JOJO A-GO!GO! (February 2000)

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Published February 25, 2000
JOJO A-GO!GO! cover

Essays and interviews found throughout the "Disc 3. Araki Hirohiko" book included in JOJO A-GO!GO!.


I have two sisters who are four years younger than me, and since they are identical twins, they get along very well, so when we were little, there was always a conspiracy going on between the two of them.

There’s no room in between a pair of twins' hearts. My parents were very close to each other, and my younger sisters are also very close to one another, so when we have family gatherings, I feel lonely because I’m the only one that’s left out. It’s a little bit like: “There are only two pieces of ice cream. If we give one to our big brother, we'll each have half of one, so let's eat it all first.” I feel like that's why I became a manga artist. If I had gotten along well with my sisters, I might have gone to university and gotten a job.

When I tried to get one of them on my side, the other one told me “You're cute”, so I think they had a bigger influence on me than my parents had. I tried to flatter them to get along with them, but it didn't work, after all. But although I'm trying to make excuses, it doesn’t mean that I don't have a good relationship with my sisters.

[Translated by Flanpucci]

4歳下の妹がふたりいるんですけど、 一卵性の双子で通じ合ってますからものすごく仲がいいのでね、小さい頃なんかだと、ふたりの陰謀があるんですよ。 双児の心のつながりの中には入っていけないんだ。 親もお互いに仲が良かったし、 妹も仲が良くて、 家族団らんの時もわたしだけが入っていけないさびしさがあるんですよね。 「アイスクリームがふたつしかない。 ひとつをお兄ちゃんに回すと わたしたちは半分ずつになっちゃうから先に食べちゃおう」とかさ。 わたしは、そのせいで漫画家になったような気がする。 妹と仲良かったら、 多分、 わたしは大学行って就職してたかもしれない。 わたし、どっちかだけ味方につけようとして、片方に「おまえカワイイねぇ」とか だから、親からの影響より妹からの影響が大きいと思うんだよね。 お世辞を言って仲良くなろうとしたけどダメなんだよ、やっぱり。 ただ別に妹たちと仲が悪いってわけではないんですよ、 弁解して言いますけど。

Do you want to go to space?

Q: Do you want to go to space?

Araki: I don’t think I would. A juice brand had a competition where you could win a ride on a space shuttle, but I don’t think I’d want to go on something like that. There’s no hotel or anything, so that’s an absolute no.

Q: So if they built a hotel on the moon, would you go?

Araki: Even if someone asked me to go, I would be very cautious and ask ‘Are you sure it’s safe?’. I wonder what could be up there, and I'm not interested in zero gravity.

Q: But weightlessness is an out of this world experience!

Araki: Isn’t it similar to being in sea water? Also, what if you get sick and need to throw up? There doesn't seem to be anything attractive about it, and I don't think there's anything mysterious about going to space. I think everyone is a little naive. What should I do if I get a strange illness?

I had decided not to go to America, but I made the decision because I was wondering what America had to offer, and I didn't really know what was there. For example, even if I looked at the Grand Canyon, I’d probably get bored of it after 10 minutes. If it were Niagara Falls, it would be about 5 minutes. I was like, "Oh, it's a waterfall. Hmm, wow, that's amazing." I went to a place where I could see the pyramids in Egypt, and I was impressed, but after about 10 minutes I thought, “Okay, let's go home.” (laughs)

Q: So, what kind of place makes a strong impression on you?

Araki: For example, when I think, “Did Audrey Hepburn come to the Colosseum too?' 'I get really excited. When I hear that Prince apparently came to that restaurant, I think, “Oh, then let’s eat here." !

Q: How about things like "This temple has a tradition of 1500 years", for example?

Araki: If I hear that Kobayashi Issa apparently composed a poem at that temple, then I start to feel the drama.

Q: Seems like there’s a clear demarcation.

Araki: There is. I would never think to try to climb the Everest, but… If Brad Pitt had climbed it, I think I’d want to give it a try (laughs).

[Translated by Flanpucci]


荒木 思わないです。ジュースの懸賞でスペースシャトルに乗ろうっていう企画があったけど、あんなの行こうという気がしない。ホテルとかもないし、そんなの絶対ヤだ。


荒木 誰かに行こうって言われても「え、大丈夫なの?」ってすごい用心深く聞いて考えると思う。 何があるのかなって思うし、無重力も興味ないし。


荒木 でも海の中に近いんじゃないのかな。 それに気持ち悪くなって吐いたらどうしようとか。 魅力的なものはなさそうだし、 宇宙に行っても神秘的な何かとか、ないんじゃないかなぁ。みんなちょっと考えが甘いと思うんだけど。変な病気になったらどーするんだ? わたし、アメリカには行かないって決めてたんですけど、それはアメリカに何があるのかなって考えて、何があるのかよくわかんないからそう決めてたんです。 たとえばグランドキャニオン見ても10分で飽きると思うんですよね。 ナイアガラの滝だったら5分ぐらいかな。 「あ、滝ね。ふーん、おー、すごいね」って感じで。 エジプトもピラミッドが見える位置に行って、感動したけど10分ぐらいで「さ、帰ろうか」って(笑)。


