Kenritsu Umisora Koko Yakyu Buin Yamashita Taro-kun Vol. 5 (August 1988)
Fanroad (May 1986)
Interview Archive
Hirohiko Araki's afterword, written in the fifth volume of "Kenritsu Umisora Koko Yakyu Buin Yamashita Taro-kun" by Koji Koseki, published August 10, 1988.[1]
Interview
I'll never forget the first time I saw a manga artist in person! That manga artist was Koseki-sensei. It happened eight years ago — the same Winter that John Lennon died! I had just made my debut and was invited to attend a ceremony (the Tezuka/Akatsuka awards) by the editor of Weekly Shonen Jump. So I hastily made my way from Sendai in the Tohoku region to Tokyo, where the event was being held.
At the venue was Koseki-sensei, who, at the time, was working on his series Oh, Ichiro. He was a man of few words, yet he commanded a very striking presence. "M-My name is Araki... Nice to meet you," I nervously stuttered. "Hi" That was all he said. Even so, it was still an impactful moment. Although only a year older than me, Koseki-sensei was already drawing 20 pages a week and had even developed his own unique style. As I stood there in awe, I couldn't help but feel an overwhelming sense of admiration. He was everything I aspired to become, like a newbie looking up to his seniors.
At first glance, it may appear that Taro-kun and JoJo are total opposites: JoJo has towering characters with complex shading and lighting, while the characters in Taro-kun are shorter and much more simplistic. But don't let that fool you! Yamashita Taro-kun has influenced JoJo more than any other work, and is the series I hold the highest respect for. This might come as a shock, but not all manga protagonists have to be tall and muscular, resemble a model, or have superpowers.
Koseki-sensei's works have taught me that heroes should grow up with a purpose in life and have a burning passion in their hearts that shines brighter than anyone else... Although they seem nothing alike, Taro-kun provided the groundwork for understanding all the fundamental aspects of manga that I used for JoJo. Are you surprised? Even to this day, I still admire Koseki-sensei the same way I did when I made my debut... He's a senior who I'll always look up to.
[Translated by Morganstedmanms (JoJo's Bizarre Encyclopedia)]
忘れもしない ぼく、荒木飛呂彦が生まれて初めて、肉眼で目撃した漫画家!それはこせき先生である。8年前のJ・レノンが死んだ冬!デビューしたばかりのぼくは、週刊少年Jの編集者からパーティー(手塚・赤塚賞授賞式)に出席するよう言われ、東北の仙台からドキドキの緊張で上京して来ました。会場には物静かではあるが、ズオォとばかりにおられたのが、当時『ああ一郎』を連載中のこせき先生。「は...はじめまして･･････荒木といいます」「ども」それだけの会話。しかしそれは、ぼくにとって強烈体験でした。ぼくよりひとつだけの年上にして、週に20枚もの原稿をかすでに独特のスタイルの作風までも持つ人が、実際に目の前にいる! 自分もこんな風になれるのか?部活にはいった新入生が、先輩にあこがれるあの気持ちでした。
『たろーくん』と、ぼくの『JOJO』は、一見逆のタイプの作品に見える。JOJOは8頭身で、複雑な光や影がたくさんはいります。一方、たろーくんは4頭身でシンプル!しかし、この場でハッキリ言う。「JOJO」が、どの作品よりも影響を受け、ぼくがもっとも尊敬している作品は、『山下たろーくん』だということを! ウッソォー! と思われるかもしれない。だが、漫画のヒーローとは、背が高く筋肉モリモリで、モデルのような顔をしてなくてもいいし、超能力など使えなくてもいい。
心の底に誰よりも熱い気持ちを持ち、目的に向かって成長すればいい･･･ということを先生の作品は教えてくれました。まったく逆の作品のようだけれど、JOJO』は『たろーくん』を教科書にして、漫画にとって大切なところを勉強しているのです。どうです?そして今でもこせき先生は、ぼくがデビューした時と同じ気持ち･･･あこがれの先輩というわけなのです。Gallery
Full afterword
Inside illustration
