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.
1981 to 1995
Erika: You look the same as the photo â¡. As soon as I entered the store, I knew it was you.
Araki: Oh, is that so? (laughs)
ââBut 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.
ââOh, 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.
ââYou can't really read those, now.
Araki: Oh, my old short stories. I want to sort of leave those in darkness. (laughs)
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...
ââWhat kind of stuff was in Shonen Jump at the time?
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?
ââHe's the original author of Ai to Makoto.
Fumaren: Oh, is that so?
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 write the arrangements, then think of solutions myself.
ââNow, 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...
ââIt'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 â¡ 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...
ââCome 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.
ââAlso 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.
ââThough 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.
ââBut 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 â¡ââIt'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:
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King Komaru: Well then. It's King Komaru again. Making an appearance next is Hirohiko Araki-sensei, a connoisseur of little-known games.
Araki: You say that, but I don't actually have a Famicom.
King Komaru: How about playing cards or boards games!?
Araki: Yes!! Games that uses cards, for example things like poker, I like. Furthermore, I love Backgammon and Monopoly!
King Komaru: Hardly an elegant pastime, I think. What kind of things fascinates you about card games!?
Araki: Certainly, it's the thought of having another human as your opponent. Rather than being interested in the game itself, waging war against the opponent and the strategy is what's interesting. Even if it's the same game, because of the opponent, it can evolve into an entirely different kind of game.
King Komaru: Uh-huh. Certainly, it doesn't matter who you play with on a Famicom because the opponent is a computer.
Araki: Sorry, but I've hardly played on the Famicom. But, there seems to be a game where you can fight with your friends. If there's a game where you can play against other people, I'd also be interested!!
King Komaru: But Araki Sensei, I thought you were someone who was rather opposed to the Famicom...
Araki: Hahahaha!! That's not the case. Since my motto is "Don't think about your worries. Live your life freely!!" If I like the Famicom, I should play it!! If I think it's a waste of time, I should stop!!
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 being serialized. However, without forgetting what it was like to be a newcomer, I'll press on!!
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This 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 very 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.
â 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)
â 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!
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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
[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. (æ±æ¹ 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 æ means village, oku å means one hundred million. His big bro, Keicho's cho å means trillion) I combine my favorite kanjis with sound taken into consideration, whether it it's easier to say or not. Though I'm having trouble thinking of any other JoJo puns, so I were to start Part 5, I'd probably have a hard time. (The result ended up having every character named after Italian food.)
Jotaro's School Outfit:
I decided Jotaro must be in a school uniform due to influence from "Babiru the second," a famous manga of a boy in a gakuran having an adventure in a desert. I've always thought how cool it was to have an adventure in a school uniform. This idea boggled me. It permeated a sense of "a man's spirit of romantic adventure," and "beauty" that could only be found from a boy having an adventure in a school uniform in a desert.
Wanting a sequel to previous works.:
People sometimes ask, "Why don't you draw sequels to Baoh or BT? Well, they're already done in my mind. Similarly, I always get letters asking me to revive Kakyoin, or bring back Polnareff for Part 5. I don't think I will though, since characters with similar natures are already present in Part 4. (Note: He did end up bringing back Polnareff, though in another interview he mentions adding him in was a last minute choice.) Even though I say this, you'll likely ask, "then why did Jotaro and Joseph show up in Part 4, weren't they done too?" Well, they have the advantage of being related to Josuke. Bloodline is important. Really, I don't have anything lingering whatsoever for Part 1-3, my previous works. Although, I'm more of a "forgetting" than "moving-on" type of person (laugh). My works resemble a diary in that I don't put too much thought into what I had previously written, but more so into drawing what I'm feeling NOW. Now is what matters most.
You encounter ã´ã´ã´ 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" (ãã¼ã³ï¼) appears, here comes ã´ã´ã´ to add a more ominous, something-is-happening touch! For Dio's MUDAMUDAMUDA, I add it to give feeling to his shouting. My way of adding SFX's and choosing lines is similar to making music in a way.
How Araki works on Weekly JoJo:
First, I draw the "name" on report paper, which takes about 12 hours. (Name is Japanese, it refers to the draft storyboard.) Then I have a meeting with my editor, and after I begin drawing more elaborate sketches and eventually inking. I never start on the next page until I completely finish the one I'm working on; I work strictly on a one-page-basis. This system allows for my assistants to work on each page more efficiently. I finish the names and begin dividing them into frames on Sunday. Work begins on Monday, where we work from 11 in the morning to 12, though we do take a siesta for lunch from 3 to 4. On Tuesday and Wednesday we work as we do on Monday, and I make sure it's all finished by 6pm on Wednesday. For the rest of the time on Wednesday, I deal with determining the plot for the next chapter. On Friday and Saturday, I sit back and relax, draw illustrations, go somewhere to interview people, look for ideas or info for my works. I'm not really good at research though (laugh), or talking to people I first meet. I remember my stomach being filled with butterflies when I tried talking to the people who take care of the animals at the zoo. Either way, I'm quite strict when it comes to my schedule, and I deal with my work quite squarely. Otherwise, if we get too lazy, we never actually get any work done. During daytime, I have to give instructions to my assistants, which often stops our work, so ironically the time when I get the most work done is when my assistants go home.
At times I'm on a roll when it comes to coming up with ideas, and other times, it's hard for me to come up with anything. So whenever I am on a roll, when the ideas start cascading, I take advantage of that moment to try to write down everything for later use. I've never experienced a "slump" (the time a mangaka cannot draw anything, and gets nowhere), but there are times where I don't FEEL like doing anything. Everyone feels like that at some point, right? I always have so much work that if you ask me it it's tough, I'd say it very much is.
If you ask me who my favorite is, It'd definitely be Josuke. Definitely Josuke...and Jotaro, and Dio, N'Doul, D'Arby. I love characters that have their own aesthetics. Characters I hate are ones I really tried to make look disgusting, unpleasent e.g Vanilla Ice. I gradually felt sick while drawing them.
Which type of character is easier for me to draw, good guys or bad guys? I can't say which is easier, because good/bad are like heads and tails, they're two sides of a coin and there is a really fine line between the two. Good characters tend to be bound by rules, but it's fun to work with them because at a certain times they begin to have a weird eccentricity. Depicting good characters is fun, but I guess depicting bad ones can be more fun since I can make them do anything (illegal) or destroy everything.
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 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.
[Translated by ???]
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.
1996 to 2005
A Stand For A Friend - Interview with Hirohiko Araki
(Edited by Andrea Baricordi with special thanks to Naomi Okita and Tiziano Capelli)
Kappa: Before we start the interview--can you tell us a bit about yourself?
Araki: My name is Hirohiko Araki, I was born June 7, 1960 in Sendai, Miyagi Prefecture.
Kappa: Very good. Let's start with JoJo, then. I think it's safe to say that this series is the only "generational saga" to come from Japan. Was that your plan from the start?Araki: Only partially. Let me explain: I originally only planned for the series to be three parts, ending with the final confrontation against Dio Brando. This means that I was already aware of the fact that I would need to make three different JoJo's, who wouldâin some sort of wayâall be descendants of each other, and that their lives would be linked by a common curse. Anyway, I have to say that editors at the time weren't keen on the idea of switching protagonists, especially for a popular series. If readers took the news badly, it could've ended in a total disaster. But I kept on insisting that we do it this way, mostly because I didn't want to get bogged down drawing the same character for years, and because I wanted progress the story through specific historical periods without resorting to gimmicks like time travel. Fortunately, I was right, and JoJo's Bizarre Adventure has been continuing its success since 1987... Next year, we'll be celebrating our 10th anniversary!
Uno Stand Per Amico - Intervista a Hirohiko Araki
a cura di Andrea Baricordi si ringraziano Naomi Okita e Tiziano Capelli
KM - Prima dell'inizio dell'inter- vista, ci puÃ² dire telegraficamente le sue generalitÃ ?
HA - Il mio nome Ã¨ Hirohiko Araki e sono nato a Sendai, in provincia di Miyagi, il 7 giugno 1960.
KM - Molto bene. Partiamo da JoJo, allora. Possiamo tranquilla- mente dire che questa serie sia l'u- nica 'saga generazionale' nata in Giappone. Questo rientrava nei suoi progetti sin dall'inizio?HA - Solo in parte. Mi spiego meglio: l'idea base contava solo le prime tre serie, che avrebbero avuto il loro epilogo nel combattimento finale contro Dio Brando. Questo significa che ero giÃ conscio del fatto che avrei creato tre diversi 'JoJo', i quali sarebbero stati - in qualche modo - l'uno discendente dell'altro, e che le loro vite sarebbero state legate da un'unica comune maledizione. Comunque, devo dire che ai redattori non aggradava molto l'idea di cambiare il personaggio principale di una serie che funzionava bene: se i lettori non avessero accettato la novitÄ, avrebbe potuto risolversi tutto in un clamoroso fiasco. Ma io insistetti per adottare questa soluzione, sia perchÃ© non desideravo fossilizzarmi per anni sullo stesso personaggio, sia perchÃ© volevo che la storia si evolvesse attraverso alcuni periodi storici ben precisi senza usare espedienti come la macchina del tempo. Fortunatamente ho avuto ragione io, e Le bizzarre avventure di JoJo sta continuando con successo dal 1987... L'anno prossimo festeggeremo il decennale!
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One question and one answer from Araki-sensei, "Feelin' JOJO" final episode special!!
"JoJo's Bizarre Adventures is headed in to it's 12th year! And as it's the last episode of "Feelin JOJO", we've had Araki-sensei himself appear!! He'll point blank answer some of the questions in JoJos!!
Q: Who's the strongest in the Passione?
A: Abbachio. (If we're talking about fist fighting...)
Q1: Who is the first character you came up with in the allies of part 5?
A: It's Giorno! By the way, the characters I'm most fond of is Giorno if we're talking about allies, and Pesci if we're talking about villains.
Q2: What is that thing on Abbachio's head?
A: It's a hat that acts like a hairband. The thing on Bucciarati's head is a hairpin brooch, and Mista keeps a lot of things in his hat. Mista is the kind of guy that wants to keep both hands open at all times, so he adds things to it pretty often. It also seems that he feels like it's a pain for him to carry things around too. Side comment: The thing on Abbachio's head wasn't an eggshell after all...
Q3: Who spends the most money on their clothes?
A: Mista. His sweater is cashmere, and his pants are zebra striped leather pants! (it's suspected that it breaks the Washington Convention)
Q4: Before they met Giorno, how did Bucciarati's gang earn their livelihood?
A: They received money for protecting restaurants, controlled ports, and what you would call gang work. They didn't affiliate with gambling and drug business. Of course they didn't go to school.
Q5: Do all of them have girlfriends? Also, who is the most popular and the least popular in the gang?
A: They don't have girlfriends. They are so popular it seems like they're always running away from girls. However, it seems like all of them think that "I'm the most popular"...
Q6: When looking at Fugo's pants, it looks like there's no way he could be wearing underwear but.... Does he not have underwear on?
A: It can be assumed that he's wearing the t-back like sexy things that are popular now a days. Side comment: When you look around his waist it really does look like he's not wearing any underwear.
Q7: When they're interrogating Zucchero, what was up with Narancia, Mista and Fugo starting to dance to the music that Narancia put on?
A: They are dancing to gangster rap. As they are a gang... Side comment: Even though we know what they are dancing to, why they started dancing is still a mystery...
JoJo's Bizarre Adventures celebrating 11 years of being published.
Q: Who is riding in Aerosmith?
A: It's Smith-san. Side comment: Check the cockpit! The person riding in here is Smith-san!!
Q8: What does Jotaro intend to do with Giorno?
A:I haven't thought of it yet. It might be that he's just simply curious about him...?
Q9: Is Trish based off of the super model Trish Goff?
A: Good job! I'm surprised that you know this. As you thought, I'm a big fan of hers.
Q10: Will Fugo die from the abilities of Purple Haze?
A: He would die.
Q11: What is the name of the stand that you put the key in the turtle to activate? Also, what is the name of the turtle?
A: The turtle has no name. The name of the stand is "T-Rex"... or at least I think that's what it'll be.
Q12: Can the Sex Pistols only be used with the gun that Mista has?
A: Any gun that has been fired by Mista is OK! Also, Mista is able to always hit his target with one shot, and so he doesn't need machine guns and such.
Q13: Wasn't it a rule that there's only one stand per person? There's a few that have appeared since part 4 that are a number of stands such as Harvest and Sex Pistols...
A: No, these are still just one ability, and so they're counted as one stand.
Q14: "JOJO" has a lot of animals(a turtle, frogs, snakes, mice, spiders and such) that appear, but how do you pick what living creatures will appear?
A: For the most part I choose animals that "Look like they're not very intelligent and seem like they're not thinking of anything."
Q15: Do they really air "Captain Tsubasa" in Italy?
A: They do! At the very least I was it being aired 2~3 years back in Italy!! Side comment: Tsubasa playing in the turtle! Of course this isn't in Japan, it's in Italy.
Q16: If you could pick one stand to have Araki-sensei, what would you pick?
A: Hmmm, maybe Harvest because I want money... No, I want Heaven's Door instead! I'm not very good with research interviews...
Q17: What's the meaning of the "Romance horror! The crimson secret legend!"?
A: It was something the first editor added, and there's no deep meaning to it. I actually feel like we can remove it after all this time...
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This is the first time your manga (Baoh) has been adapted into an anime. How do you feel about it?
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.
Stardust Crusaders OVA
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.
How involved were you in the anime's production?
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.
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About each otherâs beginnings
Araki: Shall we begin by talking about each otherâs beginnings?
Araki: The first question will be related to work, but are you also involved in writing the stories?
Kaneko: Officially not, but I contribute as well.
Araki: Ah, I knew it! Looking at the illustration books, I believe that, after all, you canât draw without being involved in the story. Nevertheless, even though you only do the designs, itâs amazing how many you create. There are also a lot of descriptions regarding the charactersâ backgrounds and so on, arenât there? I design Stands combining those characteristics. For example, it would be strange if I didnât give a water Stand a certain type of design.
Kaneko: Of course, I think about the way the characters are and I draw them according to their personality type.
Araki: I see. For example, if something releases poisonous gas from its shoulders, it will definitely need a hole. Now the question is, what kind of hole would be most fitting?
Kaneko: But when Jojo is in front of the Stand, there will also be strange poses and things like that, right? How does that work?
Araki: Iâll eventually get to that too. Just in a little while (laughs).
Kaneko: Oh, is it still your turn?
Araki: Yes, yes (laughs). I have things I want to ask.
Kaneko: Understood. Then please ask me (laughs).
Araki: First, my parents used to read to me all kinds of books when I was a wee little boy, like âThe Adventures of Tom Sawyerâ or Jules Verneâs âTwenty Thousand Leagues Under the Seaâ. Only this kind of books and no Japanese ones at all. Thatâs why I grew up to be very attracted to foreign countries, even when it comes to food and music. And thatâs also why I donât really like Japanese food.
Kaneko: Iâm not too fond of Japanese food either, but you see, my parents owned a sushi shop (laughs)/
Araki: Hahaha. Really?
Kaneko: I really came to hate it when I saw eels getting skewered after their eyes were removed (laughs). But, returning to the main question, I was more into Disney than Jules Verne. What about music? I can see from reading your works that you love Western music. I love it as well, but you know Takenoko-zokum right? I used to do that before.
Araki: Thatâs not Western music, is it (laughs).
Kaneko: But what about Dschinghis Khan? (laughs). They were very interesting. I stopped watching Yoru Hit, and quickly got into Western music and came to love funk and other styles.
Araki: I like progressive rock.
Kaneko: Eh, progressive rock? (laughs)
Araki: From the â70s. Bands like Yes or Emerson, Lake & Palmer.
Kaneko: Almost all your Stand names come from progressive rock bands, huh. Araki: Well, yes butâ¦(laughs)
Kaneko: I liked Esidisi [AC/DC] (laughs). It fit really well.
Araki: If the bands are foreign, using their names is ok. But this is definitely not the case for Japanese bands. Thatâs no good. Or maybe I should say, itâs empathy. Itâs a bit strange, like âWhat kind of silly things is this guy talking about?â (laughs)
Kaneko: Well, Western bands also sing about rather silly things, right?
Araki: If I knew what they were saying, Iâd get too embarrassed to continue listening (laughs). Thatâs why for me itâs about the rhythm, the propagation of sound. Thereâs a sort of space between the sounds. Like the subtlety of the strings, the pauses, the way the air vibrates. Thatâs why Iâm fine with whatever that person sings.
Kaneko: Do you get motivated to work during times like this?
Araki: Yes, yes, I get motivated and I start crying.
Kaneko: Eh, you start crying? (laughs)
Araki: Thatâs right. âOhã, this is so sadãâ (laughs). Donât you get sad even if the lyrics have nothing to do with it?
Kaneko: Oh, I do, I do. Similarly to diabolus in musica, making your emotions fluctuate, right? If you used it well, youâd even be able to manipulate people, donât you think? (laughs)
Where do you collect data from?
Araki: Do you travel abroad to collect data?
Kaneko: No, not really.
Araki: Soo, you are the type to admire foreign countries from afar?
Kaneko: Well, I guess so. I read the books I have with utmost attention and absorb all the information the writers provide, but thatâs pretty sly, isnât it (laughs). But Iâd love to travel if I had the time. You travel a lot, donât you?
Araki: I only travel to certain places though; Iâve been to Italy many times, for example, and I love how itâs the âreal dealâ. Other countries just look like imitations in comparison â when I see sculptures or other works of art, I can only think âOh, this is an imitation of that sculpture.â.
Kaneko: I want to look more into Japanâs underground, like the lifestyle of the people around Shinokubo or drug routes.
Araki: So you can include them in games?
Kaneko: Exactly. There are a lot of games that take place in our current times, so inevitably I got interested in present Tokyo. Itâs not limited to the city, but the places where people gather have different appearances depending on the time of the day, so I wonder whether I can convey the impact of the contrast between noon and the darkness night brings. I simply like clubs and the like as wellâ¦
Araki: What kind of clubs do you visit?
Kaneko: I donât, but now I go to a lot of spacious establishments. When I was young, I used to go to hobby shops quite a lot, but nowâ¦ Before, there was no automatic water in clubs, so the toilets would be filled with ice and once it melted it would turn into automatic water. And then, if you went to the toilet at 4 a.m., youâd find the whole place drenched in blood.
Araki: Huh, why?
Kaneko: Group scuffles, it seems. Well, both scary and painful things happened, but looking and hearing about those rowdy times has become a very important factor to me now.
Araki: But if Tokyo is the main setting, then itâs all right. I first came up with the concept of âStandsâ when I was in Egypt, since the people over there looked really suspicious. So I thought they were all bad guys.
Araki: It wouldnât have been odd if anyone there had turned against me. No matter how kind they were to me, I just couldnât trust them.
Kaneko: Sounds like something you wonât be able to let go of.
Araki: And thatâs how I created Stands, the power of evil, or should I say, a different kind of power.