荒木 例えば「このコロッセオにはオードリー・ヘップバーンも来たのかー」と思うとすごい感動するもん。 あそこのレストランはプリンスも来たらしいって聞くと「おっ、ここで食ってやろうかなー」とか思うんだよ。


荒木 でも、その寺で小林一茶が一句詠んだらしいよ、って聞くとドラマを感じてくるんだよね。


荒木 あるんですよ。だから、エベレストにいちばん最初に登ろうって気はないけど、 ブラッド・ピットが登ったんだったら、ちょっと登ってみようかな、って(笑)。

I went to a Christian high school

I went to a Christian high school. That’s why I’m influenced by biblical stories sometimes.

Because “Christ is betrayed by Judas”, I thought about making Fugo a traitor when I was writing part 5. But I didn’t have the courage to do it, having a member of the group betray the others… That felt wrong. The story of Christ is very deep, and it’s a really heavy feeling to be betrayed by someone you had deep trust in, so that’s why I couldn’t write “betrayal” in JoJo.

When I was in high school, I listened to the stories of the Bible while making fun of it, at the time I thought “Is this school really trying to brainwash me?!”, but now when I think of it, there are a lot of good stories that really strike a chord in it. After all, the stories in the Bible may be true. For example, my idea of what a hero is may have been influenced. A hero is not someone who stands out, but someone who does justice behind the scenes, unnoticed by others and no one pays attention to him. Maybe that’s what a true hero is. I have the image of a hero that will do what’s right and true inside of them, even though they don’t get praised or paid by anyone, and may die quietly, unnoticed. It may be different from the typical hero, though.

Because he was crucified for the sake of others, I think of Jesus Christ as a hero. I guess that's the way I think about things.

Also, when a character dies, the depiction of their soul ascending to heaven in a smoke cloud is also influenced by religious paintings. There are paintings of Christ being taken to heaven by angels, and I wonder if that’s the soul and spirit of Christ ascending to heaven. There are paintings like this in the Vatican, on the ceiling of Michelangelo’s church, and in the Sistine chapel, so they’re relatively common. The reason why I draw the soul of a character when they die is that, in manga, sometimes characters die and then they come back to life. They come back even though their heartbeat stopped, or they were blown up and thrown off a cliff, they can come back to life (laughs). That’s why in order to let it definitely be known that a character has died, there has to be a moment where they say “goodbye” and ascend to heaven. Therefore, characters who have ascended to heaven will never be resurrected. The smoke look I give these scenes is representative of ghosts, and I can create the sensation of them disappearing into the clouds by drawing them with the same texture as the clouds. I personally think it has a divine, solemn feel when I add a bit of light shining through .

[Translated by Flanpucci]

高校がキリスト教系だったんですよ、わたし。 だから聖書の話とかの影響というのはありますよね。

「キリストはユダに裏切られる」 っていうのがあるから、第5 部のときはフーゴを裏切り者にしようかなって考えたことも あるんですよね。 でも、そこはちょっと勇気がなかったですね、 やっぱりメンバーが裏切るのって嫌で・・・・・。 キリストの話は 深くて、本当に信頼してた奴が裏切ってるっていうのは、すごく 重くて 『ジョジョ』で 「裏切り」 はできなかったですね。 聖書って高校の頃はね、本当はバカにして聞いてたんですよ。 「そうやって俺を洗脳してるのか、この学校はっ!」て思ってた けど、今になって思うといい話が多いんですよね、グッとくる。 結局、 聖書の話っていうのは真実なのかもしれないですね。 例えばわたしのヒーロー観なんてのも影響されてるかもしん ない。 ヒーローっていうのは目立ってる存在じゃなくて、陰で人に 知られず、誰にも見向きもされないけど正義を行ってるとか、 そういうのが本当のヒーローかなって思うんですよ。 誰かに誉められたり、 お金をもらったりするわけではない、 ひっそりと死んでるかも知れない、でも自分の中では正しい 真実を行う人というイメージがあるんですよ。 一般的な英雄 っていうのとはちょっと違うかもしれませんけどね。 イエス・キリストっていうのは人のために十字架に掛けられて、 ヒーローだなって思うんですよ。 なんかね、ものの考え方にそういうのがあるんだよね、わたし。

それにキャラクターが死んだときの、煙のような姿で魂が天に昇る描写も宗教画の影響なんですよ。 キリストが天使に連れられて昇っていく絵があって、 あれはキリストの精神が天に 昇っていくんだろうな、と思ってます その絵はバチカンにも あるし、ミケランジェロの教会の天井にもシスティーナにも ありますし、わりと一般的ですね。 なんでキャラクターが死ぬ ときに魂を描くかっていうと、 マンガってね、キャラが死んだ と思っても生き返るんですよ。 脈が止まったのに生き返るし、 爆破して崖に落としたくらいじゃ絶対に生きてるっつうの(笑)。 だから確実に死んだって知らせるにはやっぱり天に昇って いかないと「さようなら」っていうところがないとダメなんですね。 だから、天に昇ったキャラクターは二度と甦らないってことです。 煙っぽく描いているのは幽霊っていうイメージで、雲と一緒の 質感で描けるから消えていくときに雲になっていくような感じが 出せるんですよ。光がちょっと差したりして、神々しい感じが あるなと自分では思ってるんですけど。


