚กใƒณใƒญใƒผใƒ‰ใฎ่ชญ่€…ใซไบบๆฐ—ใŒใ‚ใ‚‹ๅŽŸๅ› ใฎใฒใจใคใฏใ€็Ÿญใ„้€ฃ่ผ‰ใ ใฃใŸใซใ‚‚ใ‹ใ‹ใ‚ใ‚‰ใšใ€ไธญ้€”ใฏใ‚“ใฑใชๆ‰“ใกๅˆ‡ใ‚Šใƒฉใ‚นใƒˆใงใฏใชใใ€ใ‚ธใƒฃใƒณใƒ—ใฎไฝœๅ“ใฎไธญใงใ‚‚็†ๆƒณ็š„ใชๅฎŒ็ตใ‚’ใ‚€ใ‹ใˆใŸไฝœๅ“ใงใ‚ใ‚‹ใ‹ใ‚‰ใ‚‰ใ—ใ„ใ‚“ใงใ™ใŒโ€ฆโ€ฆใ€‚

่’ใ€Œใ‚ใ‚ใ€ใ‚ใ‚Œใฏใƒฉใ‚นใƒˆใ ใ‘ใฏ่€ƒใˆใฆใŸใฎใ€‚ใ“ใ†ใ„ใ†็ต‚ใ‚ใ‚Šๆ–นใซใ™ใ‚‹ใ‚“ใ˜ใ‚ƒใชใ„ใ‹ใชใฃใฆโ€ฆโ€ฆใ€

โ€”โ€”็ต‚ใ‚ใ‚Šใฎๆ–นใงใ€ใ‚„ใฃใจโ€œๆฅ่จช่€…โ€ใฃใฆๆ„ๅ‘ณใŒใ‚ใ‹ใ‚‹ใฎใ‚‚ใ€ใ„ใ„ใงใ™ใญใ€‚ๆœ€ๅˆใฏใ€้€ƒใ’ใฆใฐใ‹ใ‚Šใชใฎใซใชใœโ€œๆฅ่จช่€…โ€ใชใ‚“ใ ใ‚ใ†ใ‹ใจโ€ฆโ€ฆใ€‚

















ใตใ€Œๆ…ฃใ‚Œใ‚‹ใจใ‹ใ‚ใ„ใ„ใ‚“ใ ใ‘ใฉใ€ใƒ‘ใƒƒใจๅˆใ‚ใฆ่ฆ‹ใŸๆ™‚ใฏโ€ฆโ€ฆใ€


่’ใ€Œ60ๅนดไปฃใฎใƒกใƒผใ‚ญใƒฃใƒƒใƒ—ใฟใŸใ„ใฎใŒๅฅฝใใชใฎใงใ€ใ‚ใฎใธใ‚“ใ‚’ใกใ‚‡ใ“ใฃใจใ‚„ใฃใฆใฟใŸใ€‚(็ฌ‘)ใƒ•ใ‚กใƒƒใ‚ทใƒงใƒณใƒปใƒ‡ใ‚ถใ‚คใƒณใฎๅญฆๆ กใซ ่กŒใฃใฆใ„ใŸใ“ใจใŒใ‚ใ‚‹ใฎใงใ€

ใตใ€Œใƒ„ใƒช็›ฎใฎไบบใŒๅฅฝใใ ใจใ‹โ€ฆโ€ฆใ€





่’ใ€Œใ‚ใฎใธใ‚“ใ€ใกใ‚‡ใฃใจไธ่ฉ•ใ ใฃใŸใ‹ใ‚‚โ€ฆโ€ฆ(็ฌ‘)ใ€

โ€”โ€”ใงใ‚‚ใ€ใƒ›ใƒฉใƒผๆ˜ ็”ปใงใฏใ€่ปใฎๆฉŸๅฏ†ใจใ‹ใชใ‚“ใจใ‹ใงใใ†ใ„ใ†ใฎใฃใฆใ€ใ‚ˆใใ‚ใ‚‹ใ‚“ใงใ™ใ‚ˆใ€‚


ใ‚จใ€Œ่ชญใ‚“ใ ๆ™‚ใ€ใ€Žใ‚ตใ‚คใƒœใƒผใ‚ฐ009ใ€ใฟใŸใ„ใชๆ„Ÿใ˜ใŒใ—ใŸโ™กใ€

โ€”โ€”ๅฅณใฎๅญใฎๆ„Ÿๆƒณใงใ™ใญใˆใ€‚ใŸใ—ใ‹ใซใ€่‡ชๅˆ†ใฎใ‹ใ‚‰ใ ใซ็ง˜ๅฏ†ใฎๅŠ›ใŒใ‚ใฃใฆ็ต„็น”ใซ่ฟฝใ‚ใ‚Œใ‚‹ๅญค็‹ฌใชใƒ’ใƒผใƒญใƒผใฃใฆใ„ใ†ใฎใฏใ€ใ€Ž009ใ€ใ€ใ€Žใ‚ฆใƒซใƒ•ใ‚ฌใ‚คใ€ใ€ใ€Žใ‚ญใƒžใ‚คใƒฉใ€ใชใ‚“ใ‹ใ‚‚ใ€ใฟใ‚“ใชๅ…ฑ้€šใฎๆ‚ฒๅŠ‡็š„ใช้ญ…ๅŠ›ใ‚’ๆŒใฃใฆใพใ™ใ‹ใ‚‰ใญใ€‚ใใ†ใใ†ใ€ใ“ใ“ใง่ชญ่€…ใฎ่ณชๅ•ใ‚’ใกใ‚‡ใฃใจโ€ฆโ€ฆใ€‚โ€œใƒใ‚ชใƒผโ€ใ‚’ใจใ˜ใ“ใ‚ใŸๆ™‚ใซใ€ใƒใƒšใƒณใƒ†ใ‚นๆถฒใชใ‚“ใฆๅ…ฅใ‚Œใšใซๆฐดใ‚’ๅ…ฅใ‚Œใฆใ—ใพใˆใฐใ€ใƒใ‚ชใƒผใฏ็œ ใฃใฆใ—ใพใฃใŸใ‚“ใ˜ใ‚ƒใชใ„ใ‚“ใงใ™ใ‹๏ผŸใ€€ใจใ„ใ†ใ‚“ใงใ™ใŒโ€ฆโ€ฆใ€‚

่’ใ€Œใใ‚Œใฏใ€ใ‚ขใ‚ทใ‚นใ‚ฟใƒณใƒˆใ‹ใ‚‰ใ‚‚ๆŒ‡ๆ‘˜ใŒใ‚ใ‚Šใพใ—ใŸใ€‚(็ฌ‘)ใใ‚Œใฏใญใ€ๆฐดใ‚’ๅ…ฅใ‚Œใฆใ„ใ‚‹้–“ใซใ€ใƒใ‚ชใƒผใ ใจๆ‰‰ใ‚’ใจใ‹ใ—ใฆ่„ฑๅ‡บใ—ใกใ‚ƒใ†ใ‚ใ‘๏ผใ€




ใตใ€Œ็”Ÿ็‰ฉใจใ‹ใฏใŠๅฅฝใใ ใฃใŸใ‚“ใงใ™ใ‹๏ผŸๅพ—ๆ„็ง‘็›ฎใ ใฃใŸใจใ‹โ€ฆโ€ฆใ€


ใ‚จใ€Œใ˜ใ‚ƒใ‚่‹ฑ่ชžใ‚‚๏ผŸใ€€ใ‚ใ‚Œใ ใ‘ใ„ใ‚ใ‚“ใชใ“ใจใฐใŒๅ‡บใฆใใ‚‹ใ‹ใ‚‰โ€ฆโ€ฆใ€

่’ใ€Œ่‹ฑ่ชžใฏโ€”โ€”(็ฌ‘)ใ€ใ‚ใ‚Œใฏไธๅพ—ๆ„ใ ใ‹ใ‚‰ใ€ใ‚ใ–ใจใ‚€ใšใ‹ใ—ใใ—ใฆใ‚‹ใ€





โ€”โ€”ใใ†ใ„ใˆใฐใ€ๅŒใ˜ๅฎฎๅŸŽใฎๅญฆๆ กใฎๅพŒ่ผฉใฎไบบใ‹ใ‚‰ใ‚‚ใƒใ‚ฌใ‚ญๆฅใฆใพใ—ใŸใ‚ˆใ€‚





่’ใ€Œใƒ‡ใ‚ถใ‚คใƒณๅญฆๆ กๅ…ฅใฃใฆใ‹ใ‚‰ใ‹ใชใ‚ใ€‚้ซ˜ๆ กๅ’ๆฅญใ—ใฆใ‹ใ‚‰ใƒ‡ใ‚ถใ‚คใƒณๅญฆๆ กๅ…ฅใฃใฆใ€่ทใŒใชใ„ใ‚“ใงใ€ใˆใ‚‰ใ„ใจใ“ใซๅ…ฅใฃใŸใ€œใฃใจๆ€ใฃใฆใ€ใƒžใƒณใ‚ฌๅฎถใซใชใ‚ใ†ใจๆ€ใฃใฆๆŒใกใ“ใฟใ‚’ใ‚„ใฃใŸโ€ฆโ€ฆใ€






ๅฐใ€Œใงใ‚‚ใƒ›ใƒณใƒˆใซๆ€ใฃใŸใ‚ใ€็งใ€‚ใฉใ†ใ—ใฆใ“ใ‚“ใชใŠๅŠใฃใกใ‚ƒใพใฟใŸใ„ใชไบบใŒใƒžใƒณใ‚ฌๅฎถใซใชใฃใŸใ‚“ใ ใ‚ใ†ใฃใฆ(็ฌ‘)ใ€



โ€”โ€”ใใ†ใใ†ใ€่’ๆœจๅ…ˆ็”Ÿใฏใ€ใƒใƒฌใƒณใ‚ฟใ‚คใƒณใฎใƒใƒงใ‚ณใ‚’ใ€ๅคงใใช็ฎฑใซ2ใคใ ใ‹3ใคใ ใ‹ใ€ใƒ•ใ‚กใƒณใ‹ใ‚‰ใ‚‚ใ‚‰ใ†ใใ†ใงใ™ใ‚ˆใ€‚

















โ€”โ€”ใ‚คใƒกใƒผใ‚ธใƒปใƒฌใ‚ณใƒผใƒ‰ใฎ่ฉฑใฏใ‚ใฃใŸใ‚“ใ ใ‘ใฉใ€ใ“ใ‚Œใฏๆตใ‚Œใกใ‚ƒใ„ใพใ—ใŸใ€‚








ๅฐใ€Œใใ†ใ—ใŸใ‚‰ๅ…ˆ็”ŸใŒไธปๅฝนใ ๏ผใ€


่’ใ€Œใ‚„ใ ใ‚ˆ(็ฌ‘)ใ€


ใตใ€Œใƒใƒผใ‚บใฏใ€ใปใ‚‰JACใจใ‹ใ‚นใ‚ฟใƒณใƒˆใฎไบบใซใ‚„ใ‚‰ใ›ใฆใ€่‚ฒๆœ—ใฎๆ™‚ใ ใ‘ใ€






โ€”โ€”ใใ‚Œใฏๆใ„ใ€‚ใ‚ˆใใ‚ขใƒกใƒชใ‚ซใจใ‹ใฎๆ˜ ็”ปใงๅค‰ใชๆ—ฅๆœฌ่ชžใŒไฝฟใ‚ใ‚Œใ‚‹ใฎใจใ„ใฃใ—ใ‚‡ใงใ™ใญใ€‚

่’ใ€Œใƒใ‚ชใƒผใจใ‹ใƒ“ใƒผใƒ†ใ‚ฃใƒผใฃใฆใฎใ‚‚้€ ใฃใŸใ“ใจใฐใงใ™ใญใ€‚ใฉใƒผใ‚†ใƒผๅๅ‰ใซใ—ใ‚ˆใ†ใ‹ใจๆ€ใฃใฆโ€ฆโ€ฆ็™บ้Ÿณใงๆฑบใ‚ใ‚‹ใ‚“ใงใ™ใญใ€


่’ใ€Œใœใ‚“ใœใ‚“ใชใ„ใ€‚ใƒ†ใ‚ฃใƒผใฃใฆใฎใŒใ„ใ„้Ÿฟใใ™ใ‚‹ใชใ‚ใจๆ€ใฃใฆใ€้ ญๆ–‡ๅญ—ใงใ„ใ“ใ†ใจๆ€ใฃใฆโ€”โ€”ATใ€BTใ€ใ‚ใฃใ€ใƒ“ใƒผใƒ†ใ‚ฃใƒผใงใ„ใ“ใ†ใจใ€


Taro-kun Volume 5.jpg


Famicom Jump Hero Retsuden's Strategy Guide.jpg
Published April 1989
๐Ÿ‘ค Hirohiko Araki
Video Game

King Komaru: Well, it's King Komaru again. Making an appearance next is Hirohiko Araki-sensei, a connoisseur of little-known games.

Araki: When you say that, I don't mean games for the Famicon.

King Komaru: Oh, you meant stuff like playing cards and boards games!?

Araki: Yes!! I like games that use cards, like poker for example. I also love games like Backgammon and Monopoly!

King Komaru: Hardly an elegant pastime, I think. What kind of things fascinate 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, the difference in opponent can cause an entirely new set of developments within the game.

King Komaru: Uh-huh. Of course it doesn't matter who you play with on a Famicom because the opponent is always a computer.

Araki: Sorry, but I've hardly played with 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 be interested!!

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

Araki: Hahahaha!! That's not the case at all. My motto is "Don't think about your worries. Live your life freely!!" So, if I like the Famicom, I should play it!! If I think it's a waste of time, I don't have to play it!!

King Komaru: 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 serialization. Without forgetting what it was like to be a newcomer mangaka, I'll press on!!

[Translated by Eas]

ใ‚ณใ€€ใฏใ„ใ€‚ใพใŸใพใŸใ‚ณใƒžใƒซๅคง็Ž‹ใงใ™ใ€‚ใคใŽใซ็™ปๅ ดใฎ่’ๆœจ้ฃ›ๅ‘‚ๅฝฆๅ…ˆ็”Ÿใฏใ€็Ÿฅใ‚‹ไบบใž็Ÿฅใ‚‹ใ‚ฒใƒผใƒ ้€šใ€‚


ใ‚ณใ€€ใƒˆใƒฉใƒณใƒ—ใจใ‹ใƒœใƒผใƒ‰ใ‚ฒใƒผใƒ ใงใ™ใ‹!?

่’ใ€€ใใ†!!ใ€€ใ‚ซใƒผใƒ‰ใ‚’ไฝฟใฃใŸใ‚ฒใƒผใƒ ใ€ใŸใจใˆใฐใƒใƒผใ‚ซใƒผใชใ‚“ใ‹ๅฅฝใใ ใญใ€‚ใใ‚Œใซใƒใƒƒใ‚ฏใ‚ฎใƒฃใƒขใƒณใ‚„ใƒขใƒŽใƒใƒชใƒผใ‚‚ๅคงๅฅฝใใ ใ‚ˆ!!

ใ‚ณใ€€ใชใ‹ใชใ‹ใ—ใถใ„่ถฃๅ‘ณใ ใจๆ€ใ„ใพใ™ใ€‚ใ‚ซใƒผใƒ‰ใ‚ฒใƒผใƒ ใฏใฉใ‚“ใชใจใ“ใ‚ใŒ้ญ…ๅŠ›ใชใ‚“ใงใ™ใ‹!?