Kaneko: Ooh, is that why the manga takes place in Egypt?!
Araki: Exactly. Well, the editor loved Egypt as well; the inhabitantsâ power was truly great.
Kaneko: As I thought, if you donât go there it wonât actually be clear.
Araki: For that reason, the people closeby have great power, but the further they are, the weaker their power gets. I made all kinds of rules.
Kaneko: It would be boring if they were all-powerful. Itâs good that the characters in your manga also have weak points they can overcome. We use demons in our games, but we thought of adding a slightly different nuance to it - âWhat if we used them as guardian spirits?â. Thatâs how the concept of Persona was born. We call them guardian spirits, but they are actually great Indian gods or all kinds of demons. Just as the name suggests, doesnât Persona mean someoneâs âpersonalityâ? Oneâs other self. So, how should I put it, there are all kinds of âother selvesâ, from the charactersâ current appearance, to their manner of speech and even to their job. I thought Iâd combine them all. Thatâs how the characters in the game started moving around naturally. The impetus to start drawing
Araki: What made you become a graphic designer?
Kaneko: Iâve been drawing for a long time, but I wanted to become a manga artist at first. Later, in middle school, when I wanted to be popular with girls, Iâd try to look like a badass, but fail (laughs). When I reached a certain age, I asked myself what job Iâd take; I couldnât become a musician, I couldnât become anything. And the last option I had was drawing. Getting into a company was good, but I realized I didnât have much strength by myself, so from then on I put a lot of effort into it.
Araki: You see, I went to the kendo club in school, but I wasnât praised even once, whether I won or lost. However, when Iâd draw manga, everyone would tell me how good I was. Thatâs how I started. My friends too would get really enthusiastic about it, like âThis is the greatest thing ever!â
Kaneko: Hahaha. It looks like you already had editors by that time.
Araki: Yes, yes, they really sounded like editors (laughs). So I really got into this and would tell myself Iâd keep drawing the entire following night as well. These designs [are influenced] by Go Nagai, right?
Kaneko: Thatâs right, Go Nagaiâs influence is strong. Also, Kamen Rider, kaijuuâ¦
Araki: Yes, the kaijuu effect is definitely there!
Kaneko: Itâs impossible to say the name of all the kaijuu. But if Iâm shown the Rider cards, I can tell everyoneâs names. But you know whatâs interesting? When you look into the designs and discover the original source of inspiration, like Ultra Sevenâs monsters being the spitting image of clay figures (doguu).
Araki: Ah, yes, youâre right.
Kaneko: I realised this while I was wondering whether armour should have a (Western) clothes motif, but if you left out the armour it would have looked just like Ultramanâs costume; it becomes Western armour from the outline.
Araki: An extremely abstract image. Didnât Picasso, after seeing African masks, want to see how simple he could make his own paintings? Same here. Ultramanâs form is indeed extreme. The type of design you simply canât imitate, just like Snoopy. You generally canât draw that sort of thing.
Kaneko: You start thinking why it is actually like that (laughs).
Araki: If you make Ultramanâs design simpler than this, he wonât look cool anymore.
Kaneko: Besides, anyone will be able to draw him. Thatâs why adding one thing after another is easy. Simplifying things, on the other hand, is really difficult.
Finally talking about fashion
Kaneko: What do you usually wear? Neatly fitted clothes?
Araki: I rarely wear ties and the like. And even then, is there a brand that actually suits me? There are brands that donât fit me at all, that make me feel like Iâm anything but myself. Prada, for example, or Gucci.
Kaneko: Indeed, this does tend to happen. I have a lot of Gaultier suits, but I go shopping often. Because of that, when people ask âAre people like mangaka coming?â, it seems they are pretty familiar with Jump authors like K.M. or T.B. Apparently, Mr. K.M once spent several tens of thousands yen on clothes. âThatâs so awesome!â, I thought. It looks like Mr. T.Bâs clothes are bought by his friends or his girlfriend though. In the end I realised that there are all kinds of mangaka as well! (laughs)
Araki: I donât really go shopping. If weâre talking about brands, then my picks are Versace or Dolce & Gabbana; still, Iâm not too crazy about them. However, when it comes to fashion, I love looking at models. Donât you think models have this kind of spectre quality to them? The way they tilt their head or their mouths look oddly big. That kind of stuff captivates me. And so, by reproducing them, they gradually turn into Jojo-like characters (laughs) â like bending their hips back or forth. This kind of bending is also because of Italy.
Kaneko: So this is how they are turned into Jojoâs characteristic poses! Like, âãºãã¥ã¼ã³ï¼!â or grabbing a blood vessel and going âYou should be stillâ (laughs). Thereâs a fairy named Trish in Persona who helps characters recover their health. Her name comes from the fashion model Trish Goff. Back when she wasnât that famous I used to think âSheâs so cute!â. Her name was interesting as well. But then she became super famous not long after and I thought âThis is bad!â (laughs).
Araki: But I find it amazing that you knew about her from that time. She was already popular by the time I had created Trish Una.
Kaneko: All models have really cool names, donât they? Like Shalom Harlow.
Araki: Her huge eyes are cool as well.
Kaneko: Lately, thin models have become more numerous than bigger ones, huh. Like Devon Aoki.
Araki: Devon Aoki has got a strange air about her too.
Kaneko: Did you know she is Rocky Aokiâs daughter?
Araki: Eh, is that so? Who is Rocky Aoki anyway (laughs).
Kaneko: Do you know the restaurants Benihana?
Araki: Oh, yes, yes.
Kaneko: He is the owner. Incidentally, isnât there someone in Jojo part 4 who likes FerrÃ©? âIs it because Mr.Araki likes him?â I wondered.
Araki: But the truth is, even if I write this, I think âThey donât know about itâ while writing it, but do it anyway.
Kaneko: Moschino is the same, right?
Araki: Oh, oh, Moschino was good too! I was surprised when it appeared. The peace mark design came from there.
Kaneko: Double suits are characteristic to them too. The buttons are in the place of the eyes, forming a face. Lately, there have been new designs from John Galliano or Alexander McQueen. Theyâd make good Stands as well (laughs).
Araki: Also, I like Roberto Cavalli too. Quite a lot of people have been debuting these days. They donât have shops in Tokyo though. They remind of that type of dangerous ladies. I think that kind of thing is great.
What flows from the root of your work
Kaneko: Your works are referenced in a lot of things, right? Itâs kind of like Shakespeare, or, how should I put it, something not seen with other Japanese drama, literature or manga.
Araki: But you know, thereâs also Kajiwara Ikki. âIn order for small people to beat big people, you must think of yourself as a small fry!â, something like this (laughs). I find this kind of thought pattern moving. Like, âDonât say such cool things!â. , I still got that kind of feeling even though I read that in my fourth year of elementary school.
Kaneko: Iâm a bit startled that youâve read Kajiwara Ikkiâs works. Itâs quite different from what I expected.
Araki: Truth is, I started with âStar of the Giantsâ.
Kaneko: Eh, no way?!
Araki: I think it was during my first year of elementary schoolâ¦This is something I donât usually say, but âMagazineâ was the first publication I talked to in order to publish my first manga. However, incidentally during that time Kajiwara Ikki stopped serializing in âMagazineâ so I switched over to âJumpâ (laughs).
Kaneko: Eh, thatâs seriously unexpected (laughs).
Araki: Despite saying I love foreign countries, I also love stories where poor people rise in the world.
Kaneko: When I see the photos in the tankoubon, itâs kind of rude of me to say, but I think you look like you had a good upbringing (laughs).
Kaneko: Because of that, when you write about Kishibe Rohan and those kind of stories, all the more I wonder âIs this really all right?â (laughs)
Araki: But you are surprising as well. You had a more frightening image.
Kaneko: Iâm often told that. I have more of an role-playing personality. Truth is, Iâm a pretty easy-going guy. Speaking of manga, I was into âThe Genius Bakabonâ.
Araki: Oh, Akatsuka Fujio-sensei (laughs). It was quite a thing (laughs). Great stuff.
Kaneko: I simply loved the surrealistic setting, couldnât get enough of it. After all, itâs the person who discovered Tamori! In a way, he raised him and turned him into who he is today.
Araki: Speaking of settings, I went to a Christian school. Thatâs why I read the Bible every day and that particular way of thinking got ingrained in my brain.
Kaneko: Is that so! Was it a Catholic school?
Araki: No, it was a Protestant one. As a kid, I thought âWhat theâ¦?â at the discipleâs betrayal, but as an adult I understood how important it was. Different kinds of literary works also have their roots in it, and Iâve come to understand all kinds of allusions. However, in my case, rather than believing in God, I believe something exists. Itâs difficult to say it concretely, but it includes destiny. Because of that, if the basis of my works doesnât have that kind of thing, they become something scary. âWhy am I drawing manga?â, stuff like that. Am I doing it in order to earn money or to impress women? In time, they become terrible things to feel. But if I have fairness and humanity, I persevere.
Kaneko: Indeed, if you donât have human love, you canât draw. Itâs obviously fine if you can get money out of this as well though (laughs). But doing it just for this is not right.
Araki: You definitely need it in order to continue, donât you think?
Kaneko: It also gets difficult when you start thinking âWhy do people exist?â.
Araki: You reach this question when you draw about things like destiny â âWhy is this person here?â. If youâre attached to the protagonist,the question gets even more important. The people who make RPGs feel that to an even higher degree, right?
Kaneko: Thatâs right. We think about the inevitable fate of the characters. Donât animals exist on the earth freely? Earthworms exist to clean the soil, isnât their purpose to leave descendants? However, only humans do something different.
Araki: But if that kind of world comes to the surface, then itâs no good. We shouldnât see the lowest of the lowest. However, if they didnât exist, then it would get even worse. Not only manga, but also music and just about everything.
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Did you think Polnareff would appear in "Golden Wind"?
First of all, Polnareff and Jotaro's personalities were always meant to be opposites. Jotaro has an imposing, cool personality and doesn't really move around that much, so to contrast that I wanted an impulsive character that would run around like crazy. It's like the difference between being 'static' and being 'dynamic' you know? Polnareff was also quite fun to draw and it was easy to manipulate his movements, so I ended up using him quite a lot.
His hairstyle also turned out pretty good. The other characters all have fairly flat heads, so if Polnareff is also in the panel, it ends up creating a perfect balance overall. During Part 4: Diamond is Unbreakable, I got a ton of letters from fans asking where Polnareff was and what he was doing. And so, a part of the reason why Polnareff ended up showing up in Golden Wind was because I wanted to answer that question, of what he had been up to after Stardust Crusaders. I wanted to say that just like Jotaro, he has been fighting hard this whole time.
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People are often surprised by this, but I used to play little-league baseball. Although, there was one absurd aspect of the team I didnât like. I used to think, âWhy does that kid keep getting put in when Iâm the better player?â Maybe I was being selfish, but it meant that I didnât have a space where I was able to be myself. Despite that, I still kept playing, but I still donât even know why I suppressed those feelings to do so. Starting in middle school, I began doing Kendo. I decided, âIâll never take part in another team sport like baseball ever againâ (haha). Around that time, I noticed that my personality wasnât really meant for groups. I read books by myself, looked at art, drew, and I noticed that doing these things alone made me feel pleasant. Being immersed in that world by myself was fun.
Now that I think about it, the fact that I liked being alone was probably in part because of my family. I have two little twin sisters that are 4 years younger than me, but their presence is considerably large. This is when we were children, but if I were to give you an example, there was one time that my mother was preparing for us three pieces of cake as an afternoon snack. Since my sisters usually get back home faster than I, they usually eat first. So, they mustâve been thinking, â(If we eat big brotherâs piece) He wonât know, right?â My sisters conspired to eat my piece of cake. Well, if they wouldâve just asked I wouldnât have minded (haha). I wonder how many times they tried to trick me like this. We fought, but they would both start crying at the same time, and, even though I wasnât a bad kid, it made me feel bad. I always felt like I was getting blamed for something I didnât do, so I ended up not liking coming back home. I saw this strong bond between my sisters, and it made me a feel a strange sort of alienation. Mentally I was an only child (haha). Thatâs why I think I ended up liking doing things by myself. Nowadays our relationship is normal, my sisters and I (haha).
Manga and stories you were passionate about
Those days I was really into Star of the Giants and other manga by Ikki Kajiwara. They taught me more about life, I think. A little bit later I got into things like Ashita no Joe. Of course, I loved Tezuka-Senseiâs manga too, but the manga I ran to buy every week was Kajiwara-Senseiâs. Now that Iâm thinking about it, I think Kajiwaraâs manga had an influence on me wanting to start Kendo in middle school. Besides manga, I read a lot of Edogawa Ranpoâs book series and the Sherlock Holmes series. I wonder if I was already starting to draw stuff like manga around that time. I mightâve been trying to reproduce the coolest and most popular characters from those series, but I donât remember. From the beginning, this was the world I drew from.
High School Days
During oneâs high school days*, your path in life and your future start to gradually feel more real. Due to my personality, I thought that the lifestyle of working in someplace would be impossible. Around that time, I started thinking about the power of manga. It had the power to make readers keep flipping pages, the power to make the reader anxious for new developments in the story, the power to make readers run and buy the newest chapter on the very day itâs releasedâ¦ I think the power of manga is incredible. From that point on, I had a strong feeling that I wanted to become a mangaka. In terms of manga I was reading at that time, I really got into Yokoyama Mitsuteru-Senseiâs suspense manga. It was a lot different than Kajiwara-Senseiâs fiery âIâm gonna rise in this world!â type of manga. This was more focused on character motives and strategy, with the criminals being more dry and business-like. At the same time, kids wearing school uniforms were hanging around ancient ruins, it was both a comforting and discomforting feeling. âSo, manga like this exist tooâ I used to think; it felt fresh. Besides that, the Lord of the Flies short story left an impression on me. It made me think. It had a similar theme to Jules Verneâs Two Yearsâ Vacation, where a group of young boys wash up on a deserted island. However, in Lord of the Flies, thereâs a factional dispute among the boys, all the way until the end where they end up wanting to kill each other. I really think Lord of the Flies was the more realistic of the two books. Those days were when my first contribution to Jump was selected for an honorable mention. My name was printed in the small corner of one of the pages. That made me extremely happy. Even to this day, it might be the happiest moment of my life.
- In high school, I was part of the cycling team. My best subjects were science and mathematics, while my worst was English.
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It seems Stand designs have gradually changed over the course of the series.
I'm often told they even differ depending on the scene. But like I always say, "they're not robots." (laughs)
Do you not focus on accuracy?
I generally keep them the same, but how the art looks takes priority, as does choosing colors. For example, using red and blue for one illustration, and yellow and red for another. But I was taken aback when asked, "You don't use the same colors each time?" To which I thought, "Does it have to be?" (laughs) People who watch anime might think, "a character's color has to be the same every time," but for me, it's "color for the sake of the art." There are some color pairings that just do not suit each other, so I have to change them. That is why I calculate the colors when using them.
Fugo disappeared halfway through the story; why?
Originally, I was thinking of a story where Fugo betrays Giorno and his friends. The bible has a similar account involving a traitor named Judas, and that's what I was trying to do, but I kind of hated it. I had this feeling that if I depicted a betrayal, the story would become too dark. So, I had Fugo leave right away through a difference of opinion. As an alternative, I asked the authors of the novel (Note: GioGio's Bizarre Adventure II: Golden Heart, Golden Ring) to depict Fugo right after he left. He betrays them, but is actually helping Giorno and the others, so it's sort of like a gaiden / side story.
To Ryosuke Kabashima, Editor-in-chief of Weekly Shonen Jump: I could never thank you enough, but...I'd like to take this opportunity to express my gratitude. Your every word gives me courage. JoJo's Bizarre Adventure would have never existed without you.
When I was little I often fought with my two younger sisters, they're twins, and every time I was bickering with one of them the other one, sooner or later, would start crying. "Why are you crying!?", I always asked, angrily, but in the end it was always me who got in trouble and was scolded for whatever reason.
This strategy was really just the result of my sister's teamwork and they used it to create a situation where, no matter what I said to my parents to justify my action, the fault was mine regardless. I swear I tear up every time I hear the story of someone who goes to prison because they get charged for a crime they didn't commit on the news! I was always praying for those brats to disappear; I got to the point where I was sure there was a curse on me that caused people to always misunderstand me. It happened at school too; whenever something bad happened, the teachers were always putting me in the "suspects' list" and this got me thinking that maybe it was because of how I normally behaved!
However, while the second part of JoJo's Bizarre Adventure was being serialized in Weekly Shonen Jump magazine in 1988, I was desperate to find an original idea (I admit it's a bit weird for me, being the author, to talk about these kind of things, but since is an afterword it's okay to dwell on memories, right?). I was looking for something that didn't represent physical strength, but a more spiritual thing that came from the heart. Up to that moment, when the topic was "superpowers", it was always the same thing: the characters opens their eyes wide, the character starts sweating, the character's veins start building, the character destroys rocks, etc. In JoJo, we have an extra corporeal projection that manifests, takes form, and it's this manifestation that breaks the rock, not the character... 'Yes, this could work! I can represent a soul's strength this way! More than superpowers this is "spiritual strength"! That's it, this is new! There's no other way to transmit this!'
My manager gave me permission and it's with this concept that I started drawing part three, but...as soon as the first chapters came out all the readers' comments were like: "I don't really understand," or "what's happening here?"
I was desperate, it was like that part of me that was condemned to always be misunderstood was coming out again. I didn't know what to do, since no one understood me. Maybe I didn't explain well enough, or maybe the change had been too sudden, but how was I otherwise supposed to represent these types of powers?
It looks like when I left Sendai for the first time to live in Tokyo to be a mangaka, my grandmother started praying in front of the Buddhist alter she has at home, every time she heard about an homicide in Tokyo, hands joined, she started praying for the culprit to not be me...I really don't understand this. I think no one in my family actually ever understood me and , even worse than that, maybe not even my readers could!
At that time my manager told me that it's important to have faith in yourself and draw what you really prefer: this is what it means to be mangaka! You only need a whole lot of courage!
(Even now I don't really think that manager understood me either...Well, at least more than my sisters, for sure.)
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Q01: What time in the morning do you wake up?
Araki: Half past 10am.
Q02: How do you relieve stress?
Araki: I've been walking to work. It's about 10 minutes of walking, but that's it.
Q03: Where do you come up with your ideas?
Araki: Hmm... this room (this interview takes place in Araki's workplace).
Q04: When did you consider becoming a manga artist?
Araki: This is already... very complicated.
â Is that so?
Araki: I can't answer in one word, but it might have been triggered by a friend who told me I was good at drawing manga when I was a kid.
â Hmm... I'm glad you were praised by your friend.
Q05: If you had not become a manga artist, what would you have become?
Araki: Eh, I can't think of this anymore. I think that there's nothing else."
Q06: Have you gotten any fan letters that made an impression?
Q31: Who's your favorite musician?
Q32: What album do you recommend?
Country Grammar by Nelly.
Q33: Your favorite TV show?