I think a theme is necessary for design as well. The theme of Giorno’s design is “The symbol of life”, and since the symbol of life in Egypt is a scarab but Giorno is Japanese, I made it a ladybug instead. He also is the successor of Josuke, so he inherited his heart symbol. If you have a theme, you don’t have to think much more. Once I’ve decided that the main character, Giorno, would wear dark clothes, all the other characters were designed to contrast with Giorno. Giorno is the color black, so Bucciarati is white, but that alone would be boring, so I added exclamation marks, and since his ability is a zipper, I made the symbol a zipper too. “Something that’s not a pompadour, a man that looks like a woman is nice too, so how about a bob?" That’s about it. I created Narancia and Abbacchio in response to these two characters, and for Fugo who came last, I wondered what kind of design I should give him. There are a lot of different things that come out of JoJo at a mad pace, and it may feel like anything goes, but it’s actually just one flow.

[Translated by Flanpucci]

デザインにもテーマは必要だと思うんですよ。 ジョルノのデザインのテーマは「生命の象徴」で、エジプトだとスカ ラベが生命の象徴だけど日本人だからテントウ虫にして、 それに仗助から受け継いだハートマークを入れたりとか。 テーマがあると、そこだけ考えればいいんです。 そうして主人公のジョルノが黒っぽい服に決まると、ほかの各キャラクターのデザインはすべてジョルノとの対比で決めています。 ジョルノが黒だからブチャラティは白だけど、それだけじゃつまんないからビックリマークを入れて能力はジッパーだから象徴もジッパーにして、とかね。 髪型も「リーゼントじゃないし、女みたいな男もいいな、おかっぱはどう かな」とか、ただそれだけですよ。 このふたりに対してナランチャとかアバッキオをつくって、最後のフーゴはどんなデザインにしようかな、って 考えていく。「ジョジョ」はいろんなものがバンバン出てきて、何でもありみたいな感じがあるかもしれないけど、ひとつの流れがあるんですよ。

Araki Hirohiko Chronicle

Poker Under Arms

Q: The theme of a western centered around a poker game is quite unique.

Araki: The story's protagonist vs. rival setup follows the typical shonen manga formula. But just because it's a western doesn't mean the battle has to be fought with guns, so I decided to have them play poker and compete in a battle of wits instead.

Q: Do you remember what happened when you showed the work to your editor?

Araki: There were parts where the lines poked out of the panels. He was furious with me over that, and he asked why I didn't correct them with white correction fluid. But I didn't know that existed at the time, so I just ended up redrawing everything but the parts I expected to blank out (laughs). I didn't know any technical details at the time; I had a vague idea of what tones existed, but I was never sure what number to use, and I was unaware that they could be removed. If I made a mistake, I had to just redraw the entire page from square one (laughs). Poker Under Arms was around 30 pages long, but I think I drew around 100 pages overall. I was still in school at the time, so I worked hard on it overnight and on the weekends. It's a very memorable work for me.

Say Hi to Virginia

Q: What was the reason behind choosing a science fiction setting?

Araki: It's possible my inspiration for picking a spaceship as the setting was the movie Alien. I came up with the setting and situation first to create suspense, and then threw the main character in to finalize the character of the work.

Q: Did you pay any attention to readers' reactions?

Araki: I didn't really think about what the readers would enjoy. I made a lot of technical progress over the course of the work, and the design of the first page is very different from that of the last page. I drew it all by myself without a deadline, so it took quite a while. But since I could only publish two works a year, I had to ask myself, "Am I really going to be able to make a living as a manga artist?" Haha. I didn't have a part-time job, but revising my own manuscripts kept me busy. Around that time, many names were being rejected, and I think about 500 pages or so were tossed out. But that was normal, and I didn't need to be so nervous.

Outlaw Man

Q: There was a six-month gap after Say Hi to Virginia. What were you up to during that time?

Araki: I spent all my time drawing manga. I had already graduated from design school, so I would draw at home, bring it in, be told to correct it, then draw it all over again... At least, that's how it felt. I think it was with this work that I finally began to understand the technical details of the profession. I dreamed of becoming an assistant for a senior manga artist, but that was impossible for someone living in Sendai.

Q: It's also interesting that the protagonist is a fugitive.

Araki: I wanted to depict something like a battle of tactics against the enemy. I chose the western wilderness as the setting because I liked westerns. I began drawing the manga with a strong image of a man on a horse riding through the desert, or perhaps a boy in a school uniform riding through the desert.

Cool Shock B.T.

Q: The protagonist is more of a character here than in your previous short stories.

Araki: I had it in mind to serialize it. I stopped drawing B.T. after the decision was made, though, since it took me three weeks to draw one episode, and about half a year to draw ten episodes in advance. So even if I was asked to, I wouldn't have been able to continue drawing for more than ten episodes. Back then, I was still drawing by myself, though I might've had a little help from my sister.