่’ใ€€ใใ‚Œใฏใ‚‚ใ†ใ€็›ธๆ‰‹ใŒไบบ้–“ใงใ‚ใ‚‹ใจใ„ใ†ใจใ“ใ‚ใ ใญใ€‚ใ‚ฒใƒผใƒ ใใฎใ‚‚ใฎใฎ้ข็™ฝใ•ใ‚ˆใ‚Šใ‚‚ใ€ๅฏพๆˆฆใ™ใ‚‹็›ธๆ‰‹ใจใฎ้ง†ใ‘ๅผ•ใใŒ้ข็™ฝใ„ใ‚“ใ ใ€‚ๅŒใ˜ใ‚ฒใƒผใƒ ใงใ‚‚็›ธๆ‰‹ใซใ‚ˆใฃใฆๅ…จ็„ถใกใŒใ†ใ‚ฒใƒผใƒ ๅฑ•้–‹ใซใชใ‚‹ใ—ใญใ€‚


่’ใ€€ใ‚ใ„ใซใใƒœใ‚ฏใฏใƒ•ใ‚กใƒŸใ‚ณใƒณใฃใฆใ€ใปใจใ‚“ใฉใ‚„ใฃใŸใ“ใจใŒใชใ„ใ‚“ใ ใ€‚ใงใ‚‚ๅ‹ใ ใกใฉใ†ใ—ใงๆˆฆใ†ใ‚ฒใƒผใƒ ใชใ‚“ใ‹ใ‚‚ใ‚ใ‚‹ใ‚‰ใ—ใ„ใญใ€‚ๅฏพไบบ้–“ใงใ€ใงใใ‚‹ใ‚ฒใƒผใƒ ใชใ‚‰ใฐใ€ใƒœใ‚ฏใ‚‚่ˆˆๅ‘ณใฏใ‚ใ‚‹ใ‚ˆ!!


่’ใ€€ใƒใƒใƒใƒใƒƒ!!ใใ‚“ใชใ“ใจใฏใชใ„ใ‚ˆใ€‚ใƒœใ‚ฏใฎใƒขใƒƒใƒˆใƒผใฏใ€Œใ‚ฏใƒจใ‚ฏใƒจ่€ƒใˆใชใ„ใ€‚่‡ช็”ฑใซ็”Ÿใใ‚ˆใ†!!ใ€ใ ใ‹ใ‚‰ใญใ€‚ใƒ•ใ‚กใƒŸใ‚ณใƒณใ ใฃใฆ่‡ชๅˆ†ใŒๅฅฝใใชใ‚‰ใ€ใ‚„ใ‚Œใฐใ„ใ„!!ๆ™‚้–“ใฎ็„ก้ง„ใ ใจๆ€ใˆใฐใ€ใ‚„ใ‚ใ‚Œใฐใ„ใ„ใฎใ•!!


่’ใ€€ใ€Žใ‚ธใƒงใ‚ธใƒงใ€ใฎ้€ฃ่ผ‰ใŒๅง‹ใพใฃใฆใ€ใฏใ‚„2ๅนดใ€‚ใ ใ‘ใฉๆ–ฐไบบใฎใจใใฎๆฐ—ๆŒใกใ‚’ๅฟ˜ใ‚ŒใšใซใŒใ‚“ใฐใ‚Šใพใ™ใฃ!!
Baoh Pamphlet-1.png
Missing interview
Published 1989
๐Ÿ‘ค Hirohiko Araki



I know nothing about China

Araki: This is kind of embarrassing, but the only book of yours I have read is Bokkou. But, you know, it still made me feel we have a few things in common. There tends to be some sort of disconnect between the beginning and the ending when writers simply write guided by their feelings, but everything about your writing advances logically. Iโ€™m thinking weโ€™re alike here.

Sakemi: I donโ€™t actually follow a logical thread, but since I write about various historical events, itโ€™s only natural for my writings to move along in a logical manner. Truth be told, I donโ€™t actually have an elaborate plan.

Araki: So you have been researching China for a while?

Sakemi: Well, no, I actually donโ€™t know anything about China. Iโ€™m making it up as Iโ€™m writing, so itโ€™s a little embarrassing.

Araki: I see. There are a lot of manga artists who do this too, you know. A lot of lies written about kenpou, for example.

Sakemi: But itโ€™s still a little scary to write something you have no idea about. If someone in the know or someone whoโ€™s worked in China told me my stuff is wrong, Iโ€™d be done for. It hasnโ€™t happened so far, but I feel like it might happen in the future.

Araki: Although you could say that it is fictional history in a way.

Sakemi: Everything I write is made up by me. Still, I donโ€™t invent weapons and donโ€™t randomly destroy existing countries either. I have my limits.

Araki: Still, when historical figures do show up, you already know when theyโ€™re going to die. You need to have them die as they should.

Sakemi: Itโ€™s all right, Bokkou barely features historical figures.

Araki: Oh, I see. As soon as I saw kanji I totally thought they were real people.

Sakemi: Basically itโ€™s like this: imagine someone makes a movie, finds a wasteland and places their sets there. Thatโ€™s what itโ€™s like. The fortress is also something I made up myself.

Araki: I have seen it serialised in Big Comic. Do you think the art style suits the story?

Sakemi: Itโ€™s more like, I had no idea what the clothing of the time was like, so now that Iโ€™ve seen it, I felt like I learnt something new.

Araki: Interesting (laughs)

Sakemi: We do know what kind of clothes nobles used to wear, since we have illustrations, but we have no idea what common people wore or what they ate. There are no castle walls left either, so I stumbled onto a lot of problems.

Araki: Not even ancient ruins?

Sakemi: There are a lot, but itโ€™s kind of difficult to find something from 2500 years ago. Those in Egypt or Greece were preserved because they were built from stone, but in Chinaโ€™s case, they were easily destroyed because they were apparently made of hardened clay. This is why you can say my novel lies in this matter.

Araki: I didnโ€™t think for a moment it was a lie.

Sakemi: Thatโ€™s why Iโ€™d really, really hate for a China expert to read it. I also write science fiction, so itโ€™s not like I only focus on China.

Betraying reader expectations in an interesting way

Sakemi: I noticed Jojoโ€™s Bizarre Adventure features combat sport. Do you practice it?

Araki: I never have. I have done some kendou though.

Sakemi: Have you seen it live perhaps?

Araki: I havenโ€™t, but I do watch it on TV. I donโ€™t really feel like drawing combat sport. I believe we are similar in this respect โ€” tactics and strategy are more interesting. Thatโ€™s why, to be completely honest, I hate pro wrestling and anything of the sort.

Sakemi: Pro wrestling actually has a very similar concept: you have to draw out enough of your opponentโ€™s strength and then finish them off. Basically, if an unknown fighter attacks you, you canโ€™t defeat them unless you bring out their special technique. You should defeat a wrestler after you have witnessed their strength several times. I think itโ€™s the same in manga. To put it clearly, itโ€™s better to kill a dangerous guy immediately, but once you have witnessed how threatening the enemy is, you turn the tables in one move. This is a must.

Araki: One-shot kills definitely wouldnโ€™t fit among Jumpโ€™s traditional long battles (laughs)

Sakemi: This would have been a problem for UWF during Maeda Akiraโ€™s time. You can actually defeat a weak guy in about one minute. But defeating him after he has displayed his technique is much better. Unfortunately, this kind of thing is called match fixing nowadays.

Araki: Thereโ€™s a 50-50 in this case.

Sakemi: Thatโ€™s exactly it. A while ago, during a boxing match between Trevor Berbick and UWF international Takada Nobuhiko, instead of letting Berbick show off his crazy punches and then defeat him, Takada just started kicking him all of a sudden and Berbick ran away.

Araki: Thatโ€™s also a fighting style.

Sakemi: Berbickโ€™s punch is over 300 kgs heavy, so receiving one of those would have been the end. He kept kicking before that. Itโ€™s correct in fighting, but wrong in pro wrestling. It was important to show how dangerous Berbick was, stagger on his feet, then turn the tables. Thatโ€™s why โ€œCementโ€ are mostly boring.

Araki: What are โ€œCementโ€?

Sakemi: Games played in earnest. Iโ€™d say itโ€™s not that good when it comes to pro wrestling and I think we can say the same thing about manga. Even in Jojoโ€™s Bizarre Adventure losing a battle to win the war happens quite often. There are all kinds of enemies, like the guy who can only move through mirrors or the stand that attacks in dreams, so itโ€™s fun to see every week how theyโ€™re going to be defeated.

Araki: Before I start drawing, I usually have a broad idea about the direction of the fight, but I may change my mind halfway through.

Sakemi: I can usually tell whatโ€™s going to happen in a manga, but not in your case, like how an enemy is going to be defeated and so on.

Araki: Some people hate that.

Sakemi: No, itโ€™s great. You betray the readersโ€™ imagination and expectations, and in an interesting way on top of that.

Araki: That is why โ€œBokkouโ€ impressed me.

Sakemi: Thatโ€™s because my characters get defeated after their strength is revealed.

Excitement, every single week

Araki: I said earlier that we have something in common. That something is โ€œpsychological battlesโ€. Itโ€™s interesting to see this in all your novels. Weโ€™re kind of similar here.

Sakemi: I know you since you received the Tezuka Prize for Poker Under Arms; it really showed off your talents and style. Those poker tricks made me think you like gambling. Am I right?

Araki: Yes, well, I usually do it. I win most of the time. Iโ€™m the kind of man who stops while heโ€™s still winning.

Sakemi: Did you also gamble abroad?

Araki: I did. There was this Grand Casino in Egypt, so I went there alone.

Sakemi: How did it go?

Araki: I won. I got all my souvenir money back through gambling.

Sakemi: Was it card games?

Araki: Exactly. I had to move pretty fast.

Sakemi: As I thought, youโ€™d rather have a human for a partner than a machine, even in gambling.

Araki: Thatโ€™s right. Even when it comes to roulette, a professional dealer, will definitely have the skill to enter your favoured number. When your partner is a pro, it feels like they can see behind your every move, several moves ahead. Itโ€™s a great psychological battle.

Sakemi: And yet you canโ€™t really win.

Araki: You canโ€™t stop as long as itโ€™s profitable. You keep thinking youโ€™re going to play just a bit more. I, for one, stop playing after I win, since the fun of gambling are tactics anyway. I think these psychological battles are also one of the fun points of my manga.

Sakemi: This is why I find your fights between strong characters really interesting. Itโ€™s rather impossible for an amateur to capture those psychological battles in games like shougi or go, even when people wave their fans or make a good move. On the other hand, the fights between powerful people in sumou, for example, are easy to follow. That is why itโ€™s popular.

Araki: What about pro wrestling?

Sakemi: Well, organisations have their own rules and plans, so there wonโ€™t be matches between the strongest people, but the psychological part is insane.

Araki: Pro wrestling is quite profound, huh.

Sakemi: Itโ€™s too profound, really, I actually feel sorry for the people who talk about match fixing or clean matches. I think, for example, there are โ€œfixedโ€ manga and โ€œcleanโ€ manga too. Same with novels.

Araki: I agree.

Sakemi: Attacking after you draw out your opponentโ€™s power to the utmost, since you do have to show it off, like in your manga: you have the enemy display their power, like in pro wrestling, meaning more suspense for the readers, then have them punctually defeated. You arenโ€™t afraid of showing all your ideas.

Araki: There are also times when I test myself. I donโ€™t know how to defeat the enemy, so I momentarily make them strong and drive the characters into a corner.

Sakemi: I donโ€™t do that too often, since I end up not knowing how to save my characters. I just canโ€™t have them fight in situations that end up too disadvantageous. In that respect, you have the enemies defeated right on time. Itโ€™s a good thing. You donโ€™t mind showing your ideas one after another. Jojoโ€™s Bizarre Adventure has had dozens of defeated enemies, but it was great every single time.

Araki: I had to come up with about thirty different stands, since you need to make every new weekly chapter fun and exciting. The story will obviously have its ups and downs, but it will stop being enjoyable if it keeps having downs, even if theyโ€™re necessary for the story itself.

Sakemi: This is why the way you construct your ideas is great; โ€œhamonโ€ is one of them.

Araki: I came up with it while thinking about ways to reach your body limits, like to what extent you can transform. Thereโ€™s been scientific research conducted about this โ€œairโ€ people have, this aura that would show up if scanned with infrared. There are also other strange ideas, like energy coming from the universe and so on. I figured all these have one thing in common and came up with the concept named โ€œkiโ€, or more like โ€œhamonโ€, to make it easy to understand for the readers.

Sakemi: Is it the same for stands?

Araki: Letโ€™s say theyโ€™re more similar to guardian spirits. Anyway, I named them โ€œstandsโ€ because they stand by your (bed)side. I ran out of ideas soon though.

Sakemi: No, no, itโ€™s better than putting them off.

Araki: You wouldnโ€™t be able to survive in Jump if you did that. You must have highlight scenes every week, since everyone only knows about whatโ€™s coming next the following week.

Sakemi: Itโ€™s also because manga requires a degree of perfection more than novels, right?

Araki: Well yes, Iโ€™d say you need constant excitement every single week.

Itโ€™s easy to simply focus on the story

Sakemi: The good thing about manga is that developing characters is the most important part. They gradually grow when you give them new skills, new particularities and so on.

Araki: Yes, definitely. If you donโ€™t build up your characters, the manga will not be able to stand by itself either. I rack my brain every week to find something that appeals to the readers. The biggest problem is coming up with stories that highlight the charactersโ€™ best parts.

Sakemi: Novels are different. Itโ€™s more about writing people than characters.

Araki: Isnโ€™t this the same thing?

Sakemi: Itโ€™s not. You basically canโ€™t write over-the-top people when youโ€™re told to write people. I think thatโ€™s stupid, but apparently this is how things work in the novel industry. It doesnโ€™t matter anymore when it comes to my generation, and to put it bluntly, I think youโ€™re better at this.

Araki: Is this how it really works? What I can say is that in the manga industry you need more than just a coherent story. Itโ€™s easy to simply focus on the story, but itโ€™s difficult to include certain episodes necessary for the characters and make the story coherent too. My head just goes numb after I send my weekly chapters.

Sakemi: When it comes to novels, there are writers who donโ€™t really want to use all their ideas, and the stinggier ones even consider putting them aside for other short stories. Iโ€™m the type who writes everything I have in mind, so my mind goes back to zero when Iโ€™m done writing. I have to wait for new ideas to pop up. But thatโ€™s just the way it is. Basically, itโ€™s natural for professionals to use one idea in one short story in mystery novels; there are a lot of calculated people. I think that if you have three ideas, then you should just use all three. That is why Iโ€™m still soft.

Araki: I am the same. Still soft.

Sakemi: Iโ€™ve only been around for about two years. Iโ€™m still inexperienced.

Araki: I think youโ€™re great. Bokkou was the first novel I truly found interesting in quite a while. I think you have a distinct image of your novels in your head that might be suited for manga or movies too.

Sakemi: Iโ€™ve been told they are easy to turn into drawings. But youโ€™d need a budget the like The Silk Roadโ€™s for a good movie.

Araki: If Bokkou were turned into a movie, I have a feeling it would rival Seven Samurai.

Sakemi: It never even crossed my mind, but I have been told this quite a lot.

Araki: It feels rather daring and impressive. I wish Kurosawa Akira at the height of his career directed it.

Sakemi: Iโ€™m not sure Kurosawa Akira would like to repeat himself. He wouldnโ€™t do the same movie twice and thatโ€™s something I love about him. Heโ€™s an amazing person, wanting to do new things at his age.

Araki: There really hasnโ€™t been another auteur to follow in his steps in the Japanese film industry.

Sakemi: Movies have been really boring lately. However, Kurosawa Akira not only understands the true meaning of entertainment, but he has also used strange experimental techniques. Doing only experimental things from a young age and being known as a rather strange fellow is not particularly pleasant. (laughs)

Araki: Yes, itโ€™s about doing strange things besides having a grasp of true entertainment.