I don't watch that much.
Q34: Araki-style advice for staying healthy?
Stretch before writing.
Q36: Best place to settle down?
Q37: Any habit?
Playing with my jaw.
Q38: How strong do you like sake?
I don't really drink.
Q39: What are you happy to get?
Q40: What kind of car do you drive?
I can't drive, so I don't have a license.
Q41: What kind of child were you in childhood?
I was bullied by my younger sister.
â I had twin sisters and one of them was the devil, I came home from school and saw that my afternoon snack was being eaten.
Q42: When was your first love?
High School, first year.
Q43: What anime did you watch as a child?
Star of the Giants. I loved the manga.
Q46: What TV show did you watch religiously?
Q47: Your favorite subject?
I liked social studies and science.
Q48: Your weakest subject?
Q49: What about club activities?
Q50: What kind of woman do you like?
A person who isn't well-mannered.
Q51: Do you have a wife?
Q52: Your favorite color?
An orange-like yellow.
Q53: What have you accidentally laughed at recently?
When static electricity ran through my eyelids at the ophthalmologist.
Q54: Have you been angry at anything lately?
Q55: Have you cried at anything recently?
When I was drawing up the last storyboard.
Q56: Best place you've traveled to?
Venice, Italy. They don't have cars there.
Q57: What's a place you don't want to go?
Egypt. I hated it, so it became one of the settings.
Q58: What's the most delicious thing in Miyagi Prefecture?
Is there one? Tokyo is more delicious.
Q59: What's your favorite place to shop at?
Q60: What's your favorite place in Tokyo?
Q61: Why the name, JoJo?
I had a meeting at Jonathan's and wanted the initials to be the same.
Q62: What's the main theme in JoJo?
Wonderful people carry out justice with a pure heart.
Q63: Where did the concept of Stands come from?
They're based on the 'guardian spirit' from Tsunoda JirÅ's Ushiro no HyakutarÅ.
Q64: Who's your favorite JoJo?
Josuke from Part 4.
Q65: Who's your favorite character?
Q66: Your favorite death?
There's a lot of them, but I can't remember that well.
Q67: Your favorite Araki-style onomatopoeia?
The sound of heavy metal.
Q68: Your most unique pose?
I don't have one.
Q69: How long does it take to draw a chapter?
It takes about three days to draw.
â The storyboard is drawn out on Thursday, coloring is done on Friday, Saturday, and Sunday, the finishing touches are added on Monday, then Tuesday and Wednesday are off-days.
Q70: When the series began, how much was planned?
Up to the end of Part 3.
Q71: What about a TV anime?
I don't think so, it's not a manga that you should show kids.
Q72: What's most important when drawing a character?
The mouth. I hate it when it's not sexy.
Q73: Will Shizuka Joestar come back?
Q74: Will Dio come back?
â Dio hasn't reappeared since Jotaro already defeated him. He intends to keep it that way.
Q75: Is Joseph still alive?
He's become senile, but I think he's still alive.
â I wonder why Joseph aged at the same speed as humans.
Q76: What's the real name of Cool Shock B.T.?
There is none. I just liked Buichi Terasawa. I've also called it Boo Takagi.
Q77: Who would play Jotaro Kujo?
I was thinking about Clint Eastwood when I drew him, but not him.
Q78: If you were a Stand, what ability would you have?
I want to stop time.
Q79: Why'd you go back to Volume 1 with Part 6?
That was the editor's request.
Q80: Is there a plan for Part 7?
â In the not-so distant future, it would be titled âSteel Ball Runâ without the editor's opinions.
Q81: What's the Top 3 manga that you'd recommend?
Babel II, Star of the Giants, Judo Icchokusen, and Dragon Ball.
Q83: What manga artist do you respect?
Q84: What's in your mind when making a weekly serial manga?
Meeting the deadline.
Q85: What's the secret that's kept you going on?
Meeting the deadline.
Q86: Are you close with any manga artists?
No, we're all too busy to see each other.
Q87: Do you use a computer?
I hate wait times.
Q88: What's your ringtone?
I don't have a cell phone.
Q89: What actress would you like to see the most?
Q90: What would you bring to a deserted island?
Favorite manga, a CD, and a pencil.
Q91: What's the most expensive thing?
The most expensive thing is the workplace.
Q92: Who do you respect?
Q93: What genres would you like to try in the future?
I want to keep moving forward with the current manga.
Q94: How do you read ShÅnen Jump?In order from beginning to last.
Note: Not transcribed word for word.
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A short report about the JoJo in Paris exhibition transcribed from an audio interview with Araki.
Q1: "So, why did you decide to open a solo-exhibition?"
I think that manga has various appeal, but I also think that it appeals to painters and artists as well, which is an area I wanted to explore.
Q2: "Why did you choose to open the exhibit in Paris?"
The reason I didn't want to inform any of my Japanese readers about the exhibition in France is because I want people who haven't read my manga to see my art.
Q3: "What were your thoughts on the solo-exhibition?"
Coming to Paris, I saw people of various ages and races, and it felt like I was in a painting without borders. I'd like to think it was very successful with my audience.
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A longer interview published on June 15, 2003 in the Quarterly S magazine.
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AnimeLand: Could you enlighten us on the genesis of JoJo?
Hirohiko Araki: Originally, there was this idea of the succession between generations, a father/son heritage. Then I wanted to show traveling heroes who would fight to defend humankind. The idea of successive generations was inspired by The Godfather saga (Brian de Palma) or East of Eden (Eliat Kazan): family stories, where the action is happening across several generations. At a very young age, I had been touched and inspired by these movies that all became classics.
A.L.: Did you have some idea of what each part would be in advance, or did your original ideas change as time passed?
H.A.: At the very beginning, everything was set around fights, ratios of power. Then, as time passed, everything became more âspiritualâ, with a greater place made for ideas like friendship. At the graphic level, the first series showed off very âmacho-manâ type heroes with over-proportioned muscles. Then the characters became slimmer, more elegant too.
A.L.: What do you think about the Western translation of JoJo: does the term âbizarreâ look appropriate to you? And if yes, what aspect of your work does it reflect?
H.A.: Indeed, the Japanese title would translate closer to âamazingâ, or âmarvelousâ. But really, what I wanted to express in this manga is something really different, something strange, bizarre. So, in the end, the translation is rather spot on (smile). I think this feeling is reflected in some respects or situations in the manga: the unforeseen turnabouts, the way the facial expressions change, distort themselves, the hidden personality of some charactersâ¦
A.L.: How did the idea of the "Ripple" and then "Stand" come to you?
H.A.: For the Ripple, the idea was that of an indirect force, a force striking from a distance like in the water for instance: if I hit the surface of a calm water, I indirectly affect the surroundings thanks to the residual ripple. For its part, the Stand is something a Westerner may find difficult to envision. It finds its origin in Shintoism: the spiritual essence of our ancestors protects us, in fact each and everyone of us is permanently protected. Without being a Shintoist myself, I know the Japanese culture and philosophy well for being born into it, so I am influenced by them in my creative work.
A.L.: You seem to like gore and often draw characters having the ability to regenerate from wounds. Is it an homage to this cinema genre, and to "The Thing" from John Carpenter?
H.A.: Oh I like this genre a lot, but also comics and TV series. John Carpenter, De Palmaâ¦ their work interest me a lot, I study them a lot, I saw them all. Now, about The Thing, one shouldnât forget that the first volumes of JoJo go back to the 80s, I probably had the idea before seeing this movie.
A.L.: They say that you are a big fan of Western culture, be it classical or modern?
H.A.: Yes, I have a big interest in art, in impressionism, in contemporary art, or illustrations? I study all of it too, and it greatly influences my work.
A.L.: In your mind, does it explain the success of JoJo in the West?
H.A.: Well, to become a mangaka, you must study a lot, learn many different things: in a way, you must know everything, from Jangaya to Spielberg.
A.L.: Each JoJo has some similar characteristics: an impeccable morale fiber, temerity, selflessness, a perfect physical appearance, a great strength. Have you never been tempted to give life to an anti-hero?
H.A.: No. For me, a hero must be clean, just, at least that is the idea. He can have a mean look, be dangerous, go through difficult times, but his heart stays pure, and never will he do something dishonest. Heâd never attack a woman or a child, thatâs his main trait.
A.L.: Jojo is also one of the few manga to draw the death of its hero in a gory way. (see Zeppeli's death who was cut in half).
H.A.: To protect someone, a real hero must sacrifice himself, even if his death makes no doubt: That is also a heritage from Japanese philosophy. A hero doesnât seek money, he becomes what he is to save someone else, heâs honest, charitable. The more horrible his death is, the worthier his sacrifice is.
A.L.: About morality, we have the impression of âmoralâ battles, more than real battles in JoJo.
H.A.: It is a symbol, linked to the way the hero manages to vanquish evil. Basically, there are three types of character in JoJo: the good, the bad and the undefined ones (at least momentarily, an aggressive character can reveal himself as a good one). Even the âbadâ characters have a reason for acting, there is always a reason justifying their misdeeds. And we should present the circumstances that pushed the individuals to turn to the dark side to the reader.
A.L.: JoJo also reflects your passion for magic, illusionismâ¦
H.A.: Yes, I never miss a magic show in Japan! Lance Barton, David Copperfield: you know, that trick where he makes a motorcycle disappearâ¦ It interests me a lot, I make a big effort to decipher how they do all that! It also gives me inspiration.
A.L.: Just like the creation of Zeppeliâs character?
H.A.: Yes (laughs)!
A.L.: And do you practice magic?
H.A.: I know a few tricks, and I know how to make a coin disappear. (laughs)
A.L.: JoJoâs Bizarre Adventure has been compared to Hokuto no Ken: what do you think about it?
H.A.: Tetsuo Hara is one of my friends, we often dine together. He completely revolutionized the way the human body was represented in manga, thus he also influenced me in this level.
A.L.: Do you talk about your respective works when you see each other?
H.A.: In fact, being both professional mangakas, we avoid talking about our jobs.
A.L.: Can you see that Jojo is full of nods to Hokuto no Ken?
H.A.: In the first chapters, yes, because of the masculine bodies and the gory effectsâ¦ But not now.
A.L.: About your work on the heroesâ appearance, what are your influences outside of manga?
H.A.: I constantly read anatomy books or Ã©corchÃ©s, to study the structure of bones and muscles. I have been very impressed by the Palazzo Vecchio museum in Florence, Italy. I bought books about it on the subject.
A.L.: Sculpture too? There are works in this museum showing poses thatâd remind people of your workâ¦
H.A.: Yes, definitely, and I like the Rodin museum here in Paris. Iâve assisted to posing sÃ©ance here, and it touched me a lot.
A.L.: To finish, it seems there are several levels of reading in Jojo, and everyone can appreciate the manga in their own way depending on the age. To whom do you prioritize JoJo for?
H.A.: Currently in Japan, I am asked to write stuff for a younger audience (less than 15 years old), in a cute, âkawaiiâ wayâ¦ It really flies over my head, in fact. To write something good, you must above else be able to understand it and to appreciate it.
A.L.: Interestingly, JoJoâs Bizarre Adventure seems to please the French female readership whereas it was destined to a male readership. What can justify that in your mind?
ARAKI Hirohiko : Exposed
AnimeLand : Pouvez-vous nous Ã©clairer sur la genÃ¨se de Jojo ?
ARAKI Hirohiko : En premier lieu il y avait le concept de succession des gÃ©nÃ©rations, lâhÃ©ritage pÃ¨re/fils. Ensuite, je voulais mettre en scÃ¨ne des hÃ©ros voyageurs qui se battraient pour dÃ©fendre lâhumanitÃ©. LâidÃ©e des gÃ©nÃ©rations successives mâa Ã©tÃ© inspirÃ©e par la saga du Parrain (Brian DE PALMA), ou A lâEst dâEden (Eliat KAZAN) : des histoires de familles, dont lâaction se dÃ©roule sur plusieurs gÃ©nÃ©rations. TrÃ¨s Jeune, Jâai Ã©tÃ© touchÃ© et inspirÃ© par tous ces films devenus des classiques.
A.L. : Aviez-vous une idÃ©e de ce serait chaque saison Ã lâavance, ou votre idÃ©e premiÃ¨re sâest-elle modifiÃ©e au fur et Ã mesure ?
A.H. : Au tout dÃ©but tout Ã©tait axÃ© sur le combat, les rapports de force, puis, au fil du temps, tout est devenu plus âspirituelâ, avec une grande place faite Ã des valeurs comme lâamitiÃ©. Au niveau graphique, les premiÃ¨res sÃ©ries mettaient en scÃ¨ne des hÃ©ros trÃ¨s âmachosâ aux muscles surdimensionnÃ©s. Puis les personnages sont devenus plus fins, plus Ã©lÃ©gants aussi.
A.L. : Que pensez vous de la traduction occidentale du titre de Jojo (1) : le terme bizarre vous parait-il appropriÃ© ? Et si oui, quel aspect de votre travail reflÃ¨te-t-il ?
A.H. : En effet, le titre japonais se traduirait plus par âamazingâ : Ã©tonnant, merveilleux. Mais justement, ce que je tenais Ã exprimer dans ce manga est rÃ©ellement quelque chose de diffÃ©rent, dâÃ©trange, de bizarre. Donc, en dÃ©finitive, la traduction est plutÃ´t juste (sourire). Je pense que cette sensation se reflÃ¨te dans certains aspects ou situations du manga : les retournements de situation imprÃ©vus, la faÃ§on dont lâexpression des visages change, se dÃ©forme, la personnalitÃ© cachÃ©e de certains personnagesâ¦
A.L. : Comment vous est venu lâidÃ©e de lâOnde, puis du Stand ?
A.H. : Pour lâOnde (ou Hamon), lâidÃ©e de dÃ©part Ã©tait celle dâune force indirecte, une force qui frappe Ã distance, comme dans lâeau par exemple : si je frappe une surface dâeau calme, jâaffecte indirectement les alentours grÃ¢ce Ã lâonde rÃ©siduelle.
Le stand, quant Ã lui, est peut-Ãªtre quelque chose de difficile Ã apprÃ©hender pour un occidental. Il trouve son origine dans le shintoÃ¯sme : lâessence spirituelle de nos ancÃªtres nous protÃ©ge, en fait chacun de nous est protÃ©gÃ© en permanence. Sans Ãªtre moi-mÃªme shintoÃ¯ste, je connais bien la culture et la philosophie japonaise pour y Ãªtre nÃ©, je suis donc influencÃ© par elles dans mon travail de crÃ©ation.
A.L. : Vous semblez beaucoup apprÃ©cier le gore et mettez souvent en scÃ¨ne des personnages possÃ©dant la capacitÃ© de se reconstituer aprÃ¨s blessure. Est-ce un hommage Ã ce cinÃ©ma, et au The Thing de John CARPENTER ?
A.H. : Oh, jâaime beaucoup ce genre de cinÃ©ma, mais aussi les comics, et la tÃ©lÃ©. John CARPENTER, DE PALMAâ¦ leur travail mâintÃ©resse Ã©normÃ©ment, jâÃ©tudie beaucoup tout cela, je les ai tous vus. Maintenant, concernant The Thing, il ne faut pas oublier que les premiers volumes de Jojo remontent aux annÃ©es 80, jâavais probablement eu lâidÃ©e avant de voir ce film.
A.L. : Il parait dâailleurs que vous Ãªtes un grand fan de culture occidentale, classique ou moderne ?
A.H. : Oui, je mâintÃ©resse beaucoup Ã lâart en gÃ©nÃ©ral, quâil sâagisse dâimpressionnisme, dâart contemporain ou dâillustration. JâÃ©tudie tout cela Ã©galement, et Ã§a mâinfluence dans mon travail.
A.L. : Cela peut-il expliquer, Ã votre avis, le succÃ¨s remportÃ© par Jojo en occident ?
A.H. : Eh bien, pour devenir auteur de manga au Japon, il faut Ã©tudier Ã©normÃ©ment, apprendre beaucoup de choses trÃ¨s diffÃ©rentes : en quelque sorte, il faut tout connaÃ®tre, de JANGAYA Ã SPIELBERG.
A.L. : Tous les hÃ©ros de Jojo ont certaines caractÃ©ristiques communes : morale impeccable, tÃ©mÃ©ritÃ©, don de soi, plastique parfaite, force incommensurable. Nâavez-vous jamais Ã©tÃ© tentÃ© de donner vie Ã un anti-hÃ©ros ?
A.H. : Non. Pour moi, un hÃ©ros doit Ãªtre propre, juste, du moins câest lâidÃ©e que je mâen fais. Il peut avoir lâair mÃ©chant, dangereux, il peut traverser des moments difficiles, mais son coeur reste pur, et jamais il ne ferait quelque chose de malhonnÃªte. Jamais il ne sâattaquerait Ã une femme ou Ã un enfant, voila son principal trait.
A.L. : Jojo est Ã©galement un des seuls manga Ã mettre en scÃ¨ne la mort de ses hÃ©ros de faÃ§on trÃ¨s gore. (voir la mort de Zeppelli, coupÃ© en deux).
A.H. : Pour protÃ©ger quelquâun, un vrai hÃ©ros peut avoir Ã se sacrifier, mÃªme si sa mort ne fait aucun doute : câest lÃ aussi un hÃ©ritage de la philosophie japonaise. Un hÃ©ros ne cherche pas lâargent, il devient ce quâil est pour sauver autrui, il est honnÃªte, charitable. Plus sa mort est horrible, plus son sacrifice prend de la valeur.
A.L. : Parlant de valeurs morales, on a dâailleurs lâimpression dâassister Ã des affrontements âmorauxâ, plus quâÃ de rÃ©els combats dans JoJo.
A.H. : Câest une symbolique, cela a trait Ã la faÃ§on dont le hÃ©ros arrive Ã vaincre le mal. Il y a trÃ¨s basique ment trois archÃ©types de personnage dans Jojo : les gentils, les mÃ©chants, et les personnages indÃ©terminÃ©s (du moins momentanÃ©ment, un personnage apparemment agressif pouvant se rÃ©vÃ©ler Ãªtre un gentil par la suite). MÃªme les personnages âmauvaisâ ont une raison de mal agir, il y a toujours une raison qui justifie leurs exactions. Et il faut prÃ©senter au lecteur les circonstances qui ont poussÃ© ces individus Ã se tourner du mauvais cotÃ©.
A.L. : Jojo reflÃ¨te Ã©galement votre passion pour la magie, lâillusionnismeâ¦
A.H. : Oui, je ne rate jamais un show de magie, au Japon ! Lance BARTON, David COPPERFIELD : vous savez, par exemple, ce tour ou il fait disparaÃ®tre une motoâ¦Ãa mâintÃ©resse beaucoup, je me donne du mal pour essayer de comprendre comment ils font tout Ã§a ! Cela me donne Ã©galement de lâinspiration.
A.L. : Comme pour la crÃ©ation du personnage de Zeppelli notamment ?
A.H. : Oui (rires) !
A.L. : Et vous, pratiquez-vous la magie ?