Q: This was your first serialization. Was it a memorable work for you?

Araki: Actually, I just felt at the time that, "I already have the manuscripts, so why don't we serialize it?" Ha. The editorial department didn't like it very much, and it seemed the general opinion was that it was odd for the protagonist to be as wicked as he was. I sort-of felt like an outlaw writer. Even considering the flaws, I thought I was finally getting it right this time, and that the work had a similar charm to Sherlock Holmes. I love the Holmes series, so Koichi is the Watson to B.T.'s Holmes. The difference from Holmes is that rather than simply solving it, B.T. is an accomplice in the crime itself.

Q: The setting of B.T. allows for a sequel even all these years later, doesn't it?

Araki: Oh, of course. I wouldn't mind if you drew one (laughs).

Baoh the Visitor

Q: It's practically a science fiction action film, isn't it?

Araki: I've loved biology ever since I was in high school. I was reading a book on cutting-edge genetic manipulation one day, and I thought, "I could use this in a manga." That's the reason behind the name Baoh: it stems from "biotechnology." At the time, physical actors like Sylvester Stallone and Arnold Schwarzenegger were in vogue, so I combined the two to create this work.

Q: As for the enemy, Dress, what a beautiful name for an evil organization...

Araki: Many times, in spy novels, the enemy organization uses a casual name like "store" or "laboratory." It may be a humorous name, but I was going for that level of nuance. It's more normal than saying, "The enemy is the CIA," but it's also a bit creepier. I like that Baoh ends with the girl growing up.

Q: So you don't plan on drawing a sequel episode where the main character, Ikuro, wakes up?

Araki: Actually, I was thinking of drawing one as soon as the serialization ended (laughs). But wasn't Ikuro supposed to wake up seven years later? It's already been 15 years, so it's a little too late to resume the series (laughs). Baoh had a lot of passionate fans, and even I was impressed when I heard an idea about him turning his arm into a sword.

Gorgeous Irene

Q: Your first female protagonist, right?

Araki: This is an extension of Baoh, a female version of a work that focuses on the physical body. I drew both Irene works as pilots for a weekly serialization.

Q: And how did readers react?

Araki: It was well-received. There was talk of actually serializing Irene, but I thought to myself, "It's difficult to draw a girl," so I stopped after two issues. My editor was furious, but I told him, "At least I have this," having brought JoJo with me (laughs).

Q: But wouldn't it be possible to draw a sequel to this work in the present?

Araki: Ah, I suppose. It's common in places like America for people to hand over their works to others, right? I'll hand over Irene as well, so someone else can draw the sequel (laughs).

JoJo's Bizarre Adventure

Q: When it comes to JoJo, the Ripple and Stands come to mind.

Araki: The Ripple came about because I thought that wooden stakes and crosses were boring weaknesses for vampires. It's a very manga-like idea, but I thought, "The only way to counter the energy of evil is with the energy of life." I thought it would be nice to have the Ripple serve as a symbol of the story. Also, using one's own body to fight instead of a tool... That's an idea I inherited from Baoh.

Q: What about Stands?

Araki: Simply put, a Stand is really just a guardian spirit. I'm often asked what exactly a Stand is, to which I respond, "I don't quite know how to explain it..." (laughs). But it's a little different from what we call a guardian spirit, in that it's more so a kind of servant that autonomously protects you.

Q: Do you keep ideas for Stands in a notebook or anything?

Araki: Not always. I have an idea book, but I don't write down ideas as soon as they occur to me. Whenever I remember one, though, I make sure to jot it down. An idea you can't remember isn't worth it, so if I forget, I forget (laughs).

The Lives of Eccentrics: Nikola Tesla

Q: This is the only work where you were credited for just the story and composition.

Araki: As part of a project for Super Jump, I was asked to draw a short story for the magazine. But I was too preoccupied with JoJo to draw the images, so I was permitted to limit myself to the name and original story.

Q: Why did you choose Nikola Tesla, a real person, as the subject?

Araki: I read a book about Nikola Tesla's life and thought, "He seems like an incredible person." I also thought, "I love that such a person actually existed and got no reward for it..." I liked that he felt a bit like an outlaw. So I studied all types of reference material and used that to create the character.

Baoh the Visitor (OVA)

Q: This is the first time your manga has been adapted into an anime. How do you feel about it?

Araki: I think the anime is really well made, especially considering the limitations on its production. However, it adapts the two manga volumes into a single VHS, so it feels like it ends too quickly, and that's honestly a bit of a waste. Since the length of a single videotape is about as long as a short manga, if you were to adapt something like Under Execution, Under Jailbreak into an anime, it would be about the perfect length. For the Baoh anime, I would have liked to see the two volumes adapted separately.

JoJo's Bizarre Adventure (OVA)

Q: The OVA version is peculiar in that it's structured around the confrontation with DIO.