[Translated by Dijeh][2]


่’ๆœจ้ฃ›ๅ‘‚ๅฝฆvs.้…’่ฆ‹่ณขไธ€ ๆผซ็”ปใ‚‚ๅฐ่ชฌใ‚‚ใƒ—ใƒญใƒฌใ‚นๆตใซๆใ“ใ†ใ˜ใ‚ƒใชใ„ใ‹

ใ€ŒๅพŒๅฎฎๅฐ่ชฌใ€ใ€Œๅขจๆ”ปใ€็ญ‰ใ€ๆ–ฐ้ฎฎใชๆฏๅนใ‚ใตใ‚Œใ‚‹ไฝœๅ“ใ‚’ๆฌกใ€…ใซ็™บ่กจใ™ใ‚‹้…’่ฆ‹ๆฐใจใ€ ใ€Ž้€ฑๅˆŠๅฐ‘ๅนดใ‚ธใƒฃใƒณใƒ—ใ€่ชŒใซใ€Œใ‚ธใƒงใ‚ธใƒงใฎๅฅ‡ๅฆ™ใชๅ†’้™บใ€ใ‚’้€ฃ่ผ‰ไธญใฎ่’ๆœจๆฐใ€ ๅฐ่ชฌ็•Œใจๆผซ็”ป็•Œใฎๆฐ—้‹ญใŒ (็‰ฉ่ชž) ใฎ้ญ…ๅŠ›ใ‚’็†ฑ่ซ–ใ€‚ ใตใŸใ‚Šใซ็›ธ้€šใšใ‚‹ใ‚ณใ‚ณใƒญใฏใƒปใƒปใƒปใƒปใƒปใƒปๅธธใซๅ…จๅŠ›ๆŠ•็ƒ๏ผ



้…’่ฆ‹ใ€€่ซ–็†็š„ใซๆ›ธใ„ใฆใ‚‹ใคใ‚‚ใ‚Šใฏใชใ„ใงใ™ใ‘ใฉใ€ใ„ใ‚ใ‚†ใ‚‹ๆญดๅฒใซใคใ„ใฆๆ›ธใใ‚ใ‘ใ ใ‹ใ‚‰ใ€่ณ‡ๆ–™ใฏใกใ‚ƒใ‚“ใจ้›†ใ‚ใชใใ‚ƒใ„ใ‘ใชใ„ใจใ„ใ†ใ“ใจใงใ€‚ใงใ‚‚ใ€็ทปๅฏ†ใช่จˆ็ฎ—ใชใ‚“ใฆใชใ„ใ‚“ใงใ™ใ‚ˆใ€ๅฎŸใฏใ€‚




้…’่ฆ‹ใ€€ใงใ‚‚ใ€็Ÿฅใ‚‰ใชใ„ใฎใซๆ›ธใใจใ„ใ†ใฎใฏใกใ‚‡ใฃใจๆ€–ใ„ใงใ™ใญใ€‚่ญ˜่€…ใฎๆŒ‡ๆ‘˜ใจใ‹ใ€ไธญๅ›ฝใซไธ€ๅนดใชใ‚Šไฝใ‚“ใ ไผš็คพๅ“กใจใ‹ใซใ€ใ“ใ‚“ใชใ“ใจใชใ„ใ‚ˆใจใ‹่จ€ใ‚ใ‚ŒใŸใ‚‰ใ€ใ‚‚ใ†ใใ‚Œใงใ‚ขใ‚ฆใƒˆใ˜ใ‚ƒใชใ„ใงใ™ใ‹ใ€‚ไปŠใฎใจใ“ใ‚ใฏใชใ„ใงใ™ใ‘ใฉใ€ไปŠๅพŒใ€ใ‚ใ‚Šใใ†ใงใ™ใญใ€‚

่’ๆœจใ€€ใจใ„ใฃใฆใ‚‚ใ€ใ‚ใ‚‹็จ‹ๅบฆใฏๅ‰ตไฝœใ™ใ‚‹ๆญดๅฒใฟใŸใ„ใชใ‚‚ใฎใ‚‚ใ‚ใ‚‹ใ‚ใ‘ใ ใ‹ใ‚‰ใ€‚

้…’่ฆ‹ใ€€ๅƒ•ใฏใฟใ‚“ใชใคใใ‚Š็‰ฉใงใ™ใ‚ˆใ€‚ใ ใ‘ใฉใ€ๅ…จ็„ถๅญ˜ๅœจใ—ใชใ„ใ‚ˆใ†ใชๆญฆๅ™จใ‚’ๆ›ธใ„ใŸใ‚Šใ—ใฆใฏใ„ใ‘ใชใ„ใ—ใ€ๅฎŸๅœจใฎๅ›ฝใ‚’ๅ‹ๆ‰‹ใซๆป…ใผใ—ใฆใ‚‚ใ‚ˆใใชใ„ใ—ใ€‚ใใฎ็จ‹ๅบฆใฎๅˆถ็ด„ใŒใ‚ใ‚‹ใ ใ‘ใงใ™ใ‚ˆใ€‚

่’ๆœจใ€€ใงใ‚‚ใ€ๆญดๅฒไธŠใฎไบบ็‰ฉใ‚’ๅ‡บใ™ใจใใฏใ€ใ‚‚ใ†ใ„ใคๆญปใ‚“ใ ใฎใ‹ใ‚ใ‹ใฃใฆใ„ใพใ™ใ‚ˆใญใ€‚ใใ†ใ„ใ†ๅ ดๅˆใฏใ€ใกใ‚ƒใ‚“ใจใใ“ใงๆญปใชใชใใ‚ƒใ„ใ‘ใชใ„ใ€‚



้…’่ฆ‹ใ€€่ฆใ™ใ‚‹ใซใ€ๆ˜ ็”ปใ‚’ใคใใ‚‹ใจใใซ่’ใ‚Œๅœฐใ‚’่ฆ‹ใคใ‘ใฆใ€ใใ“ใซใ‚ปใƒƒใƒˆใ‚’ใคใใฃใฆใจใ„ใ†ๆ„Ÿใ˜ใชใ‚“ใงใ™ใ€‚ๅŸŽใ‚‚่‡ชๅˆ†ใง่€ƒใˆใฆใคใใฃใŸใ‚‚ใฎใงใ™ใ—ใ€‚ ่’ๆœจใ€€ใƒ“ใƒƒใ‚ฐใ‚ณใƒŸใƒƒใ‚ฏใงๆผซ็”ปใซใชใฃใฆใ„ใพใ™ใ‘ใฉใ€ใ‚ใ‚Œใฏ้…’่ฆ‹ใ•ใ‚“ใฎๆƒณๅƒ้€šใ‚Šใฎ็ตตใซใชใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ‹ใ€‚

้…’่ฆ‹ใ€€ใจใ„ใ†ใ‚ˆใ‚Šใ€ๅƒ•ใฏใ‚ใฎ้ ƒใฎๆœ่ฃ…ใ‚‚ๅ…จ็„ถ็Ÿฅใ‚‰ใชใ„ใ‹ใ‚‰ใ€ใ‚ใ‚ใ€ใ“ใ‚“ใชๆœ็€ใฆใ„ใ‚‹ใฎใ‹ใจใ‹ใญใ€‚


้…’่ฆ‹ใ€€่ฒดๆ—ใฎๆœใชใ‚“ใ‹ใฏใ‚ใ‹ใ‚‹ใ‚“ใงใ™ใญใ€ใกใ‚ƒใ‚“ใจ็ตตใŒๆฎ‹ใฃใฆใ„ใ‚‹ใ‹ใ‚‰ใ€‚ใงใ‚‚ใ€ๅบถๆฐ‘ใŒใฉใ‚“ใชๆœใ‚’็€ใฆใ„ใŸใจใ‹ใ€ไฝ•ใ‚’้ฃŸในใฆใ„ใŸใ‹ใชใ‚“ใฆใ„ใ†ใฎใฏใ€ๅ…จ็„ถใ‚ใ‹ใ‚‰ใชใ„ใ‚ใ‘ใงใ™ใ‚ˆใ€‚ๅŸŽใซใ—ใฆใ‚‚ใ€ใ‚ใฎ้ ƒใฎๅŸŽๅฃใฏๆฎ‹ใฃใฆใ„ใชใ„ใงใ™ใ‹ใ‚‰ใ€้›ฃใ—ใ„ๅ•้กŒใ‚’ใ„ใฃใฑใ„ใฏใ‚‰ใ‚“ใงใ„ใ‚‹ใ‚“ใงใ—ใ‚‡ใ†ใญใ€‚


้…’่ฆ‹ใ€€ใ„ใฃใฑใ„ใ‚ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€ใ•ใ™ใŒใซใƒ‹ไบ”ใ€‡ใ€‡ๅนดๅ‰ใจใชใ‚‹ใจใกใ‚‡ใฃใจ้›ฃใ—ใ„ใ€‚ใ‚จใ‚ธใƒ—ใƒˆใจใ‹ใ‚ฎใƒชใ‚ทใƒฃใฏ็Ÿณใงใคใใฃใฆใ‚ใ‚‹ใ‹ใ‚‰ใกใ‚ƒใ‚“ใจๆฎ‹ใฃใฆใ„ใ‚‹ใ‘ใฉใ€ไธญๅ›ฝใฎใฏๅฉใ‘ใฐๅฃŠใ‚Œใ‚‹ใ‚“ใงใ™ใญใ€‚ใ‚ใ‚Œใ€ๅœŸใ‚’ๅ›บใ‚ใฆใคใใฃใฆใ„ใ‚‹ใ‚‰ใ—ใ„ใ‹ใ‚‰ใ€‚ใ ใ‹ใ‚‰ใ€ใใ†ใ„ใ†ๆ„ๅ‘ณใงใ€ๆœฌๅฝ“ใฏใ‚ใฎๅฐ่ชฌใฏใ†ใใŒๆ›ธใ„ใฆใ‚ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€‚

่’ๆœจใ€€ใงใ‚‚ใ€ๅ…จ็„ถใ†ใใ ใจๆ€ใ‚ใชใ‹ใฃใŸใชใ€‚

้…’่ฆ‹ใ€€ใ ใ‹ใ‚‰ใ€ใฉใ†ใ‚‚ไธญๅ›ฝ็‰ฉใฎใ‚จใ‚ญใ‚นใƒ‘ใƒผๅœใ ใจ่ฆ‹ใ‚‰ใ‚Œใฆใ—ใพใ„ใŒใกใงใ€‚ๅƒ•ใฏๅซŒใ ๅซŒใ ใจ่จ€ใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€‚๏ผณ๏ผฆใ‚‚ๆ›ธใ„ใฆใ„ใพใ™ใ—ใ€ๅˆฅใซไธญๅ›ฝ็‰ฉใซใ“ใ ใ‚ใฃใฆๆ›ธใ„ใฆใ„ใ‚‹ใ‚ใ‘ใ˜ใ‚ƒใชใ„ใ‚“ใงใ™ใ‚ˆใ€‚


้…’่ฆ‹ใ€€ใ‚ธใƒฃใƒณใƒ—ใง้€ฃ่ผ‰ใ—ใฆใ„ใ‚‹ใ€Žใ‚ธใƒงใ‚ธใƒงใฎๅฅ‡ๅฆ™ใชๅ†’้™บใ€ใงใ‚‚ๆ ผ้—˜ๆŠ€ใŒๅ‡บใฆใใพใ™ใญใ€‚่’ๆœจใ•ใ‚“่‡ช่บซใ€ๆ ผ้—˜ๆŠ€ใฏใ‘ใฃใ“ใ†ใ‚„ใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ‹ใ€‚



่’ๆœจใ€€ใชใ„ใงใ™ใญใ€‚ใƒ†ใƒฌใƒ“ใงใ‚„ใฃใฆใ„ใ‚‹็จ‹ๅบฆใชใ‚‰่ฆ‹ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€‚ใใ‚Œใซใ€ๆ ผ้—˜ๆŠ€ใ‚’ๆ›ธใ„ใฆใ„ใ‚‹ใจใ„ใ†ๆ„Ÿใ˜ใฏใ‚ใพใ‚Šใชใ„ใ‚“ใงใ™ใ€‚้…’่ฆ‹ใ•ใ‚“ใ‚‚ใใ†ใ ใจๆ€ใ„ใพใ™ใŒใ€ไบบ้–“ใฎ้ง†ใ‘ๅผ•ใใจใ„ใ†ใ‚“ใงใ™ใ‹ใ€ใใฎ่พบใŒใŠใ‚‚ใ—ใ‚ใ„ใ‚ใ‘ใงใ€‚ใ ใ‹ใ‚‰ใ€ใƒ—ใƒญใƒฌใ‚นใจใ‹ใ€ใฏใฃใใ‚Š่จ€ใฃใฆๅซŒใ„ใงใ™ใญใ€‚

้…’่ฆ‹ใ€€่’ๆœจใ•ใ‚“ใฏใใ†ใŠใฃใ—ใ‚ƒใ‚‹ใ‘ใฉใ€ๅฎŸใฏใ€ใƒ—ใƒญใƒฌใ‚นใ‚‚ๅŒใ˜ใชใ‚“ใงใ™ใญใ€‚ใƒ—ใƒญใƒฌใ‚นใ ใจ็›ธๆ‰‹ใฎๅค–ไบบใชใ‚Šใชใ‚“ใชใ‚ŠใฎๅŠ›ใ‚’ใ€ๅๅˆ†ๅผ•ใๅ‡บใ—ใฆใ‹ใ‚‰ใ‚„ใฃใคใ‘ใชใใ‚ƒใ„ใ‘ใชใ„ใจใ„ใ†ใฎใŒใ‚ใ‚‹ใ‚ใ‘ใงใ™ใ‚ˆใ€‚ใ‚ˆใ†ใ™ใ‚‹ใซใ€ๆœช็Ÿฅใฎๆ ผ้—˜ๅฎถใŒ่ฅฒๆฅใ—ใŸๅ ดๅˆใ€็›ธๆ‰‹ใฎๆŒใกๆŠ€ใ‚’ๅ‡บใ•ใชใ„ใ†ใกใซๅ€’ใ—ใฆใฏใ„ใ‘ใชใ„ใ‚ใ‘ใงใ™ใ€‚ๅ‘ใ“ใ†ใฎๅผทใ•ใ‚’ไฝ•ๅ›žใ‹่ฆณๅฎขใŠใ‚ˆใณใƒฌใ‚นใƒฉใƒผใซ่ฆ‹ใ›ใคใ‘ใŸๅพŒใงๅ€’ใ™ในใใชใ‚“ใงใ™ใญใ€‚ๆผซ็”ปใงใ‚‚ๅŒใ˜ใ ใจๆ€ใ†ใ‚“ใงใ™ใ€‚ใฏใฃใใ‚Š่จ€ใฃใฆใ€ๅฑ้™บใชใ‚„ใคใ ใฃใŸใ‚‰ใ™ใๆฎบใ—ใกใ‚ƒใˆใฐใ„ใ„ใ‚“ใ ใ‘ใฉใ€ใ‚„ใฃใฑใ‚Šใ€็›ธๆ‰‹ใฎๅ‡„ๅ‘ณใ‚’่ฆ‹ใ›ใคใ‘ใŸๅพŒใงไธ€็™บ้€†่ปขใ™ใ‚‹ใ€‚ใ“ใ‚Œใฏ็ตถๅฏพใซๅฟ…่ฆใชใ“ใจใงใ™ใ€‚

่’ๆœจใ€€ไธ€ๆ’ƒๅฟ…ๆฎบใ ใฃใŸใ‚‰ใ€ใ‚ธใƒฃใƒณใƒ—ใฟใŸใ„ใช้•ทใ„ๆˆฆใ„ใฏใงใใชใ„ใ€‚(็ฌ‘)