A.H. : Je connais quelques tours, je sais faire disparaÃ®tre les piÃ¨ces de monnaie (rires)
A.L. : Jojoâs bizarre adventure a souvent Ã©tÃ© comparÃ© Ã Hokuto no Ken : quâen pensez-vous ?
A.H. : HARA Tetsuo est un de mes amis, nous dÃ®nons souvent ensemble. Il a complÃ¨tement rÃ©volutionnÃ© la reprÃ©sentation du corps humain dans le manga, il mâa donc influencÃ© Ã©galement Ã ce niveau.
A.L. : Parlez-vous de vos travaux respectifs quand vous vous voyez ?
A.H. : En fait, Ã©tant tous deux des professionnels du manga, nous Ã©vitons de parler boulot.
A.L. : Et peut-on dire que Jojoâs est Ã©maillÃ© de clins dâoeil, Ã HNK ?
A.H. : Dans les premiers Ã©pisodes, oui, au niveau des corps masculins et des effets goreâ¦ Mais plus maintenant. A.L. : Toujours en ce qui concerne votre travail sur la plastique de vos hÃ©ros, quelles sont vos influences, hors manga ?
A.H. : Je consulte en permanence des livres dâanatomie, des Ã©corchÃ©s, pour la structure des os et des muscles. Jâai Ã©tÃ© trÃ¨s impressionnÃ© par le musÃ©e Palazzo Vecchio Ã Florence, en Italie. Jây ai achetÃ© des ouvrages sur le sujet.
A.L. : La sculpture Ã©galement ? Il y a des oeuvres dans ce musÃ©e dÃ©montrant des poses trÃ¨s caractÃ©ristiques de votre travailâ¦
A.H. : Oui, tout Ã fait, et jâaime Ã©galement beaucoup le musÃ©e RODIN, ici Ã Paris. Jâai assistÃ© Ã des sÃ©ances de pose, cela mâa beaucoup touchÃ©.
A.L. : Pour finir, il semble quâil y ait plusieurs niveaux de lecture dans Jojo, et chacun peut selon son Ã¢ge, apprÃ©cier ce manga Ã sa faÃ§on. A qui destinez-vous Jojo en prioritÃ© ?
A.H. : Actuellement au Japon, on me demande dâÃ©crire des choses pour un public plus jeune (moins de 15 ans), dans un esprit trÃ¨s mignon, trÃ¨s Kawaiiâ¦ Mais tout cela est trÃ¨s loin de moi, en fait. Pour Ã©crire quelque chose de correct, il faut avant tout Ãªtre capable de le comprendre et de lâapprÃ©cier.
A.L. : Chose Ã©tonnante, Jojoâs Bizarreâs adventure semble beaucoup plaire aux lectrices franÃ§aises, alors quâil semblait destinÃ© avant tout Ã un public masculin.
Quâest-ce qui peut justifier cela, Ã votre avis ?
A.H. : Eh bien, peut-Ãªtre le fait que mes hÃ©ros sont tous trÃ¨s beau garÃ§on ! (Rires)
Remerciements pour la traduction Ã M. OGII Michael-Akira, organisateur de lâexposition. 
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Before we talk about Kira, lets talk about the town of Morioh.
It is modeled after a new residential development built close to where I grew up. Back then, I was looking at these new buildings and felt a sort of anxiety as opposed to admiration. âWas everything really going well [in there]?â
Looking from the outside, you see all these warm lights in the houses, but you have no idea what people are doing inside. These houses that looked the same were being built and they all looked pristine and happy. Doesnât that sort of make you feel like a Kira might be [lurking] there? (laughter)
With âDiamond is Unbreakableâ my theme was to build out a town. I wanted to draw the humor and spookiness that might be lurking the peripheries of everyday life. Even myself now, there might be bizarre things going on if I just change my point of view.
I was also very influenced by the novels of Stephen King. I was reading them a lot in the 80âs and 90âs, but I especially liked âMiseryâ. The stage is fixed and you just keep delving deeper and deeper within it. Back then I read a lot of King novels.
Also with Part 4, I got to bring in a lot of my own tastes into the work so that was fun. Games, shops, Italian restaurants! With Tonio's store, I paid a lot of attention to what I was drawing down to the ornaments. It was great bringing that into the fold tooâ¦ Research was also really easyâI just had to go home to Sendai (laughter) I would just go back, take a few pictures at a souvenir shop and draw them inâall within the realm of not being scolded [for frivolous travel] of course!
Also, Josuke's hairstyle, even my editor pushed back being like âPlease draw a main character suited for the eraâ. But I thought it was good because he wasnât. The way he cares about his hairstyle, itâs very â70âs~80âs delinquentâ-like isnât it? But when you go to the countryside, you occasionally see people like that (laughter) When I was a student, I would stay away from people like that because they scared me, but now thereâs almost something endearing about them.
So it seems that when we remixed the comics, there were 7 volumes just dedicated to episodes related to Kira. I myself was like âWow, did I really draw that much of him?â
One of the themes of âDiamond is Unbreakableâ is that Horror may be lying right behind our everyday lives. The reason for that is because I liked reading books on serial killers back in the 80âsâthis is right before âSilence of the Lambsâ would be published and that became a trendâand I wanted to understand what the motivation of serial killers were. Why would you be born a human and do things like this? Those types of questions really interested me and the actions of these people I found really spooky.
So when I started drawing out âeveryday lifeâ, I had an initial assumption that a serial killer would be the enemy. A sort of different enemy from âStardust Crusadersâ, one that lies in wait. The âStardust Crusaderâ enemies came rushing in, but [I was thinking of] an enemy that would sort of lure you inâ¦ Eventually I was thinking of drawing something like that, but I wasnât imagining Yoshikage Kira as a specific character from the start.
The first enemies were student-level enemies like Okuyasu and Keicho, also the guitarist Akira Otoishiâat first I was thinking of student level, delinquent level enemies. The reason for that being that I didnât want to make a sort of âGreatest enemyâ. When you create a âGreatest enemyâ to be overcome, to be the goal, the readers canât focus on anything besides that. I didnât want that to become a weakness in the work. For every story I wrote, I wanted the attention to be on whatâs happening right now.
But it seems âJojoâ readers really wanted a âGreatest enemyâ of some sort, I guess DIO gave off too strong an impactâ¦. so when it seemed like the end was in sight, I thought up of Kira.
The name Kira is of course from âKillerââso a murderer. Its very simple (laughter) The name âYoshikageââ¦ I wanted the first kanji of both names to be the same. Same with Jojo right? So it might be easy to remember if I aligned it around the letter âåâ. That;s all. But it sounded right.
I drew from Kira's point of view in his first appearance. I wanted to draw something from the point of view of the antagonist. Up until this point, I only wrote the villains from the point of view of the protagonistsâthe villains as seen by the protagonists. But antagonist has a point of view as well, and I wanted to draw what their mental state might be. Why does Kira commit murders? And I wanted to draw that in a fashion where he stays an antagonist and doesnât become a protagonist.
So I didnât want to make him a very sympathetic character. When you read about the young lives of these serial killers, you often see that they lived unhappy childhoods. But if you start drawing that out, they become useless as antagonists. So I took care to cut out those parts as best I could when building his character. That took a bit of work.
For DIO, he had a thing about becoming a pinnacle over humanity right? But Kira is pursuing true human happiness. Thatâs why he hates trouble. He just wants to live in a world of his own interests, and thatâs what makes him dangerous (laughter) But he might have an philosophy of his ownâ¦ The enemies up until that point like DIO and Kars were all aiming for the topâit might have been symbolic of the Japanese economy up until that point, like the bubble economy (laughter). Back in those days, DIO's might have been the more natural mindset and you might unconsciously sympathize more with that.
When I was drawing Kira, what people were looking for was tranquility. The idea that happiness is not about standing on top of others. Kiraâs awards since he was a middle schooler were all for the #3 spot. Not #1 or #2, but #3. Not conspicuous, but still respectful. He himself has the talent to become #1. But standing out, making enemies, being chased, feeling pressure, feeling expectations he canât handle that at all. There might be a lot of adults who think like that, but itâll be creepy if someone was thinking that when theyâre a kid right? Itâs much cuter for kids to be like âIâm going to become #1!â That sort of abnormality was what I wanted to draw, that sort of odd genius.
Killing Reimi Sugimoto when he was 18, that was Kiraâs first murder. Itâs around the same time Jotaro and his companions fought DIO. Maybe that was a sort of year when the stars aligned. A year of destiny. Josuke was saved by the man with the pompadour that year too, so a lot of things went on.
His first murder, it was probably by impulse. By chance, he saw Reimi and snuck into her houseâ¦ and that changed his fate. If not for that incident, he might not have lived a happy life without killing, but the stars steered him wrong. And from there, you canât shake fate. His first murder went a long time without being uncovered. You read about serial killers and how they have dozens of bodies buried under the floor. You wonder how that happens without being uncovered, but thatâs really scary right? Maybe its driven by the apathy of the neighborsâ¦ With that first murder, Kira became destined to kill 48 people.
Kiraâs background of bottling up his nailsâ¦ that was inspired from a real life story of someone who preserved his nails to monitor his own condition and stress levels. That person is not a serial killer (laughter) That nail story was interesting, and I remembered it. It seemed like something Kira might doâ¦ âWhen my nails have grown x millimeters, Iâm doing great!â âThis is when I can never be caught!â I feel like I do something similarâ¦ I measure my blood pressure and read from it my condition. Sometimes I feel invincible when the readings are good. There might be athletes who do that tooâ¦ not with nails of course. Kira just does a sorta-creepy version of that (laughter)
Now for Kiraâs family, do you remember that scene where you see a picture of Kiraâs family, I put a lot of thought into drawing that. Itâs not a fun-looking family, but it also looks sort of peacefulâ¦ and thatâs creepy. The father and mother appears close to each other, but also distant. They probably havenât ever really had a major fight either. When you read about a serial killerâs life, you feel chills when you come across a picture of them as a child. I wanted to imbue that picture with a bit of that feeling.
Now Kiraâs father, he was a strange person. Not quite a criminal, but considered odd. He probably knew his son was a murderer and went ahead hiding his crimes. Of course, Kiraâs father went to Egypt and obtained the bow and arrow from Enya to protect his son. Right around then, DIO was looking for allies around the world and Kiraâs father was one of those accepted as having potential by him. The same for Okuyasu's father. People who had been scouted by DIO were all around the world, and even among them, Kiraâs father and Okuyasu's father may have had extra attention paid to them as they were in Japan along with Jotaro. For the mother, I havenât drawn anything about her at all, but I think she may have done a sort of âabusive coddlingâ towards Kira. Thatâll be scary right?
Even now, I wonder if I should have drawn out Kira's relationship with his parents in more depth. But I had to cut it out with much reluctanceâ¦ or maybe I should say that I didnât have the courage to draw that out. Like I said before, I didnât want to detail Kiraâs past too much. I didnât want the readers to look at Kira and his father and think âthese are actually very sad charactersâ. I drew out Kiraâs mental state when killing, but if I started delving into the fundamental reason why he kills, Kira becomes a sort of sympathetic characterâ¦ if you start emphasizing with Kira thatâs not really appropriate for a Shonen manga. I didnât want readers to feel sympathy. That may be the hardest thing about drawing out Kira. Although I think I might have been able to add another two or three volume if I started delving into Kiraâs mental state, his motivations and his relationship with his parents.
Iâm really interested in familial relationsâ¦ the Joestar bloodline is about families too after all. When I draw a character, I start wondering about their parents or siblings. It might be because I was influenced by my parents and sisters a lot. When follow that trail, when you draw out an antagonist I start wondering what influences he got from his family. But if you start delving into that personâs background, you start straying from the theme. Thereâs so much you could draw out. Even DIO had a lot of influence from his father. But because this is a weekly serial manga, its always difficult to decide how to cut that out. I mean, you only have 19 pages to draw on a week. Thatâs no space at all. You basically just have to take one idea and run with it. But even then it wonât fit, so I have to think hard about how I might condense two pages down to oneâ¦
Kira was cornered once and had to flee. Some people thought that might be the end of Part 4, but I was always planning on reviving him. His flight is equivalent to DIO's resurrection. You think heâs lost, but then he surges backâ¦ around there was I really felt a sort of vitality from him. A different sort of vitality from DIO. DIO's is merely a biological vitality, but Kira was able to tap into the world of a sort of spiritual or mental strength. At that point, Kira trumped Josuke and his friends in spiritual strength. Itâs because he had that resurrection that Kira became such a great antagonist. If he had given up then, he would have been a no-go.
I didnât think at all about using Cinderella to change his appearance. When he was cornered and I was thinking hard about how Kira might escape, lighting struck me and I realized âhey I could just use Cinderella which I wrote about last episode!â Iâm basically thinking at a week-by-week interval and never about what happens after that. I donât know about Jump manga these days, but itâs all about how I make this week interesting for me.
I also like that part after this where Kira becomes a âfatherâ as Kosaku Kawajiri. Thereâs a P.K. Dick novel about an alien masquerading as a father in a family; I wanted to draw something like that. Only the son knows that heâs an alienâ¦ those types of stories are fun. Those episodes are written from the point of view of the son Hayato Kawajiri, and I think it was good as it changed up the pace. After that you had a few Kira point of view stories and you saw that wife falling in love with Kira. I guess itâs plausible that you might grow to love someone if theyâve actually changed, but falling in love with a serial killer, thatâs sort of abnormal too and good.
At the end, the son discovers his secret and Kira discovers a new ability. Thatâs an extension of his resurrection. Itâs impossible to stick around in Jojo with the same ability, you have to power up. The youngling who develops into something greater is a common archetype in Shonen. Itâs one of the things I feel are a âmust haveâ in a story. Josuke and Jotaro are sort of âcompletedâ characters so itâs difficult to draw a development scene for them, but Koichi-kun and Hayato Kawajiri fit that type. To see Kira also grow in parallel to them is an atypical way of fulfilling a Shonen stereotype.
On âBites the dustâ ability. When you start thinking around the theme of time or rather time travel thereâs a lot of variations you can delve into like stopping time, rewinding timeâ¦ So its sort of like me passing on ideas I wasnât able to use for DIO. I like the idea of time manipulation. I did something like that with âGolden Windâ and âStone Oceanâ.
Writing the âBites the Dustâ episodes were fun. It felt like I was assembling a puzzle or building a game. But because the same time was incremented so many times, I became concerned with whether the readers would follow along. I said this before too, but given that I only have 19 pages a week, I started wondering if this was appropriate for a Weekly manga. A weekly serial has build up story tension within those 19 minutes then pass it along to the next week. Itâs a lot of work, but I see those as the rules I have to work within.
In the end, Kira dies after having been run over by an ambulance, and his face was obliterated and nobody could tell who he is.
With âDiamond is Unbreakableâ â¦ with the town of Morioh, I wanted to trap it into a world of âeternityâ. Like would the wife have been happy if she knew that her husband was no longer the same person? If she realized it, it would be a bit boring right? So I was fine with that state continuing forever and no answer being resolved. Within myself, Morioh will forever be in that state. What happened to Josuke after the series? I donât think about that at all. Morioh is âeternalâ.
I drew Kira also in a spinoff called âDeadmanâs Qâ. Being trapped in an âeternalâ world with his soul being unable to go to heaven or hell, I thought that might be a form of suffering or punishment too. The same thing with Diavolo in âGolden Windâ, but it might be a punishment to be trapped within eternity. In the commentary for the short story collection [âUnder Execution, Under Jailbreakâ] I wrote that I was tearing up as I drew the story (laughter) I was very invested in Kira. I almost understood his feelings, if only he hadnât committed murderâ¦ I didnât draw it at the time, but thinking back on it I feel that he might have been person with the burden of sadness too.
Out of all the villains Iâve drawn so far, Kira is my favorite. I like DIO tooâ¦ but more than DIO. Because he was seeking a quiet life and wasnât a character you would see often in a shonen manga, I was very invested.
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- Is the story of "SBR" something you had thought up a while ago?
Araki: That's right. I already have a general outline of each story theme planned up to part 9.
- Huh? Are we allowed to leave this in?
Araki: Even though I say Part 9, it doesn't mean it'll be a continuation of SBR. This isn't a saga like Star Wars. The theme and narrative structure will be completely different.
Note: Missing full transcript.
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It's finally open to the public... And now a courteous interview with the director
"Spider-Man 2" is already breaking records one after another in the United States, surpassing its mega-hit predecessor. It's finally released in Japan, and it's definitely a must-see movie this summer!! Thus, we present a memorable conversation between the director and a popular writer who has been a big fan of his early works!!
A new work that fully demonstrates the horror expert's charm!!
Araki: Having finished "Spider-Man 2", I can honestly say it was just as good as the first one.
Sam: Thank you. I was also shown your work, Araki, and it was quite wonderful. I was really impressed.
Araki: Oh, please (laughs). On the other hand, I do think Spiderman 2's direction was more relaxed than the previous one.
Sam: That's for sure. I felt like I was making an independent work like in the old days. It's a strange thing to say considering the budget (200 million dollar production, a record high!), but I had a lot of freedom.
Araki: I've always been a big fan of your taste in direction. For example, small scenes such as when the nails screeched from being dragged left an impression.
Sam: You're very perceptive (laughs). When I saw your work, I had a feeling you'd be the type to notice those kinds of moments. I'm proud to say now that the skills I've cultivated as a horror writer can still be put to good use here and there. I wanted the audience to be frightened with how scary the villain was, so that was a method I used to show suspense and make your heart race. Maybe that's what reminds me of my old works.
Araki: I know what you mean. Another characteristic of your works is how they depict the process of 'breaking down'. There's physical destruction too, but I think the process of shattering the character's spirit is especially evident. The same thing happened in "The Evil Dead" and "Darkman". In "Spider-Man", the main character, Peter, fell into a slump.
This summer's most talked-about film features a charismatic big shot with a unique power.
Sam: That's a very interesting way of looking at it. I've never thought about that before, but I guess I'm definitely drawn to main characters that have mental weaknesses and flaws.
Araki: Mental stress made Peter lose his web, so to speak. The zombies in "The Evil Dead" were also afraid of their minds being broken from being possessed by evil spirits. In "Darkman", his mind was rapidly changing. I think that's the appeal of the films you direct.
Sam: Actually, I'm very interested in the fact that people make mistakes. Although it's a really tragic thing, it's wonderful when people are able to get back up and feel a sense of accomplishment from succeeding in something after. I think that's basically the story of "Spider-Man".
Araki: That's especially the case this time around. That's why I'm looking forward to seeing Peter's best friend, Harry (in the previous film, his father was killed by Spider-Man after turning into the Green Goblin). Most of your films have characters wearing masks, but I'm curious about why you keep removing them? It almost seems like you want to get rid of the masks (laughs).
Sam: You're right. I did the same thing in this movie as well (laughs). My intention is to show the audience the character's face and make them look into their eyes, so they can feel the pain and emotions that the character is feeling at that moment. That's why I have them torn off.