Araki: There was originally talk of adapting the manga starting from Volume 1. However, we would have never been able to fit everything into six episodes had we done that. Instead, we opted to just focus on the climax of the story. This meant other aspects were left out, but if you want to make something that's good to watch, you can't cram too much in. I guess you could say we put all our eggs in one basket.

Q: How involved were you in the anime's production?

Araki: I went over the script in great detail. I don't like it when the motives for a character's behavior are unclear, and by reading through the script I was able to check for that sort of thing. The part of the anime production process that interests me is the scriptwriting stage. It's the animators' jobs to make Jotaro look cool, so I had faith in them to do just that.

Under Execution, Under Jailbreak

Q: This is your first short story in a while, huh?

Araki: The reason I didn't draw any short stories is simply that I already had my hands full with weekly serialization.

Q: It's a locked-room mystery with only one character.

Araki: I thought that if I included more than one character in the story, the whole thing would fall apart. For example, if I tried to introduce an enemy in the 30 pages or so of a short story, I would have to explain them as well, and that would make the story too long to convey. With that in mind, I crafted the story around the premise that the character is alone in a locked room. I do think it gives it a unique tone, which I like. I drew the work on my days off from working on JoJo, so it took me around two months, since I only worked on it one day a week.

Dolce, and His Master

Q: Why did you choose a cat for the main character?

Araki: As I wrote in the afterword for the short story collection Under Execution, Under Jailbreak, I went to a meeting at my editor's house and found a cat. My editor said, "Isn't he just the cutest thing?" But I don't like cats, so I told him, "If I were lost in the snow-capped peaks, I'd probably eat him. Ah, now there's an idea." And that's how that idea came up (laughs).

Q: It was around this time that you began to draw more short stories again.

Araki: That's just because I was getting more commissions. I wasn't particularly thinking about writing short stories in particular, but the requests kept coming in (laughs).

Q: Is there much of a difference between short stories and JoJo?

Araki: It's all the same. I just take ideas from JoJo and turn them into short stories. That or I turn abandoned or unusable ideas into short stories. The same goes for Deadman's Questions.

Thus Spoke Kishibe Rohan - Episode 16: At a Confessional

Q: The JoJo character Rohan Kishibe makes an appearance in this short story.

Araki: At first, I wrote the story without Rohan, but it just didn't feel right without a narrator of sorts. In other words, Rohan serves as a navigator for the story. Have you ever seen the American television drama Alfred Hitchcock Presents? The story and main character are different every time, but what makes it interesting is Alfred Hitchcock's description at the beginning and end of it. It wouldn't be nearly as fun if it were just some regular announcer. For this work, I also wanted to use a character that readers would know, so it might as well be Rohan. The editorial department prohibited spin-offs of serialized works, but I figured it was probably fine, since Rohan wasn't the main character. That's where the "Thus Spoke" part of the title comes from (laughs).

JoJo's Bizarre Adventure: Figure Collections

Q: The first three-dimensional models of JoJo characters.

Araki: These figures blew me away, honestly! When it comes to 3D, even a slight error in the position of one arm can throw everything off. The people at Heavy Gauge know what they're doing, though. I wonder what they'd be doing if it weren't for these sorts of figures. Heavy Gauge's work has something in common with Renaissance sculptures, I think, and I admire their craftsmanship. It's nice to see people pursuing that kind of aesthetic.

Deadman's Questions

Q: The protagonist is the JoJo character Yoshikage Kira, right?

Araki: Except it's not a story about Stands. I didn't plan on using Kira from the beginning, and it happened purely by chance. I had originally planned to create a story about a ghost assassin, but you can't have an assassin without a motive or a reason. Furthermore, if he was also a criminal while he was alive, he must've been given the death penalty. Kira fit the bill perfectly, so I slipped his name at the end of the first episode. By doing so, it became a bit of a story for the fans, so to speak. But even if you don't know the first thing about Kira, you can still understand the story just fine.

Q: The idea of a ghost assassin is ingenious.

Araki: I also think it'd be interesting to learn about the rules of the afterlife, like barriers that can't be crossed or the philosophy of the dead. When Einstein was asked what it means to die, he replied that "it means not being able to listen to Mozart anymore." Such is the philosophy of the main character. I wanted to make a theme out of the notion that, while any ordinary person can easily listen to Mozart, it's a tall order for the dead.

JoJo's Venture (Video Game)

Q: What are your thoughts after playing the video game adaptation?

Araki: I don't play fighting games often, so it was a bit challenging for me (laughs). But when I heard from the development staff in the initial planning stages that Alessi would appear in the game, I thought to myself, "It's wonderful that the staff are so dedicated to this game!" The game didn't just feature strong characters, but also fast ones, cheating ones, and really all kinds of characters. That's how I could tell the game staff understood JoJo. If you don't understand these things, it's hard to explain, but if you do, you can definitely make a good game out of it. It may be a casual point, but I can tell where it's headed just from that glimpse, so I don't think there's any need for me to interfere. Somehow, it feels like you can take in the full picture from just speaking to the staff members. That's not something to be taken lightly, so one has to focus on the important details.

JoJo's Bizarre Adventure Part 6: Stone Ocean

Q: The JoJo series has its first female protagonist.