้…’่ฆ‹ใ€€ใใฎ่พบใงใ€ๅ‰็”ฐๆ—ฅๆ˜ŽใŒใ„ใŸ้ ƒใฎ๏ผต๏ผท๏ผฆใชใ‚“ใ‹ใฏๆ‚ฉใ‚€ใ‚ใ‘ใงใ™ใญใ€‚ๅผฑใ„ใ‚„ใฃใ ใฃใŸใ‚‰ไธ€ๅˆ†ใงๅ€’ใ›ใ‚‹ใ‚“ใงใ™ใ‚ˆใ€ๆœฌๅฝ“ใฏใญใ€‚ใงใ‚‚ใ€็›ธๆ‰‹ใฎใ™ใ”ใ„ๆŠ€ใ‚’่ฆ‹ใ›ใŸๅพŒใงใ€ใ•ใ‚‰ใซๅ€’ใ•ใชใ‘ใ‚Œใฐใ„ใ‘ใชใ„ใ€‚ใใ‚ŒใŒๅ…ซ็™พ้•ทใ ใจ่จ€ใ‚ใ‚Œใฆใ„ใ‚‹็พ็ŠถใŒใ‚ใ‚‹ใ‹ใ‚‰ๆ‚ฉใ‚€ใ‚ใ‘ใงใ™ใ€‚


้…’่ฆ‹ใ€€ใใ†ใ„ใ†ใ“ใจใงใ™ใ‚ˆใ€‚ใ“ใฎๅ‰ใงใ‚‚ใ€ใƒœใ‚ฏใ‚ทใƒณใ‚ฏใฎใƒˆใƒผใƒฌใƒใƒผใƒปใƒใƒผใƒ“ใƒ„ใ‚ฏใจ๏ผต๏ผท๏ผฆใ‚คใƒณใ‚ฟใƒผใฎ้ซ˜็”ฐๅปถๅฝฆใŒใ‚„ใฃใŸใจใใ€ๆœฌๅฝ“ใฏใƒใƒผใƒ“ใƒƒใ‚ฏใฎใƒ‘ใƒณใƒใฎๅ‡„ใ•ใ‚’ๅญ˜ๅˆ†ใซ่ฆ‹ใ›ใคใ‘ใŸไธŠใงๅ€’ใ™ในใใ ใฃใŸใฎใซใ€้ซ˜็”ฐใฏใ„ใใชใ‚Šใ‚„ใฃใกใ‚ƒใฃใŸใ‚‚ใฎใ ใ‹ใ‚‰ใ€ใƒใƒผใƒ“ใƒƒใ‚ฏใฏ้€ƒใ’ใกใ‚ƒใฃใŸใ€‚

่’ๆœจใ€€ใใ‚Œใ‚‚ๆˆฆใ„ใฎๆ–นๆณ•ใ ใจใ€‚

้…’่ฆ‹ใ€€ใƒใƒผใƒ“ใƒƒใ‚ฏใฎใƒ‘ใƒณใƒใฏไธ‰ใ€‡ใ€‡ใ‚ญใƒญไปฅไธŠใฎใƒ‘ใƒณใƒใจใ„ใ†ใ‚“ใ ใ‹ใ‚‰ใ€ใใ‚“ใชใ‚‚ใฎๅ—ใ‘ใŸใ‚‰็ต‚ใ‚ใ‚Šใงใ™ใ‹ใ‚‰ใ€‚ใใฎๅ‰ใซใ‚ฌใƒณใ‚ฌใƒณใซ่นดใ‚ŠใพใใฃใŸใ€‚ๆ ผ้—˜่€…ใจใ—ใฆใฏๆญฃใ—ใ„ใ‚“ใงใ™ใญใ€‚ใงใ‚‚ใ€ใƒ—ใƒญใƒฌใ‚นใงใฏ้–“้•ใ„ใชใ‚“ใงใ™ใ€‚ใƒใƒผใƒ“ใƒƒใ‚ฏใฎ่„…ๅจใ‚’ๅญ˜ๅˆ†ใซ่ฆ‹ใ›ใคใ‘ใฆใƒ•ใƒฉใƒ•ใƒฉใซใชใฃใฆใ‹ใ‚‰้€†่ปขใ—ใชใใ‚ƒใ„ใ‘ใชใ„ใ‚“ใงใ™ใ€‚ใ ใ‹ใ‚‰ใ€ใ‚ปใƒกใƒณใƒˆใฏใคใพใ‚‰ใชใ„ๅ ดๅˆใŒๅคšใ„ใ€‚


้…’่ฆ‹ใ€€ใ‚ฌใƒใƒณใ‚ณใจใ‹่จ€ใ„ใพใ™ใ‘ใฉใ€็œŸๅ‰ฃๅ‹่ฒ ใฎใ“ใจใงใ™ใ€‚ใƒ—ใƒญใƒฌใ‚นใจใ—ใฆใฏใกใ‚ˆใฃใจใพใšใ„ใจๆ€ใ†ใ€‚ใใฎๆ„ๅ‘ณใงใฏใ€ๆผซ็”ปใ‚‚ใใ†ใ ใจๆ€ใ†ใ‚“ใงใ™ใ‚ˆใ€‚ใ€Žใ‚ธใƒงใ‚ธใƒงใฎๅฅ‡ๅฆ™ใชๅ†’้™บใ€ใงใ‚‚ใ€่‚‰ใ‚’ๅˆ‡ใ‚‰ใ›ใฆ้ชจใ‚’ๆ–ญใคใจใ„ใ†ๅ‹ใกๆ–นใŒๅคšใ„ใงใ™ใ‚ˆใญใ€‚้กใฎไธญใงใ—ใ‹ๅ‹•ใ‘ใชใ„ใ‚„ใคใจใ‹ใ€ๅคขใฎไธญใง่ฅฒใฃใฆใใ‚‹ใ‚นใ‚ฟใƒณใƒ‰ใจใ‹ใ€ใ„ใ‚ใ„ใ‚ใช็›ธๆ‰‹ใŒๅ‡บใฆใใ‚‹ใ‚ใ‘ใงใ™ใ‘ใฉใ€ใฉใ†ใ‚„ใฃใฆๅ€’ใ™ใฎใ‹ใจๆฏŽ้€ฑๆฅฝใ—ใฟใงใ™ใ€‚

่’ๆœจใ€€ๆ›ธใๅ‰ใซใ€ไธ€ๅฟœใ€ใ“ใ‚“ใชๆ„Ÿใ˜ใ‹ใชใจใ„ใ†ใฎใฏใ‚ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€ๆ›ธใ„ใฆใ„ใฆใ€ใ“ใ†ใ‚„ใฃใฆๅ€’ใ—ใŸใ‚‰ใ ใ‚ใชใ‚“ใ˜ใ‚ƒใชใ„ใ‹ใจใ‹ๆ€ใ†ใ‚“ใงใ™ใญใ€‚

้…’่ฆ‹ใ€€ใตใคใ†ใ€ๆผซ็”ปใ ใจใ ใ„ใŸใ„ๅ…ˆใŒ่ฆ‹ใˆใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€่’ๆœจใ•ใ‚“ใฎใฏๅ…ˆใŒ่ฆ‹ใˆใชใ„ใ€‚ใฉใ†ใ‚„ใฃใฆๅ€’ใ™ใ‚“ใ ใ‚ใ†ใจใ€‚




้…’่ฆ‹ใ€€ๅƒ•ใ‚‚ใ€ใใ„ใคใŒๅ‡„ใ„ใ‚„ใคใ ใจใ„ใ†ใฎใ‚’่ฆ‹ใ›ใฆใ‹ใ‚‰ๅ€’ใ•ใชใใ‚ƒใ„ใ‘ใชใ„ใงใ™ใ‹ใ‚‰ใ€‚




่’ๆœจใ€€ใพใ‚ใ€ๅคงๆŠตใ‚„ใ‚Šใพใ™ใ€‚็งใฏใ€ใ‚ใพใ‚Š่ฒ ใ‘ใชใ„ใงใ™ใ‚ˆใ€‚ๅ‹ใฃใฆใ„ใ‚‹ใจใ“ใ‚ใงใ‚„ใ‚ใ‚‹ใ“ใจใŒใงใใ‚‹็”ทใชใ‚“ใงใ™ใ€‚



้…’่ฆ‹ใ€€ใงใ€ๅ‹่ฒ ใฏ๏ผŸ


้…’่ฆ‹ใ€€ๅŠ›ใƒผใƒ‰ใ‚ฒใƒผใƒ ใงใ™ใ‹๏ผŸ

่’ๆœจใ€€ใใ†ใงใ™ใญใ€‚ใ‚ใ‚“ใพใ‚Šๆ™‚้–“ใŒใ‹ใ‹ใ‚‹ใฎใฏใ ใ‚ใงใ™ใญใ€‚


่’ๆœจใ€€ใใ†ใงใ™ใญใ€‚ใŸใจใˆใฐใƒซใƒผใƒฌใƒƒใƒˆใซใ—ใฆใ‚‚ใ€ๅ‘ใ“ใ†ใฎใƒ‡ใ‚ฃใƒผใƒฉใƒผใฏใƒ—ใƒญใƒ•ใ‚งใƒƒใ‚ทใƒงใƒŠใƒซใ ใ‹ใ‚‰ใ€ใกใ‚ƒใ‚“ใจ่‡ชๅˆ†ใฎๅฅฝใใช็•ชๅทใซๅ…ฅใ‚Œใ‚‰ใ‚Œใ‚‹่…•ใŒใ‚ใ‚‹ใ‚“ใงใ™ใ€‚ใใ†ใ„ใ†ใƒ—ใƒญใ‚’็›ธๆ‰‹ใซใ€่ฃใฎ่ฃใฎ่ฃใใ‚‰ใ„ใ‹ใ‚‰่ฆ‹ใฆใ„ใใ‚“ใงใ™ใญใ€‚ใ™ใ”ใ„ๅฟƒ็†ๆˆฆใชใ‚“ใงใ™ใ‚ˆใ€‚



้…’่ฆ‹ใ€€ใใฎๆ„ๅ‘ณใงใ€ๅƒ•ใจใ—ใฆใฏใ€ๅฎŸๅŠ›่€…ๅŒๅฃซใฎๆˆฆใ„ใจใ„ใ†ใฎใซใ™ใ”ใ่ˆˆๅ‘ณใŒใ‚ใ‚‹ใ‚“ใงใ™ใ€‚ใงใ‚‚ใ€ๅฐ†ๆฃ‹ใจใ‹็ขใฎๅฎŸๅŠ›่€…ใจใ„ใ†ใฎใฏ็™พๆ‰‹ใ‹ไบŒ็™พๆ‰‹่ชญใฟใชใŒใ‚‰ๆ‰‡ๅญใ‚’ใ‚ใŠใ„ใงใ„ใ‚‹ใ‚ใ‘ใงใ€็ด ไบบใŒใใฎๅฟƒ็†ๆˆฆใ‚’ๆใใจใ„ใ†ใฎใฏใปใจใ‚“ใฉไธๅฏ่ƒฝใงใ™ใ‚ˆใญใ€‚ใใฎ็‚นใ€็›ธๆ’ฒใฏไธ€ๅ ดๆ‰€ใ‹ใ‘ใฆๅฎŸๅŠ›่€…ๅŒๅฃซใฎๆˆฆใ„ใŒ่ฆ‹ใ‚‰ใ‚Œใ‚‹ใ€‚ใ ใ‹ใ‚‰ไบบๆฐ—ใŒใ‚ใ‚‹ใ‚ใ‘ใงใ™ใญใ€‚



่’ๆœจใ€€ๅฅฅๆทฑใ„ใ‚“ใ ใชใ‚กใ€ใƒ—ใƒญใƒฌใ‚นใฏใ€‚

้…’่ฆ‹ใ€€ๅฅฅๆทฑใ™ใŽใฆใ€ใปใ‚“ใจใ€ๅ…ซ็™พ้•ทใจใ‹็œŸๅ‰ฃใจใ‹่จ€ใฃใฆใ„ใ‚‹ๆฎต้šŽใฎไบบใŸใกใŒๅฏๅ“€็›ธใ ใจๅƒ•ใฏๆ€ใ„ใพใ™ใ‚ˆใ€‚ๅฐ่ชฌใ‚‚ๆผซ็”ปใ‚‚ไธ€็ท’ใงใ€็œŸๅ‰ฃๆผซ็”ปใจๅ…ซ็™พ้•ทๆผซ็”ปใŒใ‚ใ‚‹ใจๆ€ใ†ใ‚“ใงใ™ใ€‚


้…’่ฆ‹ใ€€็›ธๆ‰‹ใฎๅŠ›ใ‚’ๆฅต้™ใซๅผ•ใๅ‡บใ—ใฆใŠใ„ใฆใ‹ใ‚‰ใ‹ใ‹ใฃใฆใ„ใใ€‚็›ธๆ‰‹ใฎๅŠ›ใ‚’่ฆ‹ใ›ใฆใŠใ‹ใชใใ‚ƒใ„ใ‘ใชใ„ใ‚ใ‘ใงใ™ใ‚ˆใ€‚่’ๆœจใ•ใ‚“ใฎๆผซ็”ปใงใ‚‚ใƒ—ใƒญใƒฌใ‚น็š„ใซ็›ธๆ‰‹ใฎๆŠ€ใ‚’่ชญ่€…ใซ่ฆ‹ใ›ๅˆ‡ใฃใŸไธŠใงใ€ใฉใ†ใ™ใ‚‹ใ‚“ใ ใ‚ใ†ใ€ใฉใ†ใ™ใ‚‹ใ‚“ใ ใ‚ใ†ใจๆ€ใ‚ใ›ใฆใŠใ„ใฆใ€ใกใ‚ƒใ‚“ใจใใฃใกใ‚Šๅ€’ใ—ใฆใ—ใพใ†ใจใ„ใ†ใฎใŒใ„ใ„ใ‚“ใงใ™ใ€‚ใ‚ขใ‚คใƒ‡ใ‚ขใ‚’ๅ‡บใ—ๆƒœใ—ใฟใ—ใฆใ„ใชใ„ใ€‚



่’ๆœจใ€€ใ‚นใ‚ฟใƒณใƒ‰ใ ใ‘ใงไธ‰ๅ้€šใ‚Š่ฟ‘ใ่€ƒใˆใฆใ„ใ‚‹ใ‚“ใงใ™ใญใ€‚ใ‚„ใฃใฑใ‚Šใ€ๆผซ็”ปใงใฏใใฎ้€ฑใฎใŠๆฅฝใ—ใฟใŒใใกใ‚“ใจใชใ„ใจใ ใ‚ใงใ™ใ‹ใ‚‰ใ€‚ใฉใ†ใ—ใฆใ‚‚่ฉฑใจใ„ใ†ใฎใฏๅฑฑใ‚ใ‚Š่ฐทใ‚ใ‚Šใงๆตใ‚Œใฆใ„ใใ‘ใฉใ€่ฐทใฎใจใ“ใ‚ใŒใšใฃใจ็ถšใ„ใฆใ—ใพใ†ใ‚ˆใ†ใช่ฉฑใ ใจใ€ใ‚นใƒˆใƒผใƒชใƒผใจใ—ใฆใฏๅฟ…็„ถๆ€งใŒใ‚ใฃใฆใ‚‚ใ€ใใฎ้€ฑใจใ—ใฆใฏใŠใ‚‚ใ—ใ‚ใใชใ„ใงใ™ใ‹ใ‚‰ใ€‚