Araki: I felt that in "Darkman" as well. Though I think one of the most appealing things about "Spider-Man" is the misunderstandings from the people around him since his true identity hasn't been exposed. I'm worried that if you direct the next 3 films, you'll have a hard time (laughs).
Sam: I'm currently planning the next one in my hotel room. I'm having a very hard time. If you have any good ideas, please contact me in my room this evening (laughs).
Araki: I've got plenty of ideas (laughs).
Spider-Man is a sad romantic drama for boys?!
Sam: Even so, you seem like you'd be great as a CGI artist, Araki.
Sam: Honestly, I wasn't influenced by anyone's 'masterpiece' or anything. My father had a 16mm camera, and when I first saw my first 'home video', I was amazed. You could capture and recreate reality, as well as alter the order of events and mess with time. I wondered if it was possible to have such a thing in the world.
Araki: Your attraction to movies itself came from the magic of videos?
Sam: Exactly. Therefore, I think the challenge with my first film was how I could use that as a medium. What can I give to the audience with cutting, camera work, lighting, and sound effects?
Araki: Your direction has had a great influence on my works. For example, if something is reflected in a character's eye, the 'camera lens' will zoom in on it.
Sam: When details like that are depicted properly, it helps bring life to the work. You get the sense that it's actually depicting a real human memory. Your framing in particular is fantastic, Araki.
Araki: Thank you (laughs). Do you sense any difference between Japanese manga and American comics?
Sam: American comics tend to have too much detail, giving them a very chaotic look. I find Japanese manga to be a bit more clear-cut in what it's trying to express; it's very simple and elegant by nature. Story-wise, comics cater to a rather limited audience. I think itâs wonderful that manga considers a much broader demographic and involves many people.
Araki: CGI's becoming more of a thing in movies, though. It's going to be very difficult to adapt manga unless the medium starts using more wide-angle shots.
Sam: Your works are very dynamic, Araki. I think they have an extraordinary amount of originality. The fact movies influence them, that's a good thing. Though these days, I'm becoming more interested in the people and the stories themselves. I'm also beginning to understand how the technical side of things can be used as tools of expression.
Araki: Is that so? As someone who writes stories myself, I'm quite a fan of "tragic love", which was a big aspect of what I liked about "Spider-Man." It would have been great if, at the end of "Spider-Man 2," you did something like "The Graduate," where Mary Jane is a bride who gets snatched away (laughs).
Sam: That's a pretty good idea; you might see it in "Spider-Man 3" (laughs).
Araki: I did like how the movie ended on a somewhat solemn facial expression, as if the future seemed uncertain.
Sam: I made MJ have a sad expression by putting myself in her shoes. Romance is something that I personally love very much, and it seems that my interest in it melded into this film. Now that I think about, the original comics are also essentially a 'romance' story for men. American boys are too shy to read plain love stories. Is that the case in Japan?
Araki: Iâve liked those type of books since I was a kid. Rather than seeing a happy ending, Japanese people like it when theyâre torn apart by fate, so itâs nice that even "Spider-Man" has the feeling of wanting to cry. Love is a painful thing (laughs).
Sam: Do you convey that to your readers through your work?
Araki: Let's just say I've had many painful experiences in real life, too (laughs).
Sam: So you're an expert on love (laughs). I don't have that much experience myself.
Araki: Oh, really (wry smile). Anyways, I'm glad I was able to talk to you today. I'm looking forward to "Spider-Man 3". You'll be directing it, right?
Sam: That's the plan. The other day I overheard the higher-ups of the movie company talking about making up to six, and I was so shocked that my heart stopped (laughs).
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Recently, I've managed to calm myself down quite a bit... Well, let's just say that instead of arguing, which is something that tires me out, I prefer obeying what I'm being told. During the time I was writing Vento Aureo, I really tormented myself in regards to the matter of "self-censorship" in Shonen Manga. By "self-censorship," I'm talking about the requests from the editorial board to an author to stop drawing or, at the very least, soften certain elements of the story which haven't been deemed presentable (for example: discriminatory phrases, expressions which might appear racist, the way skin color is drawn, violent scenes or abuse on both the weak and animals, callbacks to real-life crimes, the representation of nude bodies, smoking or drinking habits, etc..) I wanna make it clear right away that what I am about to write here isn't a critique towards my editors, but simply the real sensations that I, Hirohiko Araki, felt while writing Vento Aureo.
Having reached the fifth part of the series, I desired to write a story which would deal with topics such as the deep sadness in us human beings, or the pain of being born into this world, and I wanted to do it in a stronger manner than the previous parts. Depending on the circumstances in which they are born, there are people who are lucky from the very start, but how would these individuals act if they had been born in a different place instead, one with much harsher conditions? In Vento Aureo, all the protagonists have, in one way or another, been estranged from society and forced to live on its boundaries. We are talking about an environment in which the strong eat the weak and one where evil pervades everything. In such a situation, is it still possible for these characters to find justice?
When representing the clash between good and evil, it is necessary to describe evil in a realistic way, and it's here that the power of "self-censorship" in Shonen Manga really strikes the heaviest of blows in the story that you're trying to write. Smoking, being relentless towards the weak, sexually molesting an individual, stabbing someone with a knife, cutting off heads, abusing men and women, gouging eyes out, eating brain matter: all these are examples of pure evil. To express the evil shadows of human beings a minimum of cruelty and brutality is essential.
Despite having happened sporadically in previous years, as soon as I started Vento Aureo (around 1996), the editorial board suddenly started sending me more and more requests along the lines of "fix this page", "change that line", "modify this drawing" and so on. I would like to show you precisely which dialogues and pages I'm talking about, but it would be a long list so it's better to leave that out for now. Additionally, these requests were rarely motivated (even if they were, they were never in a convincing manner), the indications given to me were typically like, "...well, it's just that there is kind of regulation, plus the deadline is close and things just go like this with the board. C'mon hurry up and fix it! You'll think about the rest right?!â
I'll say it again, this is absolutely not a critique in regards to my editors, nor am I insinuating that they developed an unprofessional attitude towards me. (Truth is that I've always been very grateful to my editors!) All I'm trying to say is that during the period I was writing Vento Aureo that sensation was there with me. It's nothing else but a simple personal impression.
With all that said, it's easy to imagine just what type of crisis I was in and how difficult it was for me to successfully express, in a satisfying manner, the themes that I was trying to develop. Moreover, I kept asking myself if by any chance a "wall" had been indefinitely built to limit the liberty of expression, if the possibilities for artistic development in manga had run out, or if the ideology of authority and non-stop profit weren't completely stripping away the sprouts of art itself. Even now, despite being in a much more relaxing condition, I can't give myself a definitive answer, but what I felt in that era naturally transpired into the actions and attitudes of my characters.
Giorno and Bucciarati, two of the protagonists, betray the organization which they are part of for the sake of 'justice'. The organization is a symbol of power and moral obligation, almost a second home for them, but they both decide to fight to follow the desire of living according to justice. Even I, as the author, while drawing these scenes felt courage swelling up inside of me. Thinking back on the sentiments of my protagonists never fails to bring tears to my eyes. If these two boys had decided to remain in the shadow of authority, maybe they would have gone on to live safe and comfy lives. Instead, despite knowing the risks, they chose the path of justice, because only in its presence would they have been certain their existence actually mattered. Vento Aureo, between great Italian fashion and all the more creative Stand battles, is a story full of suspense, but I also think, according to my judgment as an author, that it can be considered a really dark work. Having said that and considering how at times we can take on such heavy subjects, I am very proud of it. Just like with all the other parts, I hope with all my heart that you have fun reading it. Regarding the parts that I had to cut, I will talk about this in the afterthoughts of the last volume.
Jotaro Kujo, the protagonist of part three "Stardust Crusaders", sets off on his journey accepting the bond that connects him to his grandfather and his grandfather's great-grandfather (Jonathan's father). There are six generations between them. In that sense, you could say their enemy, Dio Brando, represents both destiny and fate.
I don't think there's anyone who can assert they know anything about an ancestor from six generations prior. From Jotaro's perspective, he doesn't really care if his ancestor was someone who did good things or, rather, someone who made the wrong choices. He simply accepts the blood bond that connects him and his ancenstors, considering it an honor even! While I was writing this fifth part, Vento Aureo, I kept asking myself: "How would someone behave if the mere fact they were born was a source of sadness?"
Men can't choose how they come into the world. Some of them find themselves in happy families, others grow up in terrible places from the get-go. Can those less fortunate do anything if we assume destiny and fate are something already decided by gods or some kind of law that makes stars move in our vast universe? This is Vento Aureo's main theme and both the protagonists and their adversaries need to face it. Giorno, Bucciarati, Fugo, Narancia, Abbacchio, Mista. Every single one of them grew up or rather was forced to grow up, at the edge of society and family. The same can be said about Trish really.
Could they ever challenge fate, destiny, and change them? This was my most recurring thought while working on this story.
I was really down during that period for certain personal matters. What to do? If it were easy for humans to change them just with effort and will, destiny and fate would lose their meanings. It would be too easy. How could the protagonists fight against this sense of unavoidability? The answer, surprisingly, was given to me by the protagonists themselves. They don't try to change their destiny and even in their situation, they choose not to give up their spirit's purity. They firmly believe that happiness and a sense of justice are the same things.
I mean, I'm the author, and yet, while I was writing I ended up learning from my characters and this is what truly gave me courage. In these terms, thinking back, I feel I had the illusion of being accepted among them as a friend, more than just growing fond of Vento Aureo's protagonists myself.
There was one part in this fifth series I absolutely had to delete though. An episode I couldn't write at all. In my head, the story went that between Mista, Narancia, Fugo and Abbacchio, there would be a spy working for the boss and betray Giorno and Bucciarati. At first, I had decided this traitor to be Fugo, but I couldn't do it.
My state of mind was so dark that the stories I wrote were becoming more and more evil, but in my heart, I was starting to hate this behavior as time passed. Also, my heart broke just thinking about how Bucciarati would feel.
I absolutely can't understand betrayal from a trusted friend and this is why just thinking about it physically hurt me. I would have accepted any criticism saying that I "hadn't had the guts to do it" as an author, but I assure you I couldn't write that episode no matter what.
Maybe Giorno would have had to kill Fugo then and I'm sure this would have given a really bad impression to my youngest readers.
This is what lays behind that farewell scene in Venezia, with the publication of Vento Aureo's novel then I was able to have a story written about how Fugo would continue to help his companions from inside the organization.
To conclude, allow me to say something to my characters: Thank you, you are the Golden Wind that blows during the most difficult and sad moments.
2006 to 2015
Nisio Isin: Author of Monogatari Series, Katanagatari, etc.
Hirohiko Araki: Author of Jojoâs Bizarre Adventures.
Points in common between Arakiâs and Nisioâs works
Interviewer: So apparently, Araki-sensei made his debut in the same year that Nisio-san was born.
Nisio: I was born in 1981.
Araki: I made my debut in the 1981 New Yearâs issue [of Weekly Shounen Jump].
Nisio: It feels like fateâ¦if you can call it that, haha.
Araki: Thatâs amazing. At 24, youâve already written so much in 4 or 5 years.
Nisio: Iâm not sure how long I can keep writing, but for now Iâll keep writing as much as I can. Iâm on my 15th book now.
Interviewer: Araki-sensei, did everything go smoothly after you debuted?
Araki: Not at all, it feels like I only started polishing my skills after I debuted. They let me debut before I had any style or originality as a manga artist. I had to learn a lot then, and it wasnât until Jojoâs Bizarre Adventures that I really got started.
Nisio: I also loved your manga before Jojo, like Mahou Shounen Biitii, Gorgeous Irene, and Baoo Raihousha. Your manga all feel like my roots, thereâs so much Iâve learned from them.
Araki: Oh yes, your novels do seem to have some points in common. Iâve started reading from Kubikiri Cycle [first book of Zaregoto Series] and havenât read your latest books, but your characters all seem modern. It might also because a lot of them are geniuses, but they all think theyâre superior and donât respect others. It was interesting how the main character tries to confront those geniuses despite feeling inferior.
Their dialogue sounds like advertising slogans. I like that. Like those lines at the beginning of each chapter. The main character keeps banging out lines like that. That was very fresh and interesting.
Nisio: Thank you. My hands are trembling. Iâm so happy that youâve read my books.
I think Jojo is a wonderful manga, and I wish I could have all of humanity read it. Itâs so good that it makes me want to recommend it to other peopleâ¦somehow it feels like I have to go out of my way to say how much I like it.
Making characters seem powerful using powerful lines
Nisio: Earlier you said that I write lines like advertising slogans, but I think thatâs partly because of your influence. Itâs more than a verbal tic, itâs a single line that encapsulates a character. A line that only that character could sayâ¦
Araki: I try to include a characterâs personal philosophy in what they say. Their unique way of thinking.
Nisio: That might why youâre different. Even in another story, no one else could say those lines. Even if somebody else used your lines, they wouldnât become famous quotes. âRoad roller!â only leaves an impact because itâs Dio who says it.
Araki: You have some great ones, too. âThereâs always someone better, but at the top theyâre all below you.â and a lot of others. Those are really good. They make you think. I think everyone likes those. They make you stop and think âthatâs trueâ.
Interviewer: Theyâre cool and hook you in, and theyâre convincing.
Araki: Lines like that make characters seem more powerful. It makes you wonder what would happen if that character was the culprit. Itâs hard to stop reading.
Nisio: Jojo had a big influence on that. The enemy characters in Jojo all have depth.
Araki: Yes, I was going for that.
Nisio: There are no throwaway characters. Especially after Stands come into the story, there are Stands that seems weak but can be strong depending on how theyâre used. Like (Stand: Bad Company. Only 10 cm tall, but 500 in number!) might just be the strongest.
Araki: Thatâs right, haha. Well for manga in the eighties, the enemies always keep getting stronger and stronger. But there has to be a limit somewhere, and it gets tremendously exhausting.
Nisio: Like when they go âthe one you just defeated was the weakest of us.â
Araki: To break through that, I tried to have characters that are strong from an alternate point of view, or who are only strong in a single aspect.
Nisio: So like âThereâs no such thing as strong or weak.â
Araki: Itâs so exhausting to write manga where the enemies keep getting stronger and stronger. Itâs like, âtheyâre already this strong, and theyâre still getting stronger!?â and every week you worry about what youâre going to do. And then you get to the height of the bubble and itâs like, what now? Itâs a very scary writing method. Itâs fine if you do it once. When the strongest enemy gets introduced, youâll get so popular that the publisher tells you not to stop. But as a writer, you canât go any further.
Nisio: I wonder who started this inflation of power. It must have been a really crazy idea at firstâ¦ Whoever it was, using this technique is like reaching a dead end or slash-and-burn farming. I think Jojo was a revolution in that area.
Araki: It was more like an escape route than a revolution, haha. But I think thatâs how people work.
Itâs like how someone with a strong punch isnât necessarily strong.
Nisio: Someone you could beat depending on your strategy, I guess.
Interviewer: If youâre fighting Bush and he has nuclear missiles, you still might beat him with a bat. For example, Hara Tetsuo wrote Fist of the North Star so that whoever says the most powerful lines wins.
Nisio: That makes sense.
Araki: That seems like something youâd be familiar with.
Nisio: Novels are only words, after all. The main thing is dialogue. So characters that say powerful lines do become stronger.
Araki: Iâve also noticed something unique about your characters. Theyâre mentally strong somehow. Theyâre complete geniuses, but also lacking things or searching for things. Thatâs something refreshing, and it makes the storyâs world interesting.
Nisio: Thank you. I have no words. Speaking of characters, I like Part 4 of Jojoâs Bizarre Adventures because it has so many unique characters. I like Tonio the most, but itâs such an all-star cast.
Araki: Thank you. I hear that the writer Otsuichi-san [mystery/horror writer] also likes Part 4 the most. I wonder if itâs a generational thing.
The appeal of Jojo and its impact on Nisio Isin as a grade schooler
Nisio: When I read your manga for the first time, it was when Ebony Devil, that doll from Part 3, slices off a hotel workerâs face with a razor. I remember it being really scary.
Araki: That must have been tough to read as a kid.
Nisio: Of course, I didnât understand what Stands were, and that made it even scarier. I was creeped out by this weird armored warrior but thought Joutarou was really cool. I didnât understand the logic or style of it so it was completely mysterious, but I could tell that it was in a different vein from the other manga being published at the time.
Even now, Jojo hasnât fallen behind to imitators. Nowadays Shounen Jump has more manga with Stand-like abilities, but Jojo still sets itself apart. Itâs not that itâs the original, but thereâs something clearly different about it.
Why Nisio Isin became a writer
Araki: What made you decide to be a writer? How did you get started writing?
Nisio: To be honest, I originally wanted to be a manga artist. But I quickly realized that I couldnât draw. No matter how I practiced, I wouldnât get better. Then thought that since writing get printed, it doesnât matter if my handwriting is bad or anything. So in a way, Iâm writing the novelization of a manga thatâs in my head.
Araki: So you might get your novels adapted into manga?
Nisio: Thatâs true. There are many scenes in my head that I have an image of. Like someone standing in front of the sound effect âã´ã´ã´ã´ã´.â I think Kadono Kouhei-sensei said something similar. [author, mainly known for Boogiepop series]
Araki: So you start with an image and replace it with words. The desire to write feels like something that comes welling out, but I wonder how that works.
Nisio: When you read something good, it makes you want to try it. Of course, reading your manga gives me motivation. Itâs something like that.
Araki: Like âI could make something a little betterâ.
Nisio: When you see something wonderful, you canât help but want to try doing it.
Araki: Thatâs true. Drawing is like that for me, like when I see a drawing that makes me wonder how it was drawn. Itâs like a riddle I want to solve.
For example, there are manga artists who can draw lines in unbelievable directions. Normally you go from up to down or right to left, but theyâre clearly doing it differently. Like Hara Tetsuo. I donât know how he draws those lines, if he does them upside down or what.
For painting too, I wonder how someone made a color and things like that. It fires me up somehow.
Interviewer: Did you solve Haraâs riddle?
Araki:Not quite. I tried to draw beautiful smooth lines like him, but it wasnât the same.
Nisio: Iâve thought something similar when reading your manga. When I read Janken Kozou for example, I was surprised at how you could portray Rock Paper Scissors. I thought that I couldnât casually play Rock Paper Scissors anymore. To me, youâre not just a manga artist, youâre an artist.
Araki: I canât really see that, haha. Iâve always felt lacking as a person somehow, and I want to become a full person. Iâm not sure exactly what a full person is, but Iâve always wanted to become one since I was young.
Interviewer: Nisio-san, when you finished your Zaregoto Series after 9 volumes, youâve said that âafter finishing this piece of work, Iâm not a rookie anymore.â Araki-sensei, with which manga did you feel like youâve finished a job?
Araki: I donât think there is one. My publisher keeps telling me I should write something new besides Jojo, but it feels weird to start something new before finishing Jojo. So I might keep writing it.
Nisio: For your entire life?
Araki: I donât know.