Araki: I used to think I couldn't portray female characters, and maybe my state of mind changed over time, but recently I've come to believe that women and men are essentially the same. I once interviewed a prison warden and asked him whether the crimes women commit differ from those of men. He replied, "They're identical. The motives are the same as men's, too." I'm sure there are crimes related to sexual activity and such, but I'm starting to believe that men have those as well. Also, the image of an all-male prison is just a bit repulsive (laughs). But I was worried all the same, and I was considering having a male protagonist right up to the last minute.

Q: What's the theme of Part 6?

Araki: You'll find out as you read it. I want to show why people make mistakes, why they risk their lives to fulfill their goals, that kind of thing. But it will celebrate humanity all the same!

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



荒木 この話は主人公がいてライバルがいて、という少年マンガの王道の図式なんですよ。ただ西部劇だからって拳銃をブッ放して勝負っていうんじゃなくて、お互いの心をさぐり合って勝負するっていうのにピッタリだったからポーカー勝負にしました。


荒木 線がはみ出しているところがあって「どうしてホワイトで修正しておかないんだ」って怒られました。でもホワイトがあるなんて当時は知らなくて、だから白くヌキになる部分を予想して、そこだけ白く残して描いてたんですよ (笑)。当時は技術的なことは何も知らなかったから、トーンの存在も何となく知っていたけど何番を使えばいいとかわからなかったし、削れるということも知らなかったから、失敗するとページ全部、ゼロから描きなおしてましたね (笑)。『武装ポーカー』は30ページくらいだけど、トータルで100ページくらい描いているんじゃないかな。学校に通っていたから夜とか週末にコツコツと描いてましたよ、これは。思い出深い作品ですね。



荒木 宇宙船を舞台にしたのは『エイリアン』っていう映画の影響とかもあるのかな。サスペンスを描くためのシチュエーション設定を先につくって、そこに主人公を放り込んでキャラクターができあがっていったんですよね。


荒木 読者ウケというのはあまり考えてなくて、わたしが描きたいものを描くという気持ちでしたね。この作品は技術的な進歩がかなりあって、最初の1ページ目と最終ページでは絵柄が違っていたりするんですよ。ひとりで描いて、しかも締め切りもなかったから結構時間をかけてやりました。ただね、年に2本くらいしか掲載されなかったから「本当にマンガ家として食べていけるのか?」と不安になりました(笑)。アルバイトはしてなかったけど、原稿の修正とかがあってすごく忙しかったですね。当時はネームもいっぱいボツになったし、多分、500ページくらいボツになってるんじゃないかな。でもそれくらいは普通で、それに青ざめてちゃいけないですね。



荒木 ずっとマンガを描いてましたね。デザイン学校は卒業していたんで家で描いて持ち込んで、直しを指示されて描き直して…、という感じでした。この作品で技術的なことをやっと勉強し始めたかな、という感じですね。先輩マンガ家のアシスタントになりたかったけど仙台に住んでいたから無理だったし。


荒木 敵との駆け引きっていうのかな、そういうのを描きたかったんですよ。西部の荒野を舞台にしたのは、西部劇が好きだったからですね。マンガを描き始めるきっかけも、馬に乗った男が砂漠を行くとか、学生服を着た少年が砂漠を行くというイメージが強烈にあったからだし。



荒木 連載を意識してましたからね。『ビーティー』は連載が決まったから描いたんじゃなくて1本描くのに3週間、合計半年くらいかけて10話分を先に描いてたんですよ、だから「10話以上続けろ」って言われても無理でしたね。この当時はひとりで描いてて、妹にちょっと手伝ってもらったりした程度じゃないかな。


荒木 でも、当時は「もう原稿あるんだから、なんでコレを連載しないんだよー」って気持ちのほうが強かったですね (笑)。編集部のウケが今ひとつで「悪を主人公にするのはおかしいのでは?」っていう意見もあったみたいで、なんつーか、アウトローの作家って感じでしたね、わたしは。欠点があるのかなって考えても「ちゃんとなってるよなー」って思ったし、シャーロック・ホームズにも通じる魅力はあるわけだし。あ、わたしはホームズのシリーズが好きなんですよ、だからビーティーがホームズ、公一くんがワトソンなんです。でもホームズと違うのは、事件を解決するのではなく、ビーティーが犯罪そのものに関わっていくという部分ですね。


荒木 あ、そうですね、描いてもいいですけど (笑)。



荒木 高校生の頃からわたしは生物が好きでね。それで最先端の遺伝子操作の本を読んでいて「マンガに使えるな」と思いついたんですよ。だからバオーって名前はバイオ・テクノロジーから来ているんです。で、当時の世の中はシルベスター・スタローンとかアーノルド・シュワルツェネッガーとかの肉体派が流行ってて、ふたつを結びつけてできた作品ですね。