่’ๆœจใ€€่‚‰ไฝ“ใฎ้™็•ŒใฟใŸใ„ใชใ‚‚ใฎใ‚’่ฟฝๆฑ‚ใ—ใฆ่€ƒใˆใŸใ“ใจใŒใ‚ใ‚‹ใ‚“ใงใ™ใ‚ˆใ€‚ใฉใ“ใพใงๅค‰่บซใงใใ‚‹ใ‹ใจใ‹ใ€‚ใใ—ใŸใ‚‰ใ€่ตคๅค–็ทšใงๅ†™ใ—ใŸใ‚‰ใ‚ชใƒผใƒฉใŒๅ†™ใฃใฆใ„ใŸใจใ‹ใญใ€็ง‘ๅญฆ็š„ใซใ€Œๆฐ—ใ€ใฎ็ ”็ฉถใŒใ•ใ‚Œใฆใ„ใ‚‹ใ‚ใ‘ใงใ™ใ€‚ใ‚ใจใ€ๅฎ‡ๅฎ™ใ‹ใ‚‰ใ‚จใƒใƒซใ‚ฎใƒผใŒๆฅใฆใ„ใ‚‹ใจใ‹ใ€ใ„ใ‚ใ„ใ‚ไธๆ€่ญฐใชใ“ใจใŒใ‚ใ‚‹ใ€‚ใ“ใ†ใ„ใ†ใฎใฏๅ…จ้ƒจใ€ใฒใจใคๅ…ฑ้€šใ—ใฆใ„ใ‚‹ไฝ•ใ‹ใŒใ‚ใ‚‹ใ‚“ใ˜ใ‚ƒใชใ„ใ‹ใจใ‹ใ€‚ใใ‚“ใชใตใ†ใซ็™บๆƒณใ—ใฆใ„ใใ‚“ใงใ™ใ€‚ใใ‚Œใงใ€่ชญ่€…ใซใ‚ใ‹ใ‚Šใ‚„ใ™ใ„ใ‚ˆใ†ใซใ€ๅ…ƒๆฐ—ใฎใ€Œๆฐ—ใ€ใจใ‹ใ€Œๆณข็ด‹ใ€ใ ใจใ‹ๅๅ‰ใ‚’ใคใ‘ใ‚‹ใ‚“ใงใ™ใญใ€‚


่’ๆœจใ€€ๅฎˆ่ญท้œŠใ˜ใ‚ƒใกใ‚‡ใฃใจใ‚ใ‚Œใ ใชใ‚ใจใ‹ใ€‚ใใ‚Œใงใ€ใจใซใ‹ใใ€ๆž•ๅ…ƒใซ็ซ‹ใคใ‹ใ‚‰ใ‚นๅค•ใƒณใƒ‰ใจๅไป˜ใ‘ใŸใ‚“ใงใ™ใญใ€‚ใงใ‚‚ใ€ใใ‚ใใ‚ใ‚ขใ‚ฃใƒ‡ใ‚ขใ‚‚ไฝฟใ„ๅˆ‡ใฃใŸใจใ„ใ†ใ€‚

้…’่ฆ‹ใ€€ใ„ใ‚„ใ€ใ‚ขใ‚คใƒ‡ใ‚ขใ‚’ๅ…ˆๅปถใฐใ—ใจใ‹ใ‚„ใฃใกใ‚ƒใ ใ‚ใ ใจๆ€ใ„ใพใ™ใญใ€‚

่’ๆœจใ€€ใ‚ธใƒฃใƒณใƒ—ใงใใ‚Œใ‚’ใ‚„ใฃใŸใ‚‰็”Ÿใๆฎ‹ใ‚Œใชใ„ใ€‚ๆฏŽ้€ฑใ€ใใฎ้€ฑใฎ่ฆ‹ใ›ๅ ดใ‚’ใคใใ‚‰ใชใใ‚ƒใ„ใ‘ใชใ„ใ‚ใ‘ใงใ™ใ‹ใ‚‰ใ€‚ใฟใ‚“ใชใ€ๆฅ้€ฑใฎใ“ใจใ—ใ‹ใ‚ใ‹ใ‚‰ใชใ„ใ€‚



โ—ใ‚นใƒˆใƒผใƒชใƒผใ‚’่ฟฝใ†ใ ใ‘ใชใ‚‰็ฐกๅ˜

้…’่ฆ‹ใ€€ๆผซ็”ปใงใ„ใ„ใฎใฏใ€ใ‚ญใƒฃใƒฉใ‚ฏๅค•ใƒผใ‚’็ซ‹ใฆใ‚‹ใจใ„ใ†ใฎใŒไธ€็•ชใ ใจใ„ใ†ใ“ใจใงใ™ใ‚ˆใ€‚ๆŒใกๆŠ€ใจใ‹ๅ€‹ๆ€งใ‚’ใŒใ‚“ใŒใ‚“ๆใ„ใฆใ€ใ‚ญใƒฃใƒฉใ‚ฏๅค•ใƒผใ‚’็ซ‹ใฆใ‚‰ใ‚Œใ‚‹ใ€‚

่’ๆœจใ€€็ขบใ‹ใซใ€ใ‚ญใƒฃใƒฉใ‚ฏๅค•ใƒผใŒ็ซ‹ใŸใชใ‘ใ‚Œใฐใ€ๆผซ็”ปใฏๆˆ็ซ‹ใ—ใพใ›ใ‚“ใ€‚่ชญ่€…ใซใฉใ†ใ‚ขใƒ”ใƒผใƒซใ™ใ‚‹ใฎใ‹ใ€ๆฏŽ้€ฑใ‚ใŸใพใ‚’ๆ‚ฉใพใ™ใจใ“ใ‚ใงใ™ใ€‚ใ‚ญใƒฃใƒฉใ‚ฏใ‚ฟใƒผใฎ้ญ…ๅŠ›ใ‚’ใฒใใ ใ™ใŸใ‚ใซใ€ใฉใ‚“ใชใ‚จใƒ”ใ‚ฝใƒผใƒ‰ใ‚’ๆใใฎใ‹ใ€ใใ‚ŒใŒไธ€็•ชๅ•้กŒใชใ‚“ใงใ™ใ€‚



้…’่ฆ‹ใ€€้•ใ†ใ‚ˆใ†ใงใ™ใ€‚่ฆใ™ใ‚‹ใซใ€็ชๆ‹ๅญใ‚‚ใชใ„ไบบ้–“ใ‚’ๆ›ธใ„ใฆใฏใ„ใ‘ใชใ„ใ‚“ใงใ™ใ‚ˆใ€ไบบ้–“ใ‚’ๆ›ธใ‘ใจใ„ใ‚ใ‚ŒใŸๅ ดๅˆใ€‚ๅƒ•ใ‹ใ‚‰่ฆ‹ใ‚Œใฐใ€ใตใ–ใ‘ใ‚‹ใชใจใ„ใ†ใ“ใจใงใ™ใ‘ใฉใ€ไฝ•ใ‹ๅฐ่ชฌ็•Œใจใ„ใ†ใฎใฏใใ†ใ„ใ†ไป•็ต„ใฟใซใชใฃใฆใ„ใ‚‹ใฟใŸใ„ใงใญใ€‚ๅƒ•ใฎไธ–ไปฃใซใชใ‚‹ใจใ€ใ‚‚ใ†ใใ‚“ใชใฎใฏ้–ขไฟ‚ใชใใฆใ€ใฏใฃใใ‚Š่จ€ใฃใฆใ€่’ๆœจใ•ใ‚“ใฎใปใ†ใŒไธŠใ ใจๆ€ใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ€‚

่’ๆœจใ€€ใใ†ใงใ—ใ‚‡ใ†ใ‹ใญใ€‚ใŸใ ใ€่จ€ใˆใ‚‹ใ“ใจใฏใ€ๆผซ็”ปใฎไธ–็•Œใงใฏใคใ˜ใคใพใ‚’ใ‚ใ‚ใ›ใŸใ ใ‘ใฎใ‚นใƒˆใƒผใƒชใƒผใฏ้€š็”จใ—ใชใ„ใ€‚ใ‚นใƒˆใƒผใƒชโ€”ใ‚’่ฟฝใ†ใ ใ‘ใชใ‚‰็ฐกๅ˜ใชใ‚“ใงใ™ใ€‚ใงใ‚‚ใ€ใ‚ญใƒฃใƒฉใ‚ฏๅค•ใƒผใซใจใฃใฆๅฟ…่ฆใชใ‚จใƒ”ใ‚ฝใƒผใƒ‰ใ‚’ๅ…ฅใ‚Œใฆใ€ใใ‚ŒใงใชใŠใ‹ใคใ€ใคใ˜ใคใพใ‚’ๅˆใ‚ใ›ใ‚‹ใจใชใ‚‹ใจใ€ใ“ใ‚Œใฏ้›ฃใ—ใ„ใ€‚ๆฏŽ้€ฑใ€ไฝœๅ“ใŒใ‚ใŒใ‚‹ใจใ€้ ญใฎไธญใฏใ‚ซใƒฉใƒƒใƒใงใ™ใญใ€‚

้…’่ฆ‹ใ€€ๅฐ่ชฌๅฎถใฎใชใ‹ใซใฏใ€ใ‚ขใ‚คใƒ‡ใ‚ขใ‚’ๅ‡บใ—ๆƒœใ—ใฟใ—ใฆใ€ใ“ใฎใ‚ขใ‚คใƒ‡ใ‚ขใฏใ“ใฎ็Ÿญ็ทจใซใจใฃใฆใŠใ“ใ†ใจใ‹ใ€ใใ†ใ„ใ†ใ‚ฑใƒใใ•ใ„ไบบใŒใ„ใ‚‹ใ‚“ใงใ™ใ‚ˆใ€‚ๅƒ•ใฏใ€ไปŠ่€ƒใˆใฆใ„ใ‚‹ใ“ใจใฏใ™ในใฆๆ›ธใใจใ„ใ†ๆ–น้‡ใ ใ‹ใ‚‰ใ€ๆ›ธใ็ต‚ใ‚ใ‚‹ใจใ‚ผใƒญใซใชใฃใกใ‚ƒใ†ใ‚“ใงใ™ใ€‚ใงใ€ใ†ใพใๆตฎใ‹ใ‚“ใงใใ‚‹ใฎใ‚’ใพใŸๅพ…ใฃใฆใ„ใชใใ‚ƒใชใ‚‰ใชใ„ใ€‚ใงใ‚‚ใ€ใใ†ใ„ใ†ใ‚‚ใฎใชใ‚“ใ˜ใ‚ƒใชใ„ใงใ™ใ‹ใญใ€‚่ฆใ™ใ‚‹ใซใ€ๆŽจ็†ๅฐ่ชฌใ ใจไธ€ใคใฎ็Ÿญ็ทจใซไธ€ใคใฎใ‚ขใ‚คใƒ‡ใ‚ขใจใ‹ใ€ใƒ—ใƒญใชใ‚‰ๅฝ“ใ‚Šๅ‰ใ‹ใ‚‚ใ—ใ‚Œใชใ„ใ‘ใฉใ€ใ‚ใ–ใจใ„ใ“ใจใ‚’่€ƒใˆใŸใ‚Šใ™ใ‚‹ไบบใŒๅคšใ„ใ‚“ใงใ™ใญใ€‚ใใ‚“ใชใ“ใจใ‚’ใ›ใšใซใ€ไธ‰ใคๆ€ใ„ใคใ„ใŸใ‚‰ไธ‰ใคๅ…ฅใ‚Œใ‚Œใฐใ„ใ„ใ˜ใ‚ƒใชใ„ใ‹ใจใ€ๅƒ•ใฏๆ€ใ†ใ‚“ใงใ™ใ€‚ใ ใ‹ใ‚‰ใ€ใพใ ๅ›บใพใฃใฆใ„ใชใ„ใ‚“ใงใ™ใ€‚


้…’่ฆ‹ใ€€ๅƒ•ใฏใพใ ไบŒๅนดใกใ‚‡ใ„ใงใ™ใ‹ใ‚‰ใ€‚ใƒใƒƒใจๅ‡บใงใ™ใญใ€ใพใ ใ€‚

่’ๆœจใ€€ใ™ใ”ใ„ใงใ™ใ‚ˆใ€‚ใ€Žๅขจๆ”ปใ€ใ‚’่ชญใ‚“ใงใ€ไน…ใ—ใถใ‚Šใซๅฐ่ชฌใ‚’ใŠใ‚‚ใ—ใ‚ใ„ใจๆ€ใ„ใพใ—ใŸใ‚‚ใ‚“ใ€‚ๅƒ•ใ€ๆ€ใ†ใ‚“ใงใ™ใ‘ใฉใ€้…’่ฆ‹ใ•ใ‚“ใฎไฝœๅ“ใฏใ‚คใƒกใƒผใ‚ธใŒใฏใฃใใ‚Šใ—ใฆใ„ใ‚‹ใ‹ใ‚‰ใ€ๆผซ็”ปใจใ‹ๆ˜ ็”ปใซๅ‘ใ„ใฆใ„ใ‚‹ใ‚“ใ˜ใ‚ƒใชใ„ใงใ™ใ‹ใ€‚

้…’่ฆ‹ใ€€็ตตใซใ—ใ‚„ใ™ใ„ใจใฏ่จ€ใ‚ใ‚Œใพใ™ใญใ€‚ใงใ‚‚ใ€Žๆ•ฆ็…Œใ€ใใ‚‰ใ„ใฎใŠ้‡‘ใ‚’ใ‹ใ‘ใชใ„ใจๆ˜ ็”ปใซใชใ‚‰ใชใ„ใงใ—ใ‚‡ใ†ใ€‚

่’ๆœจใ€€ใ€Žๅขจๆ”ปใ€ใ‚’ๆ˜ ็”ปๅŒ–ใ—ใŸใ‚‰ใ€Žไธƒไบบใฎไพใ€ใซๅŒนๆ•ตใ™ใ‚‹ใ‚“ใ˜ใ‚ƒใชใ„ใ‹ใจใ„ใ†ๆ„Ÿใ˜ใŒใ—ใพใ—ใŸใ‘ใฉใ€‚

้…’่ฆ‹ใ€€ๅƒ•ใฏๅ…จ็„ถๅฟต้ ญใซใชใ‹ใฃใŸใ‘ใฉใ€ใ‚ˆใใใ†่จ€ใ‚ใ‚Œใพใ™ใญใ€‚

่’ๆœจใ€€ใ‹ใชใ‚Šๅคชใ„ๆ„Ÿใ˜ใŒใ‚ใ‚‹ใ—ใ€ใƒ‰ใƒผใƒณใจใ„ใ†ๆ„Ÿใ˜ใŒใ‚ใ‚‹ใ—ใ€‚ๅ…ƒๆฐ—ใช้ ƒใฎ้ป’ๆพคๆ˜Ž็›ฃ็ฃใซๆ’ฎใฃใฆใ‚‚ใ‚‰ใ„ใŸใ„ใงใ™ใญใ€‚

้…’่ฆ‹ใ€€้ป’ๆพคๆ˜Ž็›ฃ็ฃใซใ—ใฆใ‚‚ใ€ๅŒใ˜ๆ‰‹ๆณ•ใซ็ตถๅฏพๅฎ‰ไฝใ—ใพใ›ใ‚“ใ‚ˆใญใ€‚ๅŒใ˜ๆ˜ ็”ปใฏๅ…จ็„ถใคใใ‚‰ใชใ„ใ€‚ใใ†ใ„ใ†็‚นใŒๅคงๅฅฝใใงใ™ใญใ€‚ใ‚ใฎใŠๅนดใงใ€ใพใ ๆ–ฐใ—ใ„ใ“ใจใ‚’ใ—ใŸใ„ใฎใ‹ใจใ„ใ†ใ‚ˆใ†ใชใ€ๅ‡„ใพใ˜ใ„ไบบ้–“ใ ใจๆ€ใ„ใพใ™ใญใ€‚

่’ๆœจใ€€ๆ—ฅๆœฌใฎๆ˜ ็”ปใงใ‚ใ‚Œใ ใ‘ใฎๆ˜ ็”ปไฝœๅฎถใจใ„ใ†ใฎใฏใ€ใใฎๅพŒใ€ใ„ใพใ›ใ‚“ใ‚ˆใ€‚


1 VJUMP - 1993-02 Cover.png
Incomplete translation
Published February 21, 1993
๐Ÿ‘ค Hirohiko Araki
Video Game

It feels like an entirely new type of road game!