Nisio: As long as there are Jojo stories, at least.
Araki: Thatâs true. But Iâm writing about human relationships, so it never ends. Until humanity dies out.
Interviewer: How about when you stopped feeling like a rookie?
Araki: That would have to be when new manga artists come out. Before I knew it, the only one whoâs been in Jump longer was Akimoto Osamu [author of Kochikame, the longest-running series in Weekly Shonen Jump, running 1976-2016], and I thought, âHuh, thereâs only Akimoto-sensei?â, so I definitely couldnât think of myself as a rookie anymore.
Interviewer: Thatâs quite some time since you debuted. [8 years?]
Araki: Yeah. I was trying to write with a youthful feeling. But then at like parties, when I looked around everyone was younger than me, and I went âWha-?â. They would say âwe canât get started until you drinkâ, and I thought âOh, this is badâ. Nisio-san, a time like that will come for you, too. Itâs a lonely feeling. It really is nice to have some elders around.
Defeating enemies without inflating power levels
Nisio: Before, I said that Part 4 was my favorite, but sometimes itâs Part 1 or Part 2â¦
Interviewer: You like all of them, haha.
Nisio: I like how the enemies were defeated in Part 1 and Part 2, before Stands were introduced. They were mental, tactical battles, and it might just be because I like mystery books, but I love those kind of strategical tricks. Even after Stands came into the story, the mental battles were the most captivating.
Araki: Ah, yes. In shounen manga, thereâs this pattern of beating enemies using willpower. I couldnât accept it. I thought, âAre you really going to use willpower here?â. There is that amazing strength people that have during fires. That makes sense, but I still couldnât accept it. Like, âIf youâre going to do it with willpower, show it in your attitude.â I wanted some kind of logic behind it.
A long time ago, Shirato Sanpei-sensei used to write ninja manga (such as Sasuke, Ninja Bugeichou, and Kamui Gaiden), and they donât defeat enemies with ninjutsu or magic in those. They used these kind of tricks, things with logic behind them. Like digging a hole in the ground and setting off gunpowder. It made me go âwowâ. That influenced me.
Nisio: Like this thing you have to explain.
Araki: It wonât seem interesting unless thereâs some kind of reason.
Nisio: In Part 2, did you just come up with the idea for the battle with Wamuu to be on chariots?
Araki: No, I think I was inspired. In shounen manga, I like when the battles are one-on-one in some kind of arena. This arena could be a narrow clifftop, or one where you lose if you leave the arena, and itâs fun to make a lot of rules. I think thatâs where the idea for that chariot battle came from. Having some restrictions, so itâs not everything goes.
Nisio: In Jojo, the fights are one-on-one, or at most two-on-two, arenât they?
Araki: Thatâs true. If thereâs too many people, itâll become like one of those old war manga. That seems tiring to just to write, so two-on-two is the most for me.
Backgrounds in manga vs. having to describe in novels
Interviewer: As a writer, is there anything youâre jealous about Araki-sensei for?
Nisio: Iâm very jealous that unlike novels, you can draw backgrounds in manga. Itâs hard to portray backgrounds in novels.
Araki: But even if you donât write anything, the reader can imagine something.
Nisio: Drawings have incredible persuasive power. There are things that you can draw, but when you write about it, it turns into an explanation.
And then, you go âoh, I wrote an explanationâ and feel intense regretâ¦ It wonât be a slogan anymore. I have this obsession that once I write an explanation, itâs all over, and itâs hard to deal with. So when I have insert illustrations in my books, it makes me feel that I canât match the strengths of visual information.
Araki: I once read a story about a beautiful picture. There wasnât any description about the picture. But the readers can imagine something. If you wrote a manga with that story, you would have to draw the picture. Even if it was Da Vinciâs Mona Lisa, it would just be a copy. Itâs something that gets ruined if you draw it. But if you donât describe the picture like that story did, if you just say itâs amazing, then the reader will believe it.
Nisio: Purposefully not writing something.
Araki: I think itâs better if you donât write about it.
Nisio: Iâve used a technique of writing something thatâs impossible to visualize a few times. I think thatâs the only way to explain something that isnât thereâ¦ You can write about things that you canât even draw.
Oh yeah, Iâve used that technique in Shin Honkaku Mahou Shoujo Risuka, which is illustrated by Nishimura Kinu-sensei. I wrote about a âjacket like a safety pin.â It was supposed to be clothing from a fantasy world, and then Nishimura-sensei ended up drawing it. I thought âoh, it got drawn.â
Araki: Thatâs impressive. Iâve also drawn a few insert illustrations. There was a character who has an arm injury throughout the book. So I drew an injured arm, but then at the end it said that the injury was on the left arm, and I had drawn it on the right arm. I thought, âdo I have to redo the whole thing?â
You really have to read carefully. Insert illustrations are hard to draw, too. Thatâs why itâs impressive. Figuring out what a jacket thatâs looks like a safety pin is likeâ¦
Nisio: When I know that there will be insert illustrations, I try to make it easier for my illustrators to draw them.
Araki: The illustrations for Zaregoto Series have an atmosphere to them too.
Nisio: Take-san is the one drawing them. I remember at first, when I was talking to my editor, I asked for them to be âJojo-ishâ, haha. That was supposed to be about the level of realism or reality in the illustrationsâ¦and then they came out like this.
Araki: Itâs nice to see that the Jojo-ish part came through. When you line up the 9 volumes like this, you can really see an improvement in skill. I like these pop-style backgrounds, too.
Which writer is the biggest Jojo fan?
Araki: Nisio-san, which authors do you like?
Nisio: Iâd have to say Kadano Kouhei-sensei. Heâs famous for being a Jojo fan. Heâs the biggest Jojo fan among writers.
Nisioâs editor: Just a while ago, when I told him that you were going to see Araki-sensei, he went silent for a few seconds and coldly said, âOh, is that it soâ, haha.
Nisio: A long time ago, when I read an interview between you and Otsuichi-sensei in Yomu Jump [magazine associated with Weekly Shounen Jump], I was so jealous that he got to meet you.
Araki: Otsuichi-san was writing for Shueisha [company publishing Jump], after all.
Interviewer: Nisio-san, if you were going to write a novelization of Jojo, what would it be like?
Nisio: I would write about Part 2, or maybe Part 1. Where the enemies are vampires and perfect lifeforms.
Araki: Not violence.
Nisio: I would choose not to use Stands. That way there wouldnât be anything in common with Otsuichi-sensei is doing. [Otsuichiâs Jojo novelization is set in Part 4]
Araki: You donât want to do the same thing as him?
Nisio: I really donât to do the same thing as anyone else. If I did, it would turn into a contest with Otsuichi-sensei. What if I lose? If winning makes you the bigger Jojo fan thatâd be terrible.
Interviewer: You canât stand losing, not as an author, but as a fan?
Nisio: They might say âyou call yourself a Jojo fan, but thatâs all you can write?â or âyou donât love Jojo enoughâ, and make fun of me, haha. So if that happens Iâll say âOh, my favorite part is Part 1â to get away.
Interviewer: For Part 1 and 2, thereâs the issue of viewpoint. Whose perspective would you write from?
Nisio: Part 4 is Kouichi-kun. For Part 1, itâs Speedwagon. Part 2 wasâ¦did he have a name? That pickpocket boy at the beginningâ¦ah, I canât remember. This is bad.
Araki: He was there, haha.
Nisio: Otsuichi-sensei and Kadano-sensei are laughing right now, haha.
Interviewer: When did you understand how Stands worked?
Nisio: I somehow figured it out as I was reading. Like how when Stands get injured, their users also get injured. There was an explanation of what Stands were at the beginning of one of the volumes, and it all made sense after that. That was really helpful.
Araki: Itâs a good thing I wrote that, haha. Most people said they didnât understand Stands.
Nisio: I liked the battles with the Dâarby brothers. Thatâs how I learned how to play poker. I was in elementary school and didnât know the rules of poker, so I didnât know what kind of battle that was, haha. So I went to a bookstore and browsed through a poker rulebook.
Araki: Oh really? When I was writing that I assumed everybody knew how to play poker. It seemed like everybody at least knows poker.
Nisio:I was in elementary school, after all. After that I really wanted to play poker, haha. I wanted to say things like, âI bet all six chips.â
Interviewer: Youâve learned a lot from Jojo.
Nisio: Thatâs absolutely true. I want to keep learning more and more.Araki: Thank you. I can tell how strong your feelings are.
[Translated by Sword Translations]
Renowned artist and ageless wunderkind Hirohiko Araki (Jojo's Bizarre Adventure, Baoh, Steel Ball Run) recently gave a lecture at Tokai Junior & High School in Nagoya City, Aichi Prefecture, as part of their Saturday Program series, as transcribed/compiled by @JOJO, Japan's premier site for Jojo-related news. Due to its length this entry will be broken into 2 parts.
The lecture hall was filled to its 1,500 person capacity. There were so many people that there was a delay while people moved in and out of the hall, and the lecture began 15 minutes later than planned, at 12:45.
12:45: The Lecture Hall
After a student MC introduces Mr. Araki and his body of work, he abruptly pops up on stage, at which time the hall erupts into a deafening round of applause. Mr. Araki, quite nervous at the reception, immediately has a slip of the tongue, saying "I'm a little honored to meet all of you today." "I'm a little..no..quite messed up. I feel like I've met an entire lifetime's worth of people today." Although he claims that he is not a performer, and asks not to expect laughs, he claims "I'm just going to meander along today," scoring some unintentional laughs.
Reason For Accepting The Invitation
Araki, who marks his 25th year as a manga artist this year, used to dislike (from well over a decade ago) being told "I used to read your comics!" "I was a fan when I was young!" etc, since it stirred fears within him that perhaps he was getting old, and becoming irrelevant. But in the past 5 years or so, he has had a gradual change of heart, and has begun to enjoy and appreciate the accolades he gets, especially from older people and people in esteemed positions in society. Also, when he was younger he may have been writing manga to benefit himself and his publisher's bottom line, but now he has a slightly different point of view and wants to give back to people, especially younger people. That's when he got an invitation from Saturday Program, and, figuring it would probably just be a classroom of 30-40 people, he said "sure, I'll do it." However, he arrived today to this circus, and thought, "this wasn't what I signed up for." (audience bursts into laughter)
Motives For Drawing Manga, Family, Days of Youth
Young Araki lived with his father, an office worker, his mother, a stay-at-home mom, and younger identical twin sisters. Those sisters were quite a handful: for example, if there were 3 snacks, the sisters, upon arriving home first, would eat all 3, and then proceed to conceal any traces of evidence. Growing up, young Araki, thinking that there weren't any snacks, "would think 'man, I'm hungry' and go chew on something like a really old piece of kamaboko." (audience bursts into laughter). And when his sisters' evil doings came to light, a fight would erupt; and this would occur on a daily basis. (yet more laughter) He would often feel such a sense of exclusion and ill-will towards his sisters that he didn't want to come home. He used to find relief in spending time along in his room, reading classic manga from the 70's and his father's collection of art books, which he supposes was his motive for drawing manga. He figures that had he not started drawing manga, he "might have gotten out of hand and killed my sisters." (laughter)
Days of Submissions and Rejections
He attended a prep school through junior high and high school, but a friend complimented him on the manga he drew (apparently he drew his first manga while he was in 4th grade), which made him think that if his very first fan thought he was good, he might want to become a manga artist. So, he began to secretly draw manga when his parents were not looking. He first began submitting his work during his first year of high school; however, all of his submissions were rejected. At the same time, a rash of artists who were the same age (Yudetamago) or younger than him (Masakazu Katsura) continued to make big splashes with their debut. But Mr. Araki could not understand why he was rejected, and decided to finish off a submission on an all-nighter and go on a 4-hour trip to pay a visit to the editors in Tokyo, and to ask them for an explanation. At first he intended to visit Shogakukan, which published Shonen Sunday, but he was intimidated by the size of their building, and decided to take his submission into the smaller Shueisha building next door. It was noon when he visited, but one rookie editor (about 6'2", or 185 cm, tall) happened to be there, so he showed him his work. However, the editor, after reading the first page, promptly quipped "your white-out's leaked (you haven't fixed it)": he was criticized every time the editor flipped through each page; Mr. Araki, already exhausted from having been up all night, felt like he was going to pass out. However, after he was finished, he was told that it might be good, and was immediately told to fix it up for the Tezuka Awards in 5 days. That submission was "Buso Poker (Armed Poker)", which won was the runner-up prize at the Tezuka Awards.
The Jump Editors At The Time Were Really Scary
At the time, Mr. Torishima (Akira Toriyama's editor, and inspiration for the Dr. Slump character Dr. Mashirito) would take submissions out of their envelopes, glance at the folder, promptly go "I don't want to see this style!" and order a rewrite. Apparently, he wanted people to draw in such a way that looking at the cover was enough to make people want to read the manga. The editorial department as a whole was always on edge at the time. But he also mentioned in the latter half of his lecture that manga editors were like golf caddies; they provided objective information like "why don't you hit this way" or "you're X meters away from the green" and that he appreciated them. He also said that people who wanted to become manga artists had to get along with editors.
Drawing Manga, Araki-Style Part (1): 10 Meters
Drawing styles which are so distinctive that you can look at a person from 10 meters away and go, "oh hey, he's reading that manga" are incredible: Araki managed to make his debut, but didn't feel like he had that unique style. And so from 1981 onwards he started thinking about how he could achieve that distinctive style, something that would make people think "oh, that's him!"
Drawing Manga, Araki-Style Part (2): The World's Most Simple Drawing
(Showing a blank piece of paper) If you told your art teacher "this is a drawing of 'snow" he would be very upset at you, but in manga you could say this was "the flash from a nuclear bomb" or "my soul is barren" and that would fly. And here Mr. Araki drops a bomb: "There are people who get paid for stuff like this." (audience bursts into laughter) "It's amazing, really. You know, like....I guess I could get in trouble for mentioning names." (more laughter) [Note: probably in reference to Shaman King, which printed a blank 2-page pullout to supposedly express an "incredible move"] "And coloring the page all black, and saying "he went to hell." Sort of like in the last few chapters of Death Note." (audience goes into hysterical laughter, applause) Mr. Araki tried to patch things up by claiming that he was joking, but could not help further mentioning how much per page said-artists were probably paid for those particular pages.
Drawing Manga, Araki-Style Part (3): The Ultimate Character
Araki introduces modern abstract art such as Barnett Newman's drawing of an orange square on a piece of canvas, Agness Martin's drawing of nothing but a pencil line on white canvas etc. And then he drew the following, calling it the ultimate simple, ideal character in manga anybody could draw:
Oh no, we're gonna get sued! "I might get in trouble for displaying this in public, so." (audience bursts into laughter)
He also introduced things like the smiley face and Morizo and Kiccoro (Mr. Araki thought that Akira Toriyama had designed them), and explained that he respected these types of drawings that anybody could recognize, and that it was what he aspired for. "It's incredible. It's the ultimate style."
Drawing Manga, Araki-Style Part (4): Gauguin
Gaugin's art, while having depth, also did things like contain certain colors within certain areas, paint the ground pink and the trees blue etc. Araki loved Gauguin's art ever since he was a child, and has been deeply influenced by him. When Jojo became an OVA, one of the animators asked Araki, "What color is Jotaro?" however Araki had no such concept. He colors everything based on calculation. For example, in Volume 54 Giorno's clothes are pink, but in Volume 63 they are blue. Also, regarding the color cover illustration, he explains that placing the color blue beside pink exudes more power. He says that he gets his inspiration from 80's art, shading techniques in Western art, classical paintings and gets inspiration for his various poses from sculptures. All of this research, blended with Araki's own personality, result in Jojo's art style.
Drawing Manga, Araki-Style Part (5): Aim & Direction
(Araki shows a diagram mapping the world of manga, broken into 4 quadrants with the X-axis labeledã"Using classical methods to portray reality" and "Impressionist markings and symbolic fantasy" and the Y-axis labeled "Treating introspective themes such as inner emotions as the central focus" and "Putting weight on the plot structure. "Suspense" and "creating a sense of the world")
If you don't think about "where you stand," you won't have any sense of direction even after you become a mangaka, wandering from idea to idea, not knowing what you want to write about and ending up becoming one of those people who asks their editor, "What should I write?" In the case of Jojo, Araki is trying to pursue reality by portraying things with classical methodology, but he gives precedence to emotion and inner thought over plot structure, trying to portray the protagonists' destiny, so he ends up in the bottom-left quadrant.
Drawing Manga, Araki-Style Part (6): The Theme is "Mystery"
Araki was fascinated by mysteries ever since he was a child, fantasized about deserted islands and believed that King Kong and Nessie existed, and so writes his manga with "mystery" as the central theme. In Jojo, Araki wondered what "superpowers" really were, and if he could portray "energy" itself, which lead to Parts 1&2, and the Stands in Part 3, which were like guardians who could "destroy boulders and stuff." They would "stand" by their master and would be called "stands." Apparently Part 3 began immediately after Part 2 with no interval in between.
Drawing Manga, Araki-Style Part (7): Like an RPG or Board Game
At the time, the "pyramid (tournament) formula" (A would fight & defeat B, then fight stronger character C, and on and on) was all the craze in Shonen Jump. But, Araki wondered, how strong could they get? Wouldn't the entire system collapse as soon as you reached the top, much like the economic bubble of the 80's in Japan? It wasn't like there could be an infinite number of levels of strength. So, he decided to create an RPG/board game-style system where characters traveled to different places to fight enemies, as seen in Jojo Part 3, where the protagonists traveled across Egypt while battling enemies
Araki's lecture ended here and proceeded to a Q&A with students, which may or may not be posted here as Part 3.
13:38: Araki-sensei's Talk Ends Here
From now on the lecture will be a discussion between Araki-sensei and the students of Tokai Junior & High School. Since there were a lot of questions, they'll be summarized and presented together in a certain order.
Question for Araki-sensei! (1): "When You Were Young, What Was Your Source of Inspiration?"
"Manga, movies... I didn't have any collections; neither did I have any 'solid' objects like plastic models. I enjoyed drawing pictures. I was a boy who wanted to live in a world of fantasy with movies and novels.
(When asked what influenced his works) "After achieving success, respecting my sempai was the most important thing for me. It all started with Da Vinci - reading about such people was very important for me. I learned about the things they mastered, and through their discoveries, I found my own answer.
As for manga I read when I was a boy, the most significant one was Kajiwara Ikki/Nagayasu Takumi's Ai to Makoto (Love and Truth), the scene where the protagonist is stabbed by a knife... although the manga ended in the next issue (a January New Year's double issue), it was still a rather extraordinary experience for me. When I was in middle school, I joined the kendo club because of Tetsuya Chiba's kendo manga Ore wa Teppei (I'm Teppei)."
Question for Araki-sensei! (2): "The Model for Morioh Town, Sendai City"
- Morioh Town is a town in JoJo, while Sendai is Araki's hometown.