荒木 スパイ小説とかで、なにげない名前を使うってのが多かったんですよ、敵の組織の呼び名が「ショップ」だったり「研究所」だったりとか。ユーモアのある名前っていうか、そういうニュアンスを取り入れました。「敵はCIAだ」っていうよりも普通ぽいけど、その分なんか不気味ですからね。この『バオー』はラストが「女の子がちょっと成長しているところで終わる」ってのがいいんですよ。


荒木 あ、連載が終わったときは描こうと思っていたんですよ (笑)。だけど、育朗って目覚めるのは7年後って設定でしたっけ? もう15年もすぎているから再開するにはチョットなあ (笑)。この『バオー』はマニアックなファンがついてくれたんだけど、自分でも腕がバリバリって剣になるアイデアなんかは「おおおっ!」って思いましたね。



荒木 これは『バオー』の延長線上にあって、肉体をテーマにした作品の女性版ですね。週刊連載のパイロット版として描いてるんですよ、『アイリン』の2本は。


荒木 良かったですよ。だから『アイリン』を週刊連載にしようっていう話もあったんだけど、でも「女の子を描くのは難しいなー」と自分で思ったんで、2回でやめちゃいました。担当の編集者には怒られたけど「じはコレがあるんですよー」って『ジョジョ』をもっていったんです (笑)。


荒木 あー、そうですねえ。アメリカなんかだと作品を他人に譲るってのがあるでしょ、『アイリン』も譲るから誰か続編描いてよー (笑)。



荒木 波紋はね、吸血鬼に対抗するのに木の杭とか十字架とかじゃつまんねーなー、というのがあったからです。マンガ的な発想だけど「悪のエネルギーに対抗するには生命のエネルギーしかない」と思ったからだし、その波紋を物語の象徴にすればいいかなって。それと道具を使うんじゃなく自分の肉体を使って戦うっていう…、それは『バオー』から引き継いでいるものなんですよね。


荒木 簡単に言うと本当は守護霊なんですよね、スタンドは。よく「スタンドって何?」と聞かれたけど「わかってよー、どう説明すればいいのかなー」って思います (笑)。ただ日本で言う守護霊とはちょっと違って、自動的に自分を守ってくれるしもべのような存在ですね。


荒木 常にってわけでもないですね。アイデア帳はあるけど、思いついたらすぐメモするんじゃなく、覚えていたらおとでアイデア帳に書いておくって感じです。覚えていないアイデアはよくないんですよ、だから忘れたら忘れたまま (笑)。



荒木 「スーパージャンプ」の企画の一環として読み切りを描いてくれと依頼がきたんですよ。でも『ジョジョ』で手一杯で絵を描くのは無理だったから、ネームと原作だけにしてもらいました。


荒木 ニコラ・テスラの生涯を書いた文献を読んで「スゴそうな人だ」って思ったからですね。「こういう人が実在して、しかも報われないところがいいなー」って…、アウトロー的な部分がいいんですよ。それで資料をいろいろと調べていって、キャラクターをつくっていきましたね。



荒木 いろんな制約がある中で、よくやってくれたアニメだと思いますよ。ただ、コミックス2巻分をビデオ1巻でまとめてるから、なんかアッという間に終わっちゃって「もったいないなー」と思いましたね。ビデオ1巻の収録時間って短編の長さですから、例えば『死刑執行中脱獄進行中』をアニメにすると、ビデオ1巻分くらいなんです。『バオー』のアニメは全2巻構成くらいで見たかったですね。

ANIMATION ジョジョの奇妙な冒険


荒木 最初は原作の第1巻からアニメ化って話もあったんですけどね、それだと全6巻のアニメじゃ絶対足りないからクライマックスだけにしようということで、あの形になったんですよ。ほかのエピソードは省かれることになったけど、いいシーンを見せるためには詰め込み過ぎはヤバいですから。1点豪華主義ということですね。


荒木 アニメの『ジョジョ』は音がいいんだよー!音響はルーカス・アーツが担当してくれたんだけど、ヘリコプターの飛ぶ音もね、「実際に出てくる機種の音じゃなきゃダメだ」っていうことで、わざわざそのヘリを探して音を録ってきたらしいんですよ。職人ですよねー、そこまでやらなきゃ本当はダメだよなって思う。


荒木 シナリオは細かくチェックさせてもらいました。キャラクターが動機不明の行動をとったりするのは嫌なんですけど、それは脚本を読めばチェックできますから。だからアニメで興味がある部分は脚本の段階ですね。承太郎がカッコよく立つ絵なんかはアニメーターさんの仕事ですから信頼してお任せしてます。



荒木 短編を描かなかったのは、単純に週刊連載で手一杯だからっていう理由ですね。


荒木 複数のキャラクターを出したら破綻すると思ったんですよ。例えば30ページ前後の短編で敵を出そうとすると、そいつのことも説明しなきゃならなくて話が膨らんで描ききれなくなるから大変なんですよ。それで「キャラクターはひとりで密室が舞台」というのを前提にしてつくったんですけど、でも逆にそこが異色な感じが出て、自分でもいいなーって思ってます。これは『ジョジョ』の休みの日に描いてたから、毎週1日だけ使って2ヶ月くらいかかったかな。