Manga Artist: Hirohiko Araki
I'm currently supervising the OVA for JoJo, which will be released this summer! It's very good, so I hope you look forward to it!

It was like reading from the manga again...
I didn't read the instruction manual at first, so I was a bit lost on what I had to do. (laughs) Later I learned that there was a spirit level and that I could talk during battles. Once you get the hang of it, you'll be able to form your own strategies. It was very interesting to learn and I felt smart after figuring it out. It seems like the person who made this game was quite familiar with my work. Even though I forgot a few lines myself. (laughs) It's like reading straight from the manga while playing.

โ†“ Araki-sensei's workplace inside a luxurious apartment located in the residential district of Setagaya City.

When Jotaro and Kakyoin attack with their "Ora Ora Ora!", it was really great seeing their final hit in action. (laughs) The fists on the screen made it feel like I was getting beat up. The graphics for Kakyoin's Emerald Splash were also done beautifully. That one came out effortlessly and it makes me happy whenever I see it being used. I wish the picture could've been a little bigger for that scene. Can't I just blow up the top half of the screen? (laughs)

โ†’ When I tried talking to the opponents during battle, I thought it was a bit weird that they kept saying "I ignored your words." (laughs)

  • Favorite Stand User: (Ally) Jotaro Kujo "Star Platinum"; (Foe) Pretty much all of them.
  • Favorite Quote: I wrote all the dialogue myself, so I guess all of it. (laughs)
  • Comment: I think Polnareff's appearance was pretty funny. Those who are just starting the game should keep a close eye out for him!

[Translated by Morganstedmanms (JoJo's Bizarre Encyclopedia)]

ๆ–ฐๆ„Ÿ่ฆšใฎใƒญใƒผใƒ‰ใ‚ฒใƒผใƒ ใฃใฆๆ„Ÿใ˜ใ ใญ๏ผ


ใ€€ๆœ€ๅˆใ€ๅ–่ชฌ่ชญใพใชใ„ใงๅง‹ใ‚ใกใ‚ƒใฃใŸใ‚“ใงใ€ๆ“ไฝœใŒใ‚ใ‹ใ‚“ใชใใฆใ€ๆˆธๆƒ‘ใ„ใŒใ‚ใ‚Šใพใ—ใŸใญใ€‚(็ฌ‘)็ฒพ็ฅžใƒฌใƒ™ใƒซใŒใ‚ใ‚‹ใจใ‹ใ€ใ‚ปใƒชใƒ•ใงๆˆฆใ†ใฎใŒใ‚ใ‚‹ใ‚“ใ ใ€ใจใ„ใ†ใฎใฏใ‚ใจใงใ‚ใ‹ใ‚Šใพใ—ใŸใ€‚


ใ€€ไฝœใฃใŸไบบใŒๅŽŸไฝœใ‚’ใ‹ใชใ‚Š่ชญใฟ่พผใ‚“ใงใ„ใ‚‹ใฟใŸใ„ใงใ™ใญใ€‚ๅƒ•ใŒใ€ใ‚ใ€ๅฟ˜ใ‚ŒใฆใŸใฃใฆใ‚ปใƒชใƒ•ใŒใ‘ใฃใ“ใ†ๅ‡บใฆใใŸใ‚Šใ—ใฆใ€‚(็ฌ‘)ใ‚ฒใƒผใƒ ใ‚’ใ‚„ใ‚ŠใชใŒใ‚‰ใ€ๆœฌใ‚’่ชญใฟ่ฟ”ใ—ใฆใ„ใ‚‹ใ‚ˆใ†ใชๆ„Ÿใ˜ใŒใ‚ใ‚Šใพใ—ใŸใญใƒผใ€‚

ใ€€ๆ‰ฟๅคช้ƒŽใ‚„่Šฑไบฌ้™ขใŒใ€Œใ‚ชใƒฉใ‚ชใƒฉใ‚ชใƒฉ๏ผใ€ใฃใฆๆ”ปๆ’ƒใ™ใ‚‹ใจใใซใ€ๆœ€ๅพŒใฎไธ€็™บใŒใ‚ขใƒƒใƒ—ใงๆฅใ‚‹ใฎใŒใ„ใ„ใ‚“ใงใ™ใ‚ˆใ€‚(็ฌ‘)ๆ‹ณใ ใ‘ใ€‚ใ‚ใ‚Œใฏใ€ใ‚„ใฃใคใ‘ใŸๆ„Ÿใ˜ใŒใ—ใพใ™ใญใ€‚

ใ€€่Šฑไบฌ้™ขใฎใ‚จใƒกใƒฉใƒซใƒ‰ใ‚นใƒ—ใƒฉใƒƒใ‚ทใƒฅใฎใ‚ฐใƒฉใƒ•ใ‚ฃใƒƒใ‚ฏใฏใใ‚Œใ„ใงใ™ใ‚ˆใ€‚ใƒ•ใƒฏใƒผใƒƒใจๅ‡บใฆใใ‚‹ใ‚„ใคใ€‚ใ“ใ‚ŒใŒๅ‡บใ‚‹ใจๅฌ‰ใ—ใ„ใ‚“ใงใ™ใ‚ˆใญใ€‚ใใฎๅ ด้ขใ ใ‘ใ€ใ‚‚ใ†ใกใ‚‡ใฃใจ็”ป้ขใ‚’ๅคงใใใ—ใฆใปใ—ใ„ใชใจๆ€ใฃใŸใ‚Šใ—ใฆใ€‚ใƒ‰ใƒผใƒณใจ็”ป้ขใฎไธŠๅŠๅˆ†ไฝฟใˆใพใ›ใ‚“ใ‹ใญใƒผใ€‚(็ฌ‘)

ใ“ใฎๅคใซ็™บๅฃฒไบˆๅฎšใฎใ€Žใ‚ธใƒงใ‚ธใƒงใ€ใฎใƒ“ใƒ‡ใ‚ชใ‚ขใƒ‹ใƒกใ‚’ใŸใ ใ„ใพ็›ฃไฟฎไธญ๏ผใจใฆใ‚‚ๅ‡บๆฅใŒใ„ใ„ใฎใงใ€ใœใฒ่ฆ‹ใฆไธ‹ใ•ใ„ใญ๏ผ

่’ๆœจๅ…ˆ็”Ÿใฎไป•ไบ‹ๅ ดใฏใ€ไธ–็”ฐ่ฐทๅŒบใฎไฝๅฎ…่ก—ใซใ‚ใ‚‹้ซ˜็ดšใƒžใƒณใ‚ทใƒงใƒณ๏ผ


ใ€Œใ‚ญใƒฃใƒฉใ‚ฏใ‚ฟใƒผใŒใใฃใใ‚Šใงใ™ใ‚ˆใญใ€‚ไธปไบบๅ…ฌใ ใ‘ใ˜ใ‚ƒใชใใ€ใ›ใ“ใ„ใ‚ญใƒฃใƒฉใ‚ฏใ‚ฟใƒผใพใงใŒไผผใฆใ„ใฆใณใฃใใ‚Šใ—ใŸใชใ€






ใ€€ใƒใƒซใƒŠใƒฌใƒ•ใฎ็™ปๅ ดใ‚ทใƒผใƒณใฏ็ฌ‘ใˆใพใ—ใŸใ€‚ใ“ใ‚Œใ‹ใ‚‰ใ‚ฒใƒผใƒ ใ‚’ๅง‹ใ‚ใ‚‹ไบบใฏๆณจ็›ฎ๏ผ

JoJo Jump Novel.jpg
Published April 1, 1993

The Strange World of Ohken & Araki Hirohiko

THE SHOCKING BIZARRE TALK (Ohtsuki Kenji VS Araki Hirohiko)

Two men with unique abilities meet in the faint light of a candleโ€ฆ One is Araki Hirohiko. The other Ohtsuki Kenji. The shocking bizarre talk starts nowโ€ฆ

Ohtsuki: The first time I read Jojo I just thought โ€œWoow, this inspires me, Iโ€™ve got to do this too, I really have to~โ€. Iโ€™m a musician, I have a band, but I also write books. I figured that if I was going to write for a magazine, I would have to focus, so I shut myself in the house and wrote and wrote for four days, but in the endโ€ฆ! I just couldnโ€™t do it. I play in a band, act in movies, show up on TV. I do all kinds of things, but I feel most at home with my band. It was too hard for me to write a story.

Araki: But, you see, this is precisely that wall you hit at some point. You may think itโ€™s hard, but you will enjoy it so much once you go beyond it.

Ohtsuki: Then I happened to read Jojo at that moment and went โ€œhmmmโ€.

Araki: You see, I actually take a lot of hints from songs and the like.

Ohtsuki: I was just thinking that Dioโ€™s name, for example, comes from Ronnie James Dio, or that Jojo is the Jojo in โ€œGet Backโ€.

Araki: Thatโ€™s right. There are a lot of examples. This horror element of rock music got to me ever since I was a child. I started listening to it in the 70s. Before that, album covers usually featured the artist, but then in the 1970s all kinds of demonic stuff started appearing on the jackets, like in the case of Marc Bolan or King Crimson. The titles were also something along the lines of โ€œHighway to Hellโ€, and I canโ€™t tell exactly why, but there was something about them that instinctively appealed to me. I guess I bought the albums more for the cover than for the actual music.

Ohtsuki: Same here, I also bought them for the covers.

Araki: You may call it the fascination of evil, or the fascination of the devil. It spoke to me.

Ohtsuki: Which side are you on when you write Jojo? The bad guys, right?

Araki: Ah, well, I generally get attached to everyone when Iโ€™m writing, but I also enjoy the bad guys from time to time. I may be considered a freak for saying this, Iโ€™m afraid, but I pursue the abnormal, like murderers and so on.

Ohtsuki: I see. You also had Jack the Ripper show up in your manga.

Araki: Yes, indeed, butโ€ฆI want to write about more contemporary psycho horror elements. That type of abnormal psychology.

Ohtsuki: Speaking of which, there was this big incident last year that made me think โ€œWow, itโ€™s happening~โ€โ€ฆ One of those modern shamans said they would drive the demons out of a person and beat them up until they killed them.

Araki: I heard about that. It really did happen, huh.

Ohtsuki: I love these kinds of things. I donโ€™t believe in ghosts or the occult. I donโ€™t believe in them anymore, but I canโ€™t help but love them.

Araki: I generally try to write Jojo as not completely steeped in the occult, but somewhere on the borderline; close to the other world, but not completely. For example, I prefer writing about the uncertainty and fear you feel when you wonder if thereโ€™s someone behind that door.

Ohtsuki: Behind that door?

Araki: Exactly. Donโ€™t you find it scary when a curtain behind a window moves just a little?

Ohtsuki: Ikariya Chousuke is behind it (laughs). If I were to think thereโ€™s someone behind it, Iโ€™d just fully open it and bam! Chou-san would be there and go โ€œWoohโ€. (everyone laughs)

Araki: Still, you need this sort of unpredictability when you are writing a story.

Ohtsuki: You know, I didnโ€™t believe in aliens before, but at one point I read Minamiyama Hiroshiโ€™s books and wham! it dawned upon me. Iโ€™ve been obsessed with UFOs ever since.

Araki: That photo with the pyramids on Mars took me by surprise.

Ohtsuki: Oh yes, that one. Thatโ€™s a funny one.

Araki: Is it edited?

Ohtsuki: Itโ€™s edited or, how should I put it, itโ€™s more like spirit photography or those rocks that resemble human faces. There is this self-styled science journalist named K who claims the Moon is actually a secret base for UFOs and traces letters on all kinds of photos with the Moon craters, saying how many UFOs are in which craters, or pointing out where certain hideouts are. You do tend to believe you see what youโ€™re told to see, but those blurry pictures of rocks simply make you think they resemble faces. That was what I meant.

Araki: Rather scary.

Ohtsuki: There are people who turn completely paranoid, overthink things and simply get lost in their own world. Especially writers. I was a bit afraid you might be like that too.

Araki: I have betrayed your expectations (laughs).

Ohtsuki: No, no, this is actually a good thing. I was worried what to say if you said โ€œDio visited me again this morningโ€. There really are people like this, you know. For example, there is this anime adaptation, Genma Taisen, written by H. Itโ€™s amazing how that person seems to be going more and more off the rails.

Araki: An actual living person?

Ohtsuki: He wrote Wolf Guy, which I really love, but apparently he always felt like the protagonist actually existed somehow. So, one day someone calling themselves by the protagonistโ€™s name showed up at his door. He looked nothing like Inugami, he was just a normal middle-aged guy. At first, H thought he was some random paranoid guy, but still talked to him because he was afraid something might happenโ€ฆand in the meantime, he came to believe he was the real thing. The scariest part is that they are talking in the presence of a magazine editor (laughs)

Araki: So, up until now he hasโ€ฆerrโ€ฆbeen writing while telepathically communicating with that person.

Ohtsuki: Yes. I told that story to S, an acquaintance who researches UFOs. He replied that he had been collecting material about psychic abilities as Hโ€™s advisor, had met that Inugami person and had even gotten an autograph (laughs). He showed it to me and it did say โ€œInugamiโ€. What would you do if one day Jojo came to your house?

Araki: The story you just told me feels so real.

Ohtsuki: It wonโ€™t be long before Jojo visits you.

Araki: I love Inugami too, so I feel like he actually exists.

Ohtsuki: You do end up feeling like that, huh. Also, whatโ€™s amazing is thatโ€ฆ

We apologise, but the following content was too extreme, so it could not be reproduced.

Ohtsuki: Maybe I will also become a writer visited by the protagonist of the story he wrote a few years back.

Araki: I also have people asking me how come I know about hamon, because they were already practising it.

Ohtsuki: See? You will be visited by a Jojo in a few yearsโ€™ time.

Araki: I will introduce them to you when the time comes.

Ohtsuki: Is Jojo going to get an anime?

Araki: Thereโ€™s one out right now.

Ohtsuki: Is it airing already?

Araki: Itโ€™s on video. I like the scenario. I didnโ€™t write it, but it feels like I actually didโ€ฆ

Ohtsuki: Then Iโ€™m going to watch it.

Araki: Itโ€™s interesting. Itโ€™s a fast paced story.

Ohtsuki: What do you think about the voices?

Araki: I donโ€™t worry about them at all. It would be a bit weird if a man voiced a woman though.

Ohtsuki: That would be odd.

Araki: Or if Jojo had Lupin IIIโ€™s or Sazae-sanโ€™s voice.

Ohtsuki: But that would be nice. Really nice. Imagine if Dio said โ€œUseless useless uselessโ€ in Masuoโ€™s voice.

Araki: Or Doraemonโ€™s voiceโ€ฆ

Ohtsuki: Ok, that kind of unexpected casting is justโ€ฆ

Araki: Itโ€™s fine, but it would end up as a cult work.

Ohtsuki: For example, I actually want to see Namihei from Sazae-san voicing Lupin III.

Araki: It would be nice if voice imitators did it too.