"Sendai, when I was a kid, was an old and historical city. Since the '80s, construction began on a new residential district. The new houses were beautiful, but strangers from who-knows-where were scary, and those personal experiences have been tied together with the town itself."
"Well, I don't think there are any homicidal maniacs, but..." (Everyone starts a roar of laughter). Of course, Araki-sensei likes his hometown very much, but he was intimidated by the rapid increase in stragers, maybe Morioh Town was made based on his "disdain" of that situation. Of course, using the real name of the city in his manga may anger people, so Araki-sensei changed the name to something else.
- Also refer to Kahoku Shinpou: Araki Hirohiko's "Buried Gold Requires Daily Expedition" and Araki Hirohiko's talk-essay "My manga are the 'outcries of my heart'"
Question for Araki-sensei! (3): "What About Love and Passion?"
Although he went a boy's school, he had a girlfriend. "There's not much to add, since it's what causes the most problems in today's relationships" (everyone starts a roar of laughter).
- By the way, Araki-sensei is married, and according to an interview from "Weekly Shounen Jump", Araki met his first love during his first year in high school, and his preference for the opposite was "a woman who is not ladylike."
Question for Araki-sensei! (4): "What Model Did You Base Your Protagonists On?"
"Eeeeh?" Araki-sensei appears worried. There was no model, but there were influences from "muscle movies" such as "Rambo" and "Terminator." Jotaro Kujo (a character from JoJo) feels like Clint Eastwood: he doesn't run, his movements are minimal and he's a silent person. "On the other hand, the Stands are fast." The personalities of protagonists' from each part are different. After drawing Part I, I wanted to do something I haven't done before. (1st Part: Serious --> 2nd Part: A crazy person)
What is the relationship between Irene of Gorgeousâ Irene and the Irene who made her appearance in the last part of "JoJo 6" (Stone Ocean Volume 17)?
"I was just having a good time, there is no deep meaning behind it, I'm sorry." (Everyone laughs).
Question for Araki-sensei! (6): "About the Ability of 'Time'"
The most powerful technique: "Time". Stopping it, returning to the past, watching the future... if there were people who can control such a thing, they'd be invincible. For a main character with powers that aren't invincible, I want to have people wonder how such a character could win. The ability to control physical things, such as gravity, is also very powerful.
From Araki Hirohiko/Shibasaki Tomoka's Osaka University of Arts, College Manga Vol. 4:
Araki: About time, when I think about it, it's incredibly powerful. You can do things like repeating the same morning over and over, stopping time while jumping, and the people who become visible only at a particular time, etc. But if I used that concept every time, someone would say: "Is JoJo only about 'time'?" So... (laughs).
Shibasaki: Is it because you're interested in the representation of time?
Araki: It's an interesting and powerful concept. To what extent is it changing? Is the other side of the earth being affected by it as well? And things like that.
Shibasaki: What is the maximum affected range when time is stopped?
Araki: All the way out into space. Speaking of which, what kind of energy would that be?
Question for Araki-sensei! (7): "Joseph Joestar"
And now the 'forbidden question': "Why, as an old man, is Joseph such a lustful man?" "Although JoJo was a story that ended naturally after Part 3, I asked myself: 'Should I draw a 4th part? There shouldn't be anymore Jojo!'" (Everyone laughs). Since I didn't know what would happen in the future, even though I wanted to keep his personality, the personality did match up with his age (Joestar is an old man in Part 4).
Question for Araki-sensei! (8): "Lineage"
When asked about the reason why he's only focusing on the story of the "Joestar family", according to Araki, going back, back, way back, all the way to the origin of the family lineage, his character's lineage gives him a feeling of pride - the wonder and the mystery that exists within the "lineage". "I put more importance on such things than others (said with a serious tone)".
Question for Araki-sensei! (9): "If You Can Describe Manga in A Single Word"
Troubled by the question, Araki replied: "My combined feeling would be 'the salvation of the heart'? I think it's very important."
Question for Araki-sensei! (10): "Western music and its influence"
Using names from Western music to name his characters and "Stands" is a "simple hobby" for Araki. It's also a way to pay his respect towards rock artists. "But the fact that nowadays there aren't many names of bands to use is becoming a problem". (Everyone starts a roar of laughs). The imitative sounds of Jojo is also influenced by music (This was said on "Weekly Shounen Jump"as well). While on the subject, according to SOUL'd OUT, their music is influenced by JoJo. So while "JoJo" is influenced by Rock, it is also influencing "Rock"!
Question for Araki-sensei! (11): "About the Change in Design"
When asked about his designs that continue to change, Araki replied that since he's not trying to draw using classical techniques, the designs won't be the same, and usually experience rapid changes. "I'm not concerned about the old drawings (assertion)." Though the readers may get confused, I wonder if they will forgive me".
- It has also being reported that in Hirohiko Araki's collection of short stories, Gorgeousâ Irene, the illustration of Irene that was drawn for Ultra Jump in 2003, was originally a character drawn in 1985 as an entirely different person. At that time, the comment from UJ PRESS was: "I can't draw in my old style anymore".
Question for Araki-sensei! (12): "You Stopped Drawing Your Self-Portrait"
Often fan letters would ask: "Please take out that character from the manga", but since the character is almost complete, I don't want to take it out, and that is all. Although "Baoh the Visitor" ended as though it will later continue, but...
Question for Araki-sensei! (13): "If you can describe JoJo in a single word"
To a question that he hates to answer, Araki-sensei's answer was: "'The enigma of human beings', it's something I wanted to draw". As a human who works with a theme that will last for an eternity, that's all. Moreover, the manga is also being drawn for people who have committed crimes, it will make them think: "How did I become like this? Is there a meaning in this existence?" It's a "eulogy of human".
And so the time has come, the last words from the moderator, and the falling of the curtain. The clock says it is 2:05 PM on June 24, 2006. An event of about 1 hour and 20 minutes long, but to Araki's fans, without a doubt it was a "golden personal experience." Escorted by applause heavy as thunder, Araki-sensei disappeared behind the curtain with a smile on his face.- End -
[Translated by Neuroretardant (Parts 1 and 2) and Aldo (Part 3)]
"When I was young in the early 70's there was a huge amount of manga that I liked. My favorite ones being those with stories dealing about sports, horror, and even sci-fi. Therefore I was inspired by all of this to create my own stories. I'm not sure but still I consider having been inspired a lot of by the works of my elders and I reckon my work wouldn't be what it is "without them. Anyhow I'm still attached to the past of manga and there is still today influence by the authors I'd read as a teenager."
"What I've been trying to do when I started manga was to make evolve the drawing which was somehow too flat, but from the 80's on mangakas started to inspire from Michaelangelo's work. The generation of mangaka I belong to was inspired much by the artists like Michaelangelo or some French painters in order to create characters whose physical aspects was more striking."
(On Tetsuo Hara, I suppose) "The fact that our drawings look alike is very easy to explain. We started at about the same period in the early 80's and it was then too that movies starring Sylvester Stallone or Arnold Schwarzenegger started to come to Japan and all these action movies were big hits there. Actually I reckon we wanted to make manga starring macho characters, with big muscles and fighting all the time, a bit like the heroes of the action movies."
"Before the 5th part I reckon, the story was too long so I'll try to make them shorter now."
"The new generation of mangaka is about 10 years younger than me, so they've read Jojo in their childhood, and so it's normal that it has inspired them."
"What I've been trying to do when I started Jojo is to implement a powerful and invisible force which would overcome my characters during the fights. So the idea of stand came to me by thinking of shintoism, which teaches us that our ancestors are always by our side to protect us."
"It's a real pain in the ass for me trying to show the good side of some of my bad guys as it's always very hard. I'd rather go for a more stereotyped approach where I create a hero who will fundamentally be good and to make it balanced, oppose him to a truly evil being."
"About the anime, nothing is planned so far but maybe in the future the 5th part will be adapted to TV too." (!?)
"I've no experience as a prisoner myself but I've visited jails and made researches on the subject to make my scenario credible and I've no real message to pass on except maybe the condition of mangaka regarding to their editors. Every week I've to hand in 20 new pages to mine. I work simply, on Friday I imagine what's next in the story and write the scenario, then from Saturday to Tuesday I create the drawings, so normally I've two days off a week, but I mainly use them to imagine the stories of weeks to come.""I deal with the main drawing but my assistants are the ones who deal with the details. And if I can be here today it's only because I've just finished the 6th part so I'm entitled to a few holidays. But the rest of the time I'm very busy." 
[Translated by IKKI]
Your thoughts about your 25th anniversary as an author?
I think that it was a very quick 25 years. But when I look back at my work...it's kind of like the stuff around the Phantom Blood era is the work of someone else. Yeah, that's what I honestly feel. So, when I read it I can kind of read it objectively; I can read it as though I was a fan.
Do you read back on your old work?
Not very much, but if there's a game or something released like now, I'll read back and think "Ohh, so I was writing this kind of stuff?" Once the Stands started coming out, I often forget about some characters. Someone will mention a guy and I'll be like, "Who was that again?" and I'll read back and say "Ohh yeah there was that guy." Kind of like that. The readers know more than me.
Next year will be the 20th anniversary of JoJo.
Well, they let me debut on the New Year's of '82 but that still felt a bit vague to me. I couldn't really imagine myself as a manga artist; it wasn't clear on what kind of manga artist I was going to be. It was like I just was incidentally awarded the Tezuka Award, it wasn't really like I was aiming to win it. So that was kind of when I began training. And...when I look at the other Jump artists manga, they all had their own distinct styles. So the period when I was thinking about what style and what kind of manga I should draw was right before JoJo. I sort of feel that I finally became a pro with JoJo; it was like everything opened up in front of my eyes.
How was "JoJo" born?
I liked movies and at the time Sylvester Stallone and Arnold Schwarzenegger were popular. They're both muscular characters and their bodies are covered in muscle, which made me think to myself "I wonder who the strongest person in the world is?" This question was basically the beginning of the idea of JoJo. Themes such as immortality, seeking life, justice and things that humans innately seek spawned from this and eventually lead to the creation of Part one. So basically stuff to do with immortality and super macho guys and how strong they can get; that was what I was pursuing. Also, I had gone on a trip to Italy about 2 years before that and you may already know but, the art in Italy kind of strives for human beauty. When I saw the original artworks, it made me want to do the same.
The origin of the name "JoJo"
I wonder if it's okay to say this..? Umm, the place I used to hold meetings with the editor was at a local family restaurant in my neighborhood called Jonathan's. We were thinking of making the name "Jonathan" Something, and you know how a name can be two S's like Steven Spielberg? I wanted something like that so I thought "Well if it's Jonathan then it'll start with J so...Joestar should be okay." But that was really adventurous for a Shonen manga because it was taboo to have a foreigner as a main character; it was that kind of era. It was a big adventure so I was really grateful to my editor at the time.
Regarding the birth of the arch nemesis, Dio
He's full of confidence, very arrogant and he's aiming to become a God, or top of the world. Because of this, I used the Italian word, 'Dio,' that is used to refer to a God, as well as the 'Dio' that plays Heavy Metal. I like Heavy Metal and Rock so I used those as a reference to make characters. They're also characters that I created to signify 'black and white' or good and evil.'
Part 1:Phantom Blood
What were your initial ideas?
Back when I started drawing part one, I liked stories that went over several generations like 'East of Eden' and the show 'Roots' that they did on TV. The lead character changes but it kinda continues; it's something like an American periodical drama or periodical novel. And I don't think it was very Jump-like in style but I thought that it might be good to go where nobody else had before.
There's also a manga that I really respect called Babel II by Yokoyama Mitsuteru which has fights that follow rules. I also wanted fights that followed rules in JoJo, so the Ripple was one of those things. Also, you can't see psychic abilities right? Like if you concentrate your mind and something breaks, you can't really see it. But it's a manga so I thought I should be able to draw it and try and make it easy for readers to know what kind of psychic powers they were, which is how I came up with the ripple. It kind of spread from that like how ripples slowly spread, no pun intended. (Slowly is 'jojo' in Japanese)
When I look at him now, I think Jonathan is too much of a good boy. If I was to draw him now, I'd probably show more of the weaknesses of his heart too.
Part 2: Battle Tendency
Was Joseph's personality affected by Part one?
One more thing that you weren't supposed to do in those days was to let your main character die. That was another forbidden act. We had a discussion as to whether that will happen first and it was eventually decided in a meeting that we'd kill the main character. Because of this, I had to drastically change the story's characters and portray events that I didn't show in part one in part two and then similarly portray events I didn't show in part two in part three. That was my plan. I had a story devised up until part three, but because the story convention required Part 2 to be different to Part 1, I created Joseph. He does share similarities to Jonathan though in that he is also a muscle type.
Was it always your plan to revive Dio in Part 3?
I really wanted to draw him being dead for awhile and then coming back to life, but if I was to do that I needed something to happen in between (Part 2). Yeah.
Part 3: Stardust Crusaders
How was the process of changing from Ripples to Stands?
I tried portraying the ripple through pictures and I also tried portraying the psychic ability of Stands with pictures too but, how should I say it... I wanted to have punches from here (away from body). I had a meeting for it where I was asked, "What are you going to do next? You can't use the Ripple anymore." But when I said, "Well, a punch comes out of here (referring to the front of the body) and breaks stuff," they'd be confused and wouldn't understand me. So I was like, how should I say this...? Well, there's a thing like a guardian spirit and...it comes out and attacks." That's how I explained what the new ability would be and nobody would understand what I was on about. I told them that I think I could create alot of characters this way; I could make like a green colored punch or a sharp thing spawn and make them fight. Unlike the ripple, I can do lots of variations. That's how I started with Stands, though I originally thought that people who read it at first wouldn't know what's going on. Stands gave me alot of trouble when it came to explaining them, but I really felt that I could keep inventing new characters and ideas this way forever. It was like I dug up a gold mine. No one else thought it was gold, but I was like "Wow, look what I dug up!"
Part 4: Diamond is Unbreakable
What were your ideas from Part 4 and onwards?
Part 3 was a story that had the shape of a role playing game. It's like a board game where you go here and there. There's a book called "Around the World in 80 Days," which I made Part 3's story with that as an influence. If that's the case, then enemies have to be types that come and attack Jotaro themselves, though they might be waiting for them too. So when i was thinking of ideas I thought of people that were willing to wait in their positions for a long time: like people that live in houses and attack when customers arrive, people with personalities like trapdoor spiders. I had a lot of these ideas left over and so I thought that I could probably use all of them within a single town. There were various incidents back then such as a serial killing incident that sent huge shockwaves across Japan. The feeling of your neighbor possibly being a serial killer was the perfect atmosphere, so I used that idea when positioning lots of Stand users around the town. That's basically how Part 4 was born and you can see how it's different from part 3. Making Part 3 different to Part 2, and making Part 4 different to part 3...is the way JoJo was made.
Up until Part 3, the setting was in an imaginary, mythical kind of world but for Part 4 I drew an everyday world so I feel more closeness to Josuke, which is why I like him the most. I found it really fun to write, it was like he became a friend of sorts. Jotaro, however, is someone that you admire, like a hero from a mythical tale. But Josuke seems more like a friend or a senior.
Josuke is supposed to be the child of a lover but...?
Yes, he is. If I could write more of Part 4, I'd like to explore that more specifically. You would probably develop some complicated ways of thinking if you were a child of a lover and Josuke was also meeting his dad for the first time in a while, so I'd like to write more in depth about that. If I had the opportunity to write that, I would really like to. Part 4 isn't really finished yet. If I decided to continue it, I could as much as I want.
Part 5: Vento Aureo
Why did you make the hero Dio's son?
Oh yes right. In part 5, he's not really a blood relative...well kind of. I find great importance in the upbringing and background of the characters. Stuff like what kind of place they were born, and what their parents were like. If I know that then it makes it easier to understand and write. That's what I do it for, so I find bloodlines very important. It might seem like a bit of a stretch, but that's how Part 5 started. During Part 4, the editor said to me, "Are you able to draw sadness?" But life is a sad thing though isn't it? He asked me if I could draw that, and initially I said that it wasn't really my style but during Part 5, I suddenly felt to urge to draw just that. Like the sadness of being ostracized by society but still having a sense of justice. That was what I tearfully wrote for Vento Aureo.
Part 6: Stone Ocean You once said that you can't draw females. Back then, it was an era when it was unthinkable to have a female character taking punches and in JoJo, arms can go flying if you're not careful. I felt that I wasn't able to draw that with female characters and the readers wouldn't be able to keep up. As I grew older, the difference between genders became less important, and I started to feel that I could actually draw a tough female. What I came up with was Stone Ocean, whose takes place in a prison setting.
About the end of Part Six
The last boss in JoJo has to be made incredibly strong. And I already made Dio stop time, so I figured the readers wouldn't be happy unless I thought of something even stronger. That factor had become a bubble-like situation and so I thought what would happen if you sped up time really fast, and ended up going full circle. Your brain goes strange when you think about infinity.
What are your thoughts regarding time?
It's mysterious isn't it? If you think about time, it feels mysterious and possibly the ultimate power if you could control it. My thought process involved coming up with this ultimate power and then thinking up how on earth you'd defeat it. Even while writing JoJo I myself often thought, "Oh...they're going to lose this one, they can't possibly win." But thinking about how it will be done is how I go about making this, so even now I still think about the question from Part 1, "Who is the strongest person in the world." I find that there's a great deal of romance there.
Manga Artist Hirohiko Araki
About drawing old characters.
I really find it hard being asked to draw previous characters. I wonder why that is..? I just get really tired. First, I have to try and draw the essence of my older style and then I have to fuse it with my current style, which made drawing the cover of this game really tiring. Though I did end up drawing it anyways after telling them that I can't draw older characters.
Second, artwork always changes; for example, I said before that muscular characters were really popular in the 80's but that wasn't really the case anymore in the 90's. I think it's strange to keep drawing muscular people if that's the case. So when I started on a new chapter back then I made Giorno Giovanna quite thin to be like a normal sized person. From around the time of Josuke, I decided to change from a mythical kind of person to a more ordinary size. That's the kind of way that artwork changes. Well, that's what I think. Also, I don't know about my art getting better. You could say that I was bad at the beginning though. I don't really try to keep it like my older styles; they're pictures that I've drawn in a classical kind of method, so I don't really mind if it changes.
About the game's cover
Well I first imaged it as having the ripple, but I was requested to have Dio and Jonathan fighting with the stone mask but I basically tried to bring the stone mask to the front more. The stone mask is like the game's emblem or the game's mark, so I put water and ripples over the background to lessen its impact. Usually, the main character is right at the front for package illustrations but I kind of made it the opposite of that.
About the poses.
The poses are influenced from Italian sculptures. I really like the way the bodies are twisted and it makes me want to turn them into a drawing. Also, you might not understand unless you're a person that draws, but the pelvis moves up and down and that's what I find fun. Like doing this... and stuff like if you move your wrist than you move up here. (Hand gestures) It's fun to draw while you theorize about that. Well for example, I'll show you here...If you put weight down on your right leg like this, your left shoulder drops and stuff. Or if you raise this hip, you go like this; it all moves oppositely. If you raise one hip then a shoulder goes down. If you concentrate on it you'll notice it, I found that about the human body very interesting and I really find it fun putting that into a drawing.