ドルチ 〜ダイ・ハード・ザ・キャット~


荒木 それは短編集「死刑執行中脱獄進行中」のあとがきにも書いたように、編集者の自宅に打ち合わせに行ったら猫がいてね、「コイツがかわいいんだよー」って編集がしみじみ語るんですよ。だけどわたしは猫が嫌いですから「もし雪山で遭難したらきっと食べちゃうよ。…あ、このアイデアでやろう」と思って、それであーゆー話になりました(笑)。


荒木 それは単純に依頼が増えたからですね。特に短編を描こうと思っているわけではなくて、依頼が来たからです (笑)。


荒木 変わらないですね。『ジョジョ』のアイデアを短編にもってきたりとか、逆にこぼれたものや使えないアイデアを短編にしてるだけですから。『デッドマンズQ』もそうですしね。

岸辺露伴は動かない 〜エピソード16:懺悔室〜


荒木 最初は露伴を出さないで話をつくっていたけど、狂言回し的なキャラクターがいないとしっくり来なかったんですよ。つまり露伴は物語のナビゲーターですね。アメリカのテレビドラマの『ヒッチコック劇場』とか見たことあります?主人公や話は毎回違うけど、ヒッチコックが冒頭とラストで話を紹介するからおもしろいんですよ。あれが単なるアナウンサーとかだったら、おもしろくない。それで、この作品も「読者が知っているキャラクターがいいな」ということで「露伴を使おうかなー」と。編集部からは連載作品の外伝禁止令が出てたんだけど、主人公は露伴じゃないからいいや、と思って。だからタイトルも露伴は「動かない」にしました (笑)。

FIGURE ジョジョの奇妙な冒険


荒木 このフィギュアは感動しましたよー!! 立体ものって、腕の角度がちょっと違うだけで出来が悪くなったりするんだけど、フィギュアをつくったヘビーゲイジの人はちゃんとそれをわかってるんですよね。だから「こういうフィギュアを出さないで、何を出すというんだ!」って思いました。ヘビーゲイジの仕事はルネッサンスの彫刻にも通じるものを感じるし、職人だなーと思うし、尊敬してますよ、わたしは。こういうふうに美学を追究していく人ってのを見るとうれしいですね。



荒木 でもスタンド話じゃないし、最初から吉良を使おうと思っていたわけじゃなくて偶然なんですよ。もともとは幽霊の殺し屋という設定で話をつくろうと思っていたんだけど、殺し屋にするには動機や理由を描かなくちゃいけない。それと生前が犯罪者なら、罰を受けて死んだはずだ、と。そうしたら吉良がピッタリだったんで、第1話の最後で名前を出したんです。そうすることで、ちょっとマニアックになったけど、でも吉良を知らない人が読んでもちゃんとわかる展開になっているし。


荒木 それと死後の世界のルールがね、例えば結界があって入れないとか、死後の人生観とか、そういうのがおもしろいと思うんですよ。アインシュタインが「死ぬってどういうことですか?」と聞かれて「モーツァルトが聴けなくなることだなあ」と答えたそうですけど、そういう人生観がこの主人公にはあるんです。普通の人だったら簡単にモーツァルトが聴けるけど、死んだ人には一苦労という価値観をテーマにしたかったんですよね、で、これは続編を描きたいです。

GAME ジョジョの奇妙な冒険


荒木 格闘ゲームをあまりやらないわたしには、ちょっと難しいです (笑)。ただ、最初の企画段階のときに開発スタッフから「アレッシーを登場させる」と聞いて「スタッフのこだわりを感じる、これはいいぞ!」と思ったんですよ。強いヤツだけじゃなく、素早いヤツとかズルいヤツ、そういうキャラクターのツブを揃えてるわけで、ゲームのスタッフは『ジョジョ』をわかっている人たちだって感じましたから。そういうことをわかっていない人だと説明するだけで苦労するんだけど、わかっているならいいゲームが絶対できるんですよ。何気ないところかもしれないけど、そこを見ると全部その先も見えてくるし、だから口出しする必要はないなって思うし。なんかね、スタッフの人たちと話をしているだけで全体的ににじみ出てくるんですよね、そこを甘く見ちゃダメです、いちばん大切なものを見ないとね。

ジョジョの奇妙な冒険 第6部 ストーン オーシャン


荒木 昔は「女性は描けない」と思っていたけど、心境の変化っていうか、女も男も一緒だというのが最近わかってきたんですよ。前に刑務所の所長さんに取材したことがあって「女性の犯罪は男性と違うのか?」と聞いたら「同じです、動機も男と変わらない」ということでしたし。色恋絡みの犯罪とかはあるんだろうけど、深い部分では男と一緒かな、と思えるようになって、それと男ばかりの刑務所だとちょっと絵的にムサい感じがするし (笑)。ただ、やっぱり悩みましたね、直前まで主人公は男にしようと思ってました。


荒木 それは読んでいれば見えてきますよ。なぜ人間は過ちを犯すのか、なぜ命を賭けてまで何かを成そうとするのか、そういうところを描きたいですね。ただ「人間を肯定する」というのは絶対に変わらないですね!!

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