Ohtsuki: Oh, thereโ€™s someone who really sounds like that. Someone who imitates Hirokawa Taichirou as Lupin IIIโ€™s voice. It is such a strange thing to encounter in daily life, above all else. What if you turned on the TV one day and Lupin IIIโ€™s voice were completely different!

Araki: That would be quite something.

Ohtsuki: One billion people would faint in front of the TV if he had the same voice as Hoshi Ittetsu.

Araki: The phone lines would be on fire.

Ohtsuki: I want to see this for Sazae-sanโ€™s Ooyama Nobuyo too. I would actually love to write this kind of story one day.

Araki: I am sure you can do it.

Now, one final message for the readersโ€ฆ

Ohtsuki: I am releasing an album titled โ€œUFOs to koibitoโ€ in April. It make me happy if you bought one copyโ€ฆ I am also very serious about writing a story, whether it takes me ten or twenty years. It might end up as a novel or a movie though.

Araki: I see. I know this sounds cliche, but letโ€™s do our best. Disregarding the anime, Jojo also has a Famicom game and a novel. Nevertheless, I want to make the manga interesting enough so it wonโ€™t lose to either of them.

Thank you for today.


[Translated by Dijeh][3]


noveloken_00 ใ“ใฎๅทใฏใ‚ธใƒงใ‚ธใƒง็‰น้›†ๅทใงใ€ๅฐ่ชฌไปฅๅค–ใซใ‚‚ๆŠ˜่พผใƒใ‚นใ‚ฟใƒผใ‚„ใ€ใ‚ธใƒงใƒผใ‚นใ‚ฟใƒผๅฎถๅ››ไปฃใฎๆญดๅฒ(ๅนด่กจ)ใ€็ฉบๆกๆ‰ฟๅคช้ƒŽๅคงๆฟ€้—˜MAP(็ฌฌไธ‰้ƒจๅ†’้™บๅœฐๅ›ณ)็ญ‰ใŒ่ผ‰ใฃใฆใ„ใพใ—ใŸใ€‚ใใฎ่พบใฎ็ดนไป‹ใซใคใ„ใฆใฏใพใŸๅˆฅใฎๆฉŸไผšใซใ€‚

ใŠ็›ธๆ‰‹ใฏ้Ÿณ็Ÿณใƒปใƒปใƒปใงใฏใชใๅคงๆงปใ‚ฑใƒณใƒ‚ๆฐใงใ™ใ€‚ (โ€ปๆ™‚ๆœŸ็š„ใซใฏ้Ÿณ็Ÿณๆ˜ŽใŒ็™ปๅ ดใ™ใ‚‹็›ดๅ‰)

ใ‚ชใƒผใ‚ฑใƒณ๏ผ†้ฃ›ๅ‘‚ๅฝฆใฎๅฅ‡ๅฆ™ใชไธ–็•Œ THE SHOCKING BIZARRE TALKใ€ๅคงๆงปใ‚ฑใƒณใƒ‚VS่’ๆœจ้ฃ›ๅ‘‚ๅฝฆใ€‘ ไป„ใ‹ใซๅบƒใŒใ‚‹็‡ญๅฐใฎ็ฏใฎไธญใ€ไบŒไบบใฎ็‰น็•ฐใชๆ‰่ƒฝใ‚’ๆŒใค่€…ใŒๅ‡บไผšใฃใŸโ€•โ€•ใ€‚ ไธ€ไบบใฏ่’ๆœจ้ฃ›ๅ‘‚ๅฝฆใ€ใใ—ใฆใ‚‚ใ†ไธ€ไบบใฏๅคงๆงปใ‚ฑใƒณใƒ‚ใ€‚ใ‚ทใƒงใƒƒใ‚ญใƒณใ‚ฐใƒปใƒ“ใ‚ถใƒผใƒซใƒปใƒˆใƒผใ‚ฏใŒไปŠๅง‹ใพใ‚‹ใƒปใƒปใƒปใ€‚



ๅคงๆงปใ€€ๅฎŸใฏๅƒ•ใฏใ€Œใ‚ธใƒงใ‚ธใƒงใ€ใ‚’่ชญใ‚“ใงไธ€็•ชๆ€ใฃใŸไบ‹ใฏใ‚ใ‚Œใชใ‚“ใงใ™ใ‚ˆใ€‚ไฝ•ใ‹ใ‚ฆใ‚ช๏ฝžใƒƒใจใ‚„ใ‚‹ๆฐ—ใซใชใ‚‹ใชใจใ„ใ†ใ€‚ไฟบใ‚‚ใ‚„ใ‚‰ใญใฐ๏ฝžใ€‚ไฝ•ใ‹ใ‚„ใ‚‰ใญใฐ๏ฝžใฟใŸใ„ใชใ€‚ๅƒ•ใฏใƒŸใƒฅใƒผใ‚ธใ‚ทใƒฃใƒณใจใ„ใ†ใ‹ใ€ใƒใƒณใƒ‰ใ‚’ใ‚„ใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ‚‚ใ€ๅฎŸใฏๆœฌใ‚‚ๆ›ธใ„ใฆใ„ใ‚‹ใ‚“ใงใ™ใ€‚ใงใ€ใ‚ใ‚‹้›‘่ชŒใซๆ›ธใใ‚“ใงใ€้›†ไธญใ—ใชใใกใ‚ƒใชใ‚‰ใ‚“ใจๆ€ใฃใฆใ€4ๆ—ฅ้–“ไฝใƒžใƒณใ‚ทใƒงใƒณใซใ“ใ‚‚ใฃใฆๅŸท็ญ†ใ—ใฆใŸใ‚“ใงใ™ใ‘ใฉใ€ใ‚‚ใ†๏ฝžใƒปใƒปใƒป๏ผๅƒ•ใญใ€ใƒใƒณใƒ‰ใ‚’ใ‚„ใฃใŸใ‚Šใ€ๆ˜ ็”ปใซๅ‡บใŸใ‚Šใ€ใƒ†ใƒฌใƒ“ใซๅ‡บใŸใ‚Šใจใ‹่‰ฒใ€…ใ‚„ใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€ใƒใƒณใƒ‰ใŒไธ€็•ชๆฅฝใ€‚ใ‚‚ใ†ใ€Œ็‰ฉ่ชžใ€ใ‚’ไฝœใ‚‹ใจใ„ใ†ใฎใฏ่พ›ใ„ใงใ™ใญใ€‚




ๅคงๆงปใ€€ๅƒ•ๆ€ใฃใŸใ‚“ใงใ™ใ‘ใฉใ€ใƒ‡ใ‚ฃใ‚ชใฃใฆ่จ€ใ†ใฎใฏใƒญใƒ‹ใƒผใƒปใ‚ธใ‚งใ‚คใƒ ใ‚นใƒปใƒ‡ใ‚ฃใ‚ชใงใ€ใ‚ธใƒงใ‚ธใƒงใฏใ€Žใ‚ฒใƒƒใƒˆใƒใƒƒใ‚ฏใ€ใซๅ‡บใฆใใ‚‹ใ‚ธใƒงใ‚ธใƒงใงใ™ใ‚ˆใญใ€‚

่’ๆœจใ€€ใใ†ใงใ™ใ€‚ใ„ใฃใฑใ„ใ„ใพใ™ใ‚ˆใ€ใ‚‚ใ†ใ€‚ไฝ•ใ‹ใญใ€ใƒญใƒƒใ‚ฏใจใ“ใ†ใ„ใ†ใƒ›ใƒฉใƒผ็š„ใชใ‚‚ใฎใฃใฆใ„ใ†ใฎใฏใ€ๅญไพ›ใฎๆ™‚ใ‹ใ‚‰ใƒ“ใƒ“ใƒƒใจๆฅใพใ—ใฆใ€‚ๅƒ•ใฏ70ๅนดไปฃไฝใ‹ใ‚‰่žใๅง‹ใ‚ใŸใ‚“ใงใ™ใ‘ใฉใ€‚ๆ˜”ใฏใ‚ธใƒฃใ‚ฑใƒƒใƒˆใฃใฆใใฎๆ›ฒใฎใ‚ขใƒผใƒ†ใ‚ฃใ‚นใƒˆใ‚’ๆ’ฎใฃใฆใŸใ‚“ใงใ™ใ‚ˆใญใ€‚ใจใ“ใ‚ใŒใ€70ๅนดไปฃใซๅ…ฅใฃใฆใ‹ใ‚‰ๆ€ฅใซๆ‚ช้ญ”็š„ใชใ‚‚ใฎใ‚’ใ‚ธใƒฃใ‚ฑใƒƒใƒˆใซๆŠผใ—ๅ‡บใ™ใ‚“ใงใ™ใ‚ˆใ€‚ใƒžใƒผใ‚ฏใƒปใƒœใƒฉใƒณใจใ‹ใ€ใ‚ญใƒณใ‚ฐใƒปใ‚ฏใƒชใƒ ใ‚พใƒณใจใ‹ใญใ€‚ใ‚ฟใ‚คใƒˆใƒซใ‚‚ใ€Œๅœฐ็„ใฎใƒใ‚คใ‚ฆใ‚งใ‚คใ€ใจใ‹ใ€Œๆ‚ช้ญ”ใฎ้ ญ่„ณ้ธๆŠžใ€ใจใ‹ใ€ใใ†ใ„ใ†ใฎใŒใ‚ใฃใฆใ€ไฝ•ใงใ‹็Ÿฅใ‚‰ใชใ„ใ‘ใฉใ€ๆœฌ่ƒฝ็š„ใซใƒใ‚ทใƒใ‚ทใƒƒใฃใฆใใกใ‚ƒใฃใฆใ€‚้Ÿณๆฅฝใ‚ˆใ‚Šใ‚‚ใ‚ธใƒฃใ‚ฑใƒƒใƒˆใง่ฒทใฃใŸใจ่จ€ใ†ๆ–นใŒใ„ใ„ใ‚“ใ˜ใ‚ƒใชใ„ใ‹ใจใ„ใ†ใ€‚







ๅคงๆงปใ€€ใใ†ใ„ใˆใฐใ€ๅŽปๅนดใ€ใ“ใ‚Œใฏๅƒ•ใฏใใŸใช๏ฝžใฃใฆ่จ€ใ†ๅ‡„ใ„ไบ‹ไปถใŒใ€ใ‚ใ‚Šใพใ—ใฆใƒปใƒปใƒปใ€‚ไปŠๆ™‚ใ€็ฅˆ็ฅทๅธซใŒใ€ๆ‚ช้œŠใŒใคใ„ใŸใจใ‹ใ„ใ†ไบบใ‚’ใŠๆ‰•ใ„ใ ใจใ‹่จ€ใฃใฆใ€ใƒใ‚ซใƒใ‚ซๅฉใ„ใฆใ€ๆฎบใ—ใกใ‚ƒใฃใŸไบ‹ไปถใชใ‚“ใงใ™ใ‚ˆใ€‚


ๅคงๆงปใ€€ใ“ใ†ใ„ใ†ใฎใŒๅƒ•ใ€ๅฅฝใใชใ‚“ใงใ™ใ‚ˆใญใ€‚ๅนฝ้œŠใจใ‹ใ‚ชใ‚ซใƒซใƒˆใจใ‹ใ€ใใ†ใ„ใ†ใ‚‚ใฎใ‚’ๅƒ•ใ€ไฟกใ˜ใฆใ„ใชใ„ใ‚“ใงใ™ใ‚ˆใ€‚ใ‚‚ใ†ใปใจใ‚“ใฉไฟกใ˜ใฆใ„ใชใ„ใ‚“ใ ใ‘ใฉๅฅฝใใงใ—ใ‚‡ใ†ใŒใชใ„ใ€‚




ๅคงๆงปใ€€ใ„ใ‹ใ‚Šใ‚„้•ทไป‹ใŒใ„ใ‚‹ใ€‚(็ฌ‘) ใŸใจใˆใฐใ€ๅƒ•ใŒใใ“ใซไฝ•ใŒใ‚ใ‚‹ใ‚“ใ ใจๆ€ใฃใฆใƒใƒผใƒณใจ้–‹ใ‘ใŸใ‚‰ใ€้•ทใ•ใ‚“ใŒใ„ใฆใ€Œใ‚ฆใ‚ช๏ฝžใ€ใจใ‹ใ€‚(ไธ€ๅŒๅคง็ฌ‘) ่’ๆœจใ€€ใงใ‚‚ใ€ใใ†ใ„ใ†ๆ„ๅค–ๆ€งใฃใฆใ€ใ€Œ็‰ฉ่ชžใ€ใ‚’ไฝœใ‚‹ไธŠใงๅฟ…่ฆใงใ™ใ‚ˆใญใ€‚







ๅคงๆงปใ€€ใƒˆใƒชใƒƒใ‚ฏใจใ„ใ†ใ‹ใ€ๅฟƒ้œŠๅ†™็œŸใจใ„ใฃใ—ใ‚‡ใงใ€ไฝ•ใ‹ใ“ใ†ใ‚ฏใƒ‹ใƒฃใ‚ฏใƒ‹ใƒฃใ—ใŸๅฒฉใŒใŸใ ้ก”ใซ่ฆ‹ใˆใ‚‹ใฃใฆใ„ใ†ใฎใŒใ‚ใ‚‹ใ˜ใ‚ƒใชใ„ใงใ™ใ‹ใ€‚Kใ•ใ‚“ใฆใ„ใ†่‡ช็งฐ็ง‘ๅญฆใ‚ธใƒฃใƒผใƒŠใƒชใ‚นใƒˆใŒใ„ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€ใใฎไบบใŒใ€ๅฎŸใฏๆœˆใฏUFOใฎ็ง˜ๅฏ†ๅŸบๅœฐใ ใฃใŸใจ่จ€ใฃใฆใ€ๆœˆใฎๅ†™็œŸใ‚’ใ„ใฃใฑใ„ๅ‡บใ—ใฆใ€ใ‚ฏใƒฌใƒผใ‚ฟใƒผใจใ‹ใฎไธŠใ‹ใ‚‰ๅญ—ใ‚’ใชใžใฃใฆใ€ใ“ใ“ใซUFOใŒไฝ•ๆฉŸ็ฝฎใ„ใฆใ‚ใ‚‹ใจใ‹ใ€ใ“ใ“ใซ็ง˜ๅฏ†ๅŸบๅœฐใŒใ‚ใ‚‹ใจใ‹ใ€็ตตใซใ‹ใใ‚“ใงใ™ใ€‚ใใ†ใ„ใ‚ใ‚Œใ‚Šใ‚ƒใใ†่ฆ‹ใˆใชใใ‚‚ใชใ„ใ‘ใฉใ€ๅฒฉใฎๅ†™็œŸใจใ‹ใ€้ ใใ‹ใ‚‰ใฎใ—ใ‹ใ‚‚ใ‚ˆใใ‚ใ‹ใ‚“ใชใ„ๅ†™็œŸใงใ€ใ“ใ“ใซไบบใฎ้ก”ใŒใ‚ใ‚‹ใ‹ใชใ‚ใจๆ€ใˆใฐใใ†ๆ€ใˆใกใ‚ƒใ†ใ˜ใ‚ƒใชใ„ใงใ™ใ‹ใ€‚ใใ†ใ„ใ†ๆ„Ÿใ˜ใงใ™ใ‚ˆใ€ใ‚ใ‚Œใฃใฆใ€‚


ๅคงๆงปใ€€ใใ†ใ„ใ†ใƒ‘ใƒฉใƒŽใ‚คใ‚ข็š„ใชใจใ„ใ†ใ‹ใ€้›†ไธญใ—ใพใใฃใกใ‚ƒใฃใฆใ€ใใฎไธ–็•ŒใซๅฎŒๅ…จใซๅ…ฅใฃใกใ‚ƒใฃใฆใ€ไฝ•ใ‹ใ‚‚ใ†้€ธ่„ฑใ—ใกใ‚ƒใฃใฆใ‚‹ใจ่จ€ใ†ใฎใ‹ใชใ€ใใ†ใ„ใ†ไบบใฃใฆใ„ใ‚‹ใ˜ใ‚ƒใชใ„ใงใ™ใ‹ใ€‚็‰นใซไฝœๅฎถใฎๆ–นใฃใฆใ€‚ใ ใ‹ใ‚‰ใ€ๅฎŸใฏๅƒ•ใฏใŠไผšใ„ใ™ใ‚‹ใพใงใฏ่’ๆœจใ•ใ‚“ใ‚‚ใใ†ใ„ใ†ๆ–นใ ใฃใŸใ‚‰ใฉใ†ใ—ใ‚ˆใ†ใ‹ใจใ€ใกใ‚‡ใฃใจๆ€–ใ‹ใฃใŸใ‚“ใงใ™ใ‘ใฉใ‚‚ใ€‚




ๅคงๆงปใ€€Hใ•ใ‚“ใฏใ€Œใ‚ฆโ—‹โ—‹ใ‚ฌใ‚คใ€ใฃใฆไฝœๅ“ใ‚’ๆ›ธใ„ใฆใ‚‰ใฃใ—ใ‚ƒใฃใฆใ€ๅƒ•ใ‚‚ๅคงๅฅฝใใชใ‚“ใงใ™ใ‘ใฉใ€ใใฎไฝœๅ“ใฎไธปไบบๅ…ฌใŒใฉใ“ใ‹ใงๅฎŸๅœจใ™ใ‚‹ใ‚ˆใ†ใชๆฐ—ใŒใšใฃใจใ—ใฆใŸใ‚“ใ ใใ†ใงใ™ใ‚ˆใ€‚ใงใ€ไฝ•ใจใ‚ใ‚‹ๆ—ฅใ€ๅฎถใซใใฎไธปไบบๅ…ฌใ ใจๅไน—ใ‚‹ไบบ้–“ใŒๆฅใกใ‚ƒใฃใŸใ‚“ใงใ™ใฃใฆใ€‚ใจใฆใ‚‚็Šฌโ—‹โ—‹ใจใฏๆ€ใˆใชใ„ๆ™ฎ้€šใฎใŠใ˜ใ•ใ‚“ใ ใฃใŸใ‚‰ใ—ใ„ใ‚“ใงใ™ใ‘ใฉใ€‚ใใ‚ŒใงHใ•ใ‚“ใฏใ€ๆœ€ๅˆใฏใ“ใ„ใคใฏใŸใ ใฎใƒ‘ใƒฉใƒŽใ‚คใ‚ขใ ใ‚ใ†ใจๆ€ใฃใฆใ€ใงใ‚‚ๆ€–ใ„ใ‹ใ‚‰่ฉฑใ—ใฆใŸใ‚“ใงใ™ใฃใฆใƒปใƒปใƒปใ€‚ใงใ‚‚ใ€Hใ•ใ‚“ใฏ่ฉฑใ—ใฆใ‚‹ใ†ใกใซใ“ใ„ใคใฏๆœฌ็‰ฉใ ใจๆ€ใฃใกใ‚ƒใฃใŸใ‚“ใงใ™ใญใ€‚ใใ‚Œใงๆใ‚‹ในใไบ‹ใซใ€ใ‚ใ‚‹้›‘่ชŒใง็ทจ้›†่€…็ซ‹ไผšใ„ใฎไธ‹ใ€ๅฏพ่ซ‡ใ—ใฆใ‚‹ใ‚“ใงใ™ใ€‚(็ฌ‘)


ๅคงๆงปใ€€ใใ†ใ€‚ใใ‚Œใงๅƒ•ใ€ใใฎ่ฉฑใ‚’UFO็ ”็ฉถๅฎถใฎ็Ÿฅไบบใซ่ฉฑใ—ใŸใ‚“ใงใ™ใ‚ˆใ€‚ใใ—ใŸใ‚‰ใ€ใใฎSใ•ใ‚“ใฆใ„ใ†ๆ–นใŒใ€ใ€Œใ„ใ‚„ใ€ๅƒ•ใ‚‚ๅฎŸใฏHใ•ใ‚“ใฎใƒ–ใƒฌใƒผใƒณใจใ—ใฆ่ถ…่ƒฝๅŠ›ใจใ‹ใฎ่ณ‡ๆ–™้›†ใ‚ใ‚’ใ—ใฆใ„ใŸใ‚“ใ ใ‚ˆใ€ใจใ‹่จ€ใ„ๅ‡บใ—ใพใ—ใฆใ€ใ€Œใ ใ‹ใ‚‰ใ€ๅƒ•ใ‚‚ใใฎ็Šฌโ—‹โ—‹ใ•ใ‚“ใซไผšใ„ใพใ—ใŸใ‚ˆใ€‚่ฆ‹ใฆไธ‹ใ•ใ„ใ€‚ใ‚ตใ‚คใƒณใ‚’ใ‚‚ใ‚‰ใฃใŸใ‚“ใงใ™ใ‚ˆใ€ใจใ€‚(็ฌ‘)่ฆ‹ใ›ใฆใ‚‚ใ‚‰ใฃใŸใ‚‰็ขบใ‹ใซใ€Ž็Šฌโ—‹โ—‹ใ€ใจใ‚ตใ‚คใƒณใซๆ›ธใ„ใฆใ‚ใ‚‹ใ‚“ใงใ™ใ‚ˆใ€‚ใฉใ†ใ—ใพใ™๏ผŸใ€€ใ‚ใ‚‹ๆ—ฅ่’ๆœจใ•ใ‚“ใฎใŠๅฎ…ใซใ‚ธใƒงใ‚ธใƒงใŒ่จชใญใฆใใŸใ‚‰๏ผ



่’ๆœจใ€€ใงใ‚‚ใ€็Šฌโ—‹โ—‹ใฏๅƒ•ใ‚‚ๅฅฝใใ ใ‹ใ‚‰ใ€ๅฎŸ้š›ใซใ„ใ‚‹ใ‚ˆใ†ใชๆ„Ÿใ˜ใฏใ—ใพใ™ใ‚ˆใญใ€‚




่’ๆœจใ€€ใงใ‚‚ใ€็งใฎๆ‰€ใซใ‚‚ใ€ใฉใ†ใ—ใฆๆณข็ด‹ใฃใฆ็Ÿฅใฃใฆใ‚‹ใ‚“ใงใ™ใ‹ใจ่จ€ใ†ไบบใŒๆฅใพใ™ใ‚ˆใ€‚็งใŒใ‚„ใฃใฆใ„ใ‚‹ใ‚“ใ ใฃใฆใ€‚






่’ๆœจใ€€ใƒ“ใƒ‡ใ‚ชใงใ™ใ€‚ใ‘ใฉใ€ใ“ใฎใ‚ทใƒŠใƒชใ‚ชใฎๅ‡บๆฅใŒใ„ใ„ใ‚“ใงใ™ใ‚ˆใ€‚ไฝ•ใ‹ๅƒ•่‡ช่บซใŒๆ›ธใ„ใŸ่จณใ˜ใ‚ƒใชใ„ใ‚“ใ ใ‘ใฉใ€่‡ชๅˆ†ใŒๆ›ธใ„ใŸใ‚ˆใ†ใชใƒปใƒปใƒปใ€‚











ๅคงๆงปใ€€ไพ‹ใˆใฐใ€Œใ‚ตใ‚ถใ‚จใ•ใ‚“ใ€ใงๆณขๅนณใฎๅฃฐใŒใ€Œใƒซใƒ‘ใƒณไธ‰ไธ–ใ€ใฎๅฃฐใ ใฃใŸใ‚Šใ™ใ‚‹่จณใงใ™ใ‚ˆใ€‚ใใ‚Œใฏ่ฆ‹ใฆใฟใŸใ„ใชใ‚ใ€‚


ๅคงๆงปใ€€ใ‚ใฃใ€ใ™ใ”ใ„ไผผใฆใ‚‹ไบบใŒใ„ใ‚‹ใ‚“ใงใ™ใ‚ˆใ€‚ๅบƒๅทๅคชไธ€้ƒŽใฎใพใญใ‚’ใ™ใ‚‹ไบบใงใ€‚ใปใ‚“ใจใ€ไพ‹ใˆใฐใ€ใƒซใƒ‘ใƒณใฎๅฃฐใŒๅบƒๅทๅคชไธ€้ƒŽใ ใฃใŸใ‚Šใ—ใŸใ‚‰ใ€‚ใใ‚Œใ“ใใŒใพใ•ใซๆ—ฅๅธธใฎไธญใฎ็•ฐๅธธใงใ™ใ‚ˆใ€‚ไฝ•ใ‚ˆใ‚Šใ‚‚ใ€‚ไพ‹ใˆใฐใ€ใ‚ใ‚‹ๆ—ฅใƒ†ใƒฌใƒ“ใ‚’ใคใ‘ใŸใ‚‰ใ€ใƒซใƒ‘ใƒณไธ‰ไธ–ใฎๅฃฐใŒๅ…จ็„ถ้•ใ†๏ผ


ๅคงๆงปใ€€ๆ˜Ÿไธ€ๅพนใฎๅฃฐใ ใฃใŸใ‚Šใ—ใŸใ‚‰ๆฐ—็ตถใ—ใพใ™ใ‚ˆใ€ไธ€ๅ„„ไบบใŒใƒ†ใƒฌใƒ“ใฎๅ‰ใงใ€‚





ๅคงๆงปใ€€4ๆœˆใซใ€ŒUFOใจๆ‹ไบบใ€ใจใ„ใ†ใ‚ขใƒซใƒใƒ ใŒๅ‡บใ‚‹ใ‚“ใงใ™ใ‚ˆใ€‚ใพใ‚ใฒใจใคใ‚ˆใ‘ใ‚Œใฐ่ฒทใฃใฆใ„ใŸใ ใ‘ใŸใ‚‰ใƒปใƒปใƒปใ€‚ใใ—ใฆๅƒ•ใฏ็œŸๅ‰ฃใซใ€ใ‚ใจๅๅนดไบŒๅๅนดใ‹ใ‹ใฃใฆใ‚‚ใ„ใ„ใ‹ใ‚‰ใ€Œ็‰ฉ่ชžใ€ใ‚’ไฝœใ‚ŠใŸใ„ใจใ€‚ใงใ‚‚ใ‚„ใฃใฑใ‚Šๅฐ่ชฌใ‹ๆ˜ ็”ปใจใ‹ใ„ใ†ๆ‰‹ๆฎตใซใชใ‚‹ใ‚“ใ ใ‚ใ†ใชใ‚ใ€‚

่’ๆœจใ€€ใใ†ใงใ™ใญใ€‚ๆœˆไธฆใฟใงใ™ใ‘ใฉใ€้ ‘ๅผตใ‚Šใพใ™ใ‹ใชใ€‚ใ€Œใ‚ธใƒงใ‚ธใƒงใ€ใ‚‚ใ‚ขใƒ‹ใƒกใฎไป–ใซใ‚‚ใƒ•ใ‚กใƒŸใ‚ณใƒณใ‚„ๅฐ่ชฌใซใชใฃใฆใพใ™ใ‘ใฉใ€ใใฎใฉใ‚Œใซใ‚‚ๆœฌๅฎถใฎใƒžใƒณใ‚ฌใŒ่ฒ ใ‘ใชใ„ใ‚ˆใ†ใซๆ›ธใ„ใฆใ„ใใคใ‚‚ใ‚Šใงใ™ใ€‚ โ€•ๆœฌๆ—ฅใฏใฉใ†ใ‚‚ใ‚ใ‚ŠใŒใจใ†ใ”ใ–ใ„ใพใ—ใŸใ€‚ (ๆธ‹่ฐทใ€Žใ‚ฟใƒณใƒˆใƒฉใ€ใซใฆ)

่’ๆœจๅ…ˆ็”Ÿใ‹ใ‚‰ใฎใƒ“ใ‚ถใƒผใƒซใƒˆใƒผใ‚ฏๅพŒ่จ˜!! ใ€Œใƒžใƒณใ‚ฌๅฎถใซใ—ใฆใฏๆ™ฎ้€šใฎไบบใ™ใƒใ€ใจใใƒผใ„ใƒผใ‚ใ‚“ใŸใ ใฃใฆใƒญใƒƒใ‚ซใƒผใฎใใ›ใซใพใ˜ใ‚ใชไบบใฎใใ›ใซ ๅฏพ่ซ‡ใฏไธ€็จฎใฎ้—˜ใ„ใ ใชใจๆ€ใฃใŸ

Japanese VHS 1 (OVA).jpg
Home Media
Published November 19, 1993
๐Ÿ‘ค Hirohiko Araki

Hirohiko Araki talks about the anime adaptation of Jojo's Bizarre Adventure

Araki: Despite the fact that I am the author, JOJO is a manga that I have trouble describing. In view of its success, I guess it must be a good series.

We asked the author of Jojo's Bizarre Adventure, Hirohiko Araki today, his impressions of the animated adaptation of his work. Discover what he revealed to us.

What did you think of the adaptation project at the beginning?

Araki: In the OVA, Jotaro's adventures in Part 3 do not take place in a continuous thread, but rather, in small pieces. It comes across as highlights of the things people liked the most. That seemed fine to me. I wanted something that would satisfy buyers, something that would please fans, something really addictive and exciting. I asked them in particular to make a 'beautiful anime'.

Your impressions of the 1st episode (episode 8)?

Araki: Well...Although I am the author of the series, I was really ensnared by it. Not necessarily because it was good or bad but just at the level of history and suspense it had. For example, when Polnareff flees holding Kakyoin I said to myself: "faster! faster!" These are the impressions I felt.

The music is really good. It's called the soundtrack, I think. I realized that it really was different from any other anime so far.

What did you think about the voice acting?

Araki: The first time I listened to them, I thought: "Ah, okay, so that's how they sound." But that isn't an unpleasant impression. I think this anime admirably adapts my work.

Here are some comments from the director, Mr. Kitakubo.

Kitakubo: I've already discussed this project once before with Mr. Araki. As it is a manga that exudes intense energy, I expected an equally energetic author. When I met him, I found him very open. I wouldn't say he is 'sweet', but my impression of him was that he was a little effeminate. His kind of words can be vexing. How can I put this..? He's like a girl with a very dark character. He's not really macho, and I think his eyes are a bit feminine too. In talking with him, I learned that he watched a lot of movies and read novels. He always seems to be looking for ideas to exploit in his manga. One feels in him a great desire to enrich his work. It is really very interesting. Working with him during this work really inspired me. It's very hard but I want to do my best to do surpass the original manga.

Araki: Episodes 1 and 2 are really well done. I look forward to the rest of the series. I hope that the feeling of presence in the other episodes will be as well done.

As you can see, Mr. Araki seems very happy with the anime. Mr. Araki, thank you very much. The production of episodes continues! We wait for them impatiently!

To Be Continued[4]

[Translated by Notelu]


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. (ๆฑๆ–น 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 ๆ‘ means village, oku ๅ„„ means one hundred million. His big bro, Keicho's cho ๅ…† 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 "Babel II," 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 ใ‚ดใ‚ดใ‚ด 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" (ใƒ‰ใƒผใƒณ๏ผ) appears, here comes ใ‚ดใ‚ดใ‚ด 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 midnight, 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 to 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 read 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.

[Translated by ???]

Japanese VHS 3 (OVA).jpg
Incomplete translation
Home Media
Published July 21, 1993

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.

[Translated by MetallicKaiser (JoJo's Bizarre Encyclopedia)]







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