Also, it's not related but I actually enjoy drawing skin getting peeled. So I had alot of fun when drawing Koichi turning into a book. Not because it's grotesque but I think it's because I have to theorize what it might be like. It's strange. Also, things like what would happen if you bend a finger this way. You can make it possible by drawing. I think those are the kind of things I like, though I like drawing the poses too.
About the unique 'sound words'.
Oh, right. They're influenced from horror movies and rock music. In progressive rock and horror music, they use synthesizers and an instrument called a mellotron and sometimes I really want the tinkly kind of sound it produces for some scenes. Also stuff like "Chwween" and "Kyun Kyun Kyun!" You know how they often have noises like that in horror moves? I get the feeling of wanting those in my work. So I just write them out using letters and they naturally become the sound words I use, and I'm not really conscious of it.
Is the model of Kishibe Rohan yourself?
Everyone I meet for the first time thinks that I'll be like Rohan, so it's a bit of nuisance. I once thought about just acting like that character but that is something I aspire instead and I'm sorry if I break anyone's dreams, but I'm not really like that. Everyone comes into my house a little bit frightened. Sorry, but I'll use this to change my image now.
Do you lick spiders like Rohan?
Well, I do sometimes try eating some unusual things. If they tell me that it's edible cooking then I'll eat it, but... (Laughs)
Themes Embedded in Araki's Work
The theme of JoJo that continues for 20 years?
To not negate human beings. What I mean by that is is to have positive thinking characters that don't stress about things going wrong. They're not allowed to stress. They believe strongly in what they do. Even if its a bad guy doing bad things, those actions are very important to him and he'll use that to move one step forward. Then in response, the hero comes to defeat that. When they both step out forwards they'll then conflict. That's what I find interesting. I don't think it's interesting as a Shonen manga if the hero feels some sort of empathy for the villain. For example, with the character Yoshikage Kira, he's a serial killer but I think that he had his own proper reasons for doing so, such as the poor environment of his childhood, his relationship with his mother and his father always ignoring him. But if I write that you start to feel sorry for Kira, and so despite being such a horrible villain, when Josuke fights him, I think he'll kind of feel sorry for him. But then Kira says that he's fine being that way and moves one step up. That's what I like. That's the reason why I really like Kira. Although he may have had a bad childhood and turned into a serial killer, I always hope that he tries his best at being one. I can't really say that out loud much though. I'm secretly a fan of his. So living with a positive outlook like that is the theme of JoJo. It's a 'celebration of humanity.' To make humans positive. There may be conflicts because of that but that sort of thing is a theme.
Will that remain to be the theme?
Yes, probably. I said this before but I think that if the villains weak, it'll definitely be a boring story. They may be that way in real life but its better if its not in a manga like this. Yes...so I don't think it'll change.
A final message to the fans
JoJo's Bizarre Adventure: Phantom Blood is a piece that I created 20 years ago and it really feels nostalgic. I'm really thankful that it has been adapted like this after 20 years.I find it more special than a recent and currently serialized one being adapted because it makes me think that it really has been appreciated for 20 years. So I would really like to express my gratitude and say thank you very much. I hope you really enjoy it. I've properly checked the game myself and I've given it my guarantee.
From the xxxHolic Guidebook, new edition.
Araki: My meeting with CLAMP was quite interesting. Though I don't know if it's all right to say this.
Nekoi: It's fine, please go ahead. (laughs)
Araki: By coincidence they frequent the same beauty salon as my wife. So apparently she was chatting with the beautician saying "My husband draws manga," and they told her "We have other clients who are manga artists too."
Nekoi: That's right. Then I heard that Araki-sensei's wife was there and basically it turned into a huge deal.
Araki: We live quite close so said "Why not come over sometime if you like?" and that's how it started.
Nekoi: But really, I've only met Sensei four or fives times in total up to now. And it was always the four of us as a group, so I think this is the first time we've had a one-to-one conversation. I'm really nervous.
Araki: Come to think of it, at first I believed CLAMP were male. I thought it was a man pretending to be a woman in order to draw in a girlish style. And then I heard rumours that it was several people collaborating and not just one person, and I thought, What the hell? There were too many pieces of information flying around, I couldn't make sense of it. It was pretty mysterious.
NEKOI TSUBAKI'S FASCINATION WITH ARAKI'S SLIGHTLY ALIEN WORK
Nekoi: It was really very early on that I encountered Sensei's work and thought "Wow, I love this person's manga" - with Cool Shock B.T.
Araki:: B.T.! I got into so much trouble with the editors for that one. They said right off the title was impossible, there's no way you can run a manga called "Devil Boy" in Shounen Jump, and that the main character was evil. I had to explain that it was essentially a rehash of Sherlock Holmes and in the end somehow I convinced them.
Nekoi: That's amazing, it was that difficult then. I couldn't have imagined but there was something alien about it I found as a child, I think, and that fascinated me.
Araki: Really though, the 70s were a period in the manga world where you had to develop to set yourself apart from the crowd. That was the tide, to go where no one else had gone before. I worked hard on that, so it makes me very happy to be told someone liked it.
Nekoi: I loved it!
Araki: Thank you very much! But, to think those readers back then have become what they are now... it's amazing. They even criticized my work. (laughs)
Nekoi: Please don't say things that sound so awful!
Araki: They crowded up and were like "Why did you do such a thing to Jotaro there?!"
Nekoi: But, anyone would do that if they had their favorite manga artist in front of them! You don't know if the chance will ever come again, right? So you want to run up and make them tell you everything!
THE BLACK-AND-WHITE AESTHETIC ADMIRED BY ARAKI
Araki: If I had to say what interests me the most as someone in the same line of work, it would be how you divide the work among the four of you. I've heard you don't use assistants soâ¦ In any case I would venture that xxxHolic is mainly drawn by Nekoi-san, is it not?
Nekoi: I wonder if that's so... perhaps that's not the case? (laughs)
Araki: It must be Nekoi-san, surely. The kimono styles, the atmosphere of the art has that feel to it... I don't suppose you can tell me?
Nekoi: No, it's quite all right, I'll answer.
Araki: Ah, you can tell! I thought this might be CLAMP's greatest secret. (laughs)
Nekoi: I'll go with the conclusion. The female characters in xxxHolic are drawn by Mokona.
Araki: Eh! Yuuko-san and Himawari-chan and everyone?!
Nekoi: That's right. I draw the male characters, the yokai, and any spirits that aren't in human shape. And animals. The covers and color pages are Mokona and I together. The overall flow is blocked out by Mokona from Ohkawa's script, after which I check it, and that's how things typically advance. If we get stuck on anything we go back to Ohkawa and ask, "I don't quite understand this part, what is it supposed to be?" and then we fix it. Once everything is settled, Satsuki, Mokona and Nekoi each draw our parts separately.
Araki: You're really systematic. How did you establish xxxHolic's global aesthetic?
Nekoi: There's a concept for the cover or opening art each time, and that's decided by Ohkawa. The story and worldview are all Ohkawa. She's like the overseeing producer.
Araki: There's something of an Art Nouveau element to it, design wise.
Nekoi: There's a Japanese-ness to it, and Chinese too.
Araki: The gothic atmosphere that permeates the work is a large part of its charm. All that flat black is great.
Nekoi: We decided not to use tones this time.
Araki: Yes, it's good to have a clear divide between black and white. That's something I can't do. I can't bring myself to color something in as a flat surface. I have to crosshatch and make it stand out in 3D. Something like a school uniform, it's frightening to color it inâ¦ if I bring it down to a basic aesthetic level, perhaps.
Nekoi: But if I had to choose I'd pick Tsubasa's tactile feel. (laughs)
Araki: I see. But you can also draw in a gothic style. That's amazing! All of xxxHolic has a flat, decorative feel to it, like Japanese prints or Alphonse Mucha.
Nekoi: Ah, Mokona likes Mucha.
Araki: I thought so. It comes across. And the base color of the tankobon covers is never white.
Nekoi: That's true. It's always gold or silver, and then color printed over it.
Araki: The feeling that there's an overriding concept at work is what makes it special. I think it's cool. With the JoJo series I wanted to use the classical method as a base and then introduce modern elements in the singular. For instance, drawing in a realistic style but coloring in completely impossible colors. Or completely impossible poses.
Nekoi: Impossible poses... but the fans imitate the poses? The "JoJo poses."
Araki: True, true. That's the thing, I aim for impossible but then am like, "Huh? Well, I guess it's possible after all..." (laughs)
WHERE IS REALITY? THE DAY THE KAPPA APPEARED IN TOONO
Araki: Does CLAMP ever travel for research purposes?
Nekoi: Almost never. We know that drawing from imagination can't approach the solidity that comes with research, that level of reality where people can say, "Turn the corner right there and you'll see my house..." But if you take the scenery from xxxHolic, for example, the place where Yuuko-san exists is an enclosed courtyard really. Aside from that I think depicting fantasy in a fantastical way is also a matter of technique. Well â one of our early stories did have an Indian flavour to it.
Araki: I understand. For my part, you see, I'm currently drawing a journey as my main theme. I started wondering about the psychology of someone who's been walking for three days straight. So I went and walked the Kumano pilgrimage road, which is a World Heritage site, to see what it was like.
Nekoi: Wow. And did you understand anything from it?
Araki: Yup. After three days, first of all you want to throw away everything you're carrying. I even wished I could throw away the cel phone they told me to carry in case I came across a bear. And when I saw the shrine at the end of the road, I felt thankful from the bottom of my heart. I honestly and unironically thought, "Thank god I came this far without getting hurt." It cleansed my heart, perhaps? I understood then that the road was put there in order to give people that experience.
Nekoi: That's a World Heritage site for you.
Araki: xxxHolic takes place in a magical alternate world, doesn't it. What I get hung up on is, What are those yokai-like things?! The ones shaped like young girls and the ones shaped like animals, and the monster types, are they all part of the same existence?
Nekoi: Er...the properly-formed yokai and the monster-like ayakashi are different things actually. But then, if you put them all together one can't say much other than "Well, that's the kind of world it is."
Araki: The "Stands" in JoJo can be conceptualized as a reification of hidden talent, with their source being a sort of energy that's been in the earth since ancient times. So there are no real monsters or yokai in my story. I've never really been able to get the existence of such things. I looked at Mizuki Shigeru-sensei's drawings and thought they were lovely, but when I saw something like a "bean washer" in the picture I would just think, What's up with that? I couldn't see any reason for that creature to exist. Purely for the sake of washing beans?
Nekoi: That's true. It's the sort of world where you go take a bath and there's an "akaname" in there.
Araki: Exactly. What the heck is it? Is it an enemy? An ally? What does it want? If you can't figure out that much how are you supposed to fight it! Is what I think.
Nekoi: That's a Jump-like way of looking at it. (laughs)
Araki: With that in mind, the other day I went to Toono, in Iwate. In order to gain a better understanding of yokai.
Nekoi: Waaah! Such lengths. (laughs)
Araki: "I'd like to draw yokai tooo" was what I was half-thinking. (laughs) So I went to the Kappa River there, the one that's famous for kappas, and stood on the riverbank spacing out. And as I was standing, there was this middle school-aged boy there at the same time, and he bursts out with, "Hirohiko's in the Kappa River!" Like, "Big bro, look, there's a Hirohiko in the Kappa River!"
Araki: And even I for some reason thought for a split second, "Gah, I have to get out of here!" At that moment I finally understood what it must feel like to be a yokai. (laughs)
Nekoi: You understood what it feels like to be a yokai, huh... (laughs) I bet it's passed into legend by now. His brother came and said, "There's no such thing, you're lying!" And he said, "It was really there, I saw it!" And there was a huge disturbance, and years afterward you'll hear the story of the kappa Hirohiko in the river.
Araki: So there, I think that might be what yokai really are.
FIGHTIN' PRESIDENTS AND DRAMA AT HIGH NOON
Araki: If it had an Indian flavor... do you watch a lot of movies? On DVD or whatever.
Nekoi: I watch films in the usual way, because I'm always following fads. I liked "Jurassic Park".
Araki: I like stuff like that too. Like "Jaws". But recently I've really been into Michael Mann's films: "Heat", "Collateral" and so forth. I like the sense one gets that the characters are driven by fate, but they don't hesitate over their actions. They hurtle toward their destiny in a way that goes beyond considerations of good or evil. It makes me weak at the knees. They're not movies you're supposed to cry at but I get tears in my eyes anyway. I think, "Oh, you people!" Do you have anything like that?
Nekoi: I'm faddish but I did like "Independence Day".
Araki: The story's pretty astonishing in that one. In order to fight with aliens, they get into a flying saucer that was buried on earth by aliens in the past. The human strategy was like ripping off the opponent's fundoshi in sumo. The designs all came from other SF works. And on top of it all the President himself flew the saucer to fight. When I saw that I decided the party would be battling the President in Steel Ball Run.
Araki: Yeah, I realized a fighting President is awesome. Was there ever anything like it?
Nekoi: It's very American. Although maybe Americans themselves don't realise it. And it was a German who made it. I think he made it with the intention that that's what Americans would like to see, and it really hit home. I like it too! (laughs)
Araki: What about Japanese films? I don't go to the theater but I watch a lot of DVDs. I saw "Sekachu" and so on.
Nekoi: Wow, you saw it?
Araki: Yes, it was good.
Nekoi: Was it!
Araki: Yes. I'm the type who cries at everything. That's right, lately I've gotten hooked on daytime soaps. Ever since "Shinju Fujin" I can't go without checking in with the latest developments. She became his lover with the aim of getting her hands on his fortune! It's awesome!
Araki: The dialogue gives one thrills down the spine. They say such dangerous and suggestive things the viewer's left panting. Like, is it all right to show that? But there they have it on television, at high noon.
Nekoi: It feels like you watch it to enjoy the names.
Araki: Exactly. A lot of manga artists seem to watch soaps, because time-wise it's just when one's getting out of bed. Morita (Masanori) sensei told me he also watches them. (laughs)
CLAMP'S MYSTERY VERSUS ROHAN KISHIBE'S SKIN: AND ONWARD, LEGEND
Araki: Many of CLAMP's mysteries were made clear to me today, so for my part this has been a meaningful hour spent. Thank you very much.
Nekoi: The pleasure's all mine, thank you very much. Though I would have liked to talk more about JoJo.
Araki: But today we're talking about xxxHolic.
Nekoi: Don't you think we should reveal more of JoJo's mysteries too, even for the sake of the reader?
Araki: Oh, I think it'll be quite enough if you say "He's so cool and looks just like Rohan Kishibe â¥." (laughs)
Nekoi: Oh yes, that's true. He's so cool and looks just like Rohan Kishibe. *laughs* And you look younger and younger in the photos that get published these days.
Araki: That's because I'm a Ripple user. (laughs)
Nekoi: Please do become a new legend in Toono, I'd love to see it.Araki: Leave it up to me. (laughs)
Interview with Hirohiko Araki
Of course, especially since Giorno and his friends have such unfortunate fates, I had to make sure their backstories were illustrated well. To tell you the truth, I wanted to draw even more pages for them.
I get the impression you may have also wanted to draw Kakyoin's past from Stardust Crusaders?
Yes! I wanted to draw Kakyoin's as well. However, I was on the fence about whether to do it at the time. I didn't think it'd be acceptable to recount his childhood in the middle of the last battle, so I just made it into a monologue. When I think about it now, I could have spent a chapter of the series (or about 19 pages) drawing just Kakyoin's childhood, but during that era of Shonen Jump, it felt wrong not to have a battle every week. It was like some kind of Shonen manga spell was cast on me.
Since you established Giorno as Dio's son, I was expecting the story to expand on that...
I never had any intention of doing that, actually. Even during "Diamond is Unbreakable", people were speculating if Kars would show up, but this is not the type of manga series that would go in that direction, and I'm not the type if person who would write that. If that happened, to me, it'd be over. I am of the opinion that if readers ever think to themselves,"I expected that to happen!" then I've failed. There are many manga out there that would go in that direction, but if I did that, it's over.
It's a manga that doesn't go according to the reader's expectations, right?Even as a kid, I never thought predictable manga was interesting. That's exactly it.
[Translated by MetallicKaiser (JoJo's Bizarre Encyclopedia)]
Question: What kind of editor do you have?
Araki: Theyâre something like a cheerful partner to me. Theyâre extremely important. I absolutely could not create manga alone. Coming together and discussing with my editor is of utmost importance.
By the way, until now I worked with more than 10 editors, but the most recent one tends to not tell me his opinion on things. I get a little angry when he does that. He says that whatever I say is good, and I tell him that saying whatâs good is his job.
Question: Have you ever changed your work because of an editorâs opinion?Araki: Of course. He gives me his tastes and preferences. For example, initially Dio was not going to be defeated in Egypt, but the Editor liked Egypt. I said, âIsnât Egypt dirty?â He said, âNot all of it.â So, we ended up going together. I really didnât want to go though haha.
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ãMUSIC IS THE KEY OF LIFEããSUGIURUMN(MIDI Creative, 2000)
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If you could use a Stand power, whose Stand would you choose and what would you want to do with it?
Araki: Well, which one do you choose, Shokotan? Can I call you Shokotan?
Shoko: Of course! He calls me "Shokotan"! I'm so glad. My dream is to marry Jotaro-sama and have a child with him. He'd probably say to me, "Yare Yare Daze" and spit on me. That's my dream. Sorry, the question was about stands, wasn't it.
Araki: So, Star Platinum?
Shoko: I want to receive 'ora ora' from him.
Araki:(Laugh) Hmm...I think I would choose Rohan Kishibe's Stand. I want to know what people are thinking by opening their minds.
Shoko: You work with various people, so that would be useful.
Araki: Yes, I want to discover the unknown sides to them.
Shoko: It's scary though, it seems like you are already able to use that Stand, I guess.
Araki: (Laugh) Well, yeah. And your choice is Star Platinum, right?
Shoko: I want to be beaten up by him.
Araki: I hope your dream will come true.
Shoko:(Laugh) I am a completely bizarre person.
What type of woman does Jotaro-sama like?
Araki: Type of woman? Uh, I don't think he is interested in women that much.
Shoko: I think he would say, "Yare Yare Daze," to a girl like me, right?
Araki: He definitely would. That is his charm.
Shoko: He would also say: "You are annoying."
Araki: (Laugh) That would be great.
Shoko: That's what I want! I want to have a child with him. How can i make him love me?
Araki: He might say that you're annoying, but he'd still love you, I think.
Shoko: I like it! It's tsundere. Does he prefer a girl who's neatly dressed or one with a short skirt?
Araki: Eh, he is more of a straightfoward guy. He will enjoy the time with you, though he might say that you're annoying.
Shoko: Really? Then I will do my best! I think I should go to a disco.
Is Jotaro's school cap a part of his head?
Araki: Yes, it's true.
Shoko: Is it? Why is the cap a part of his head?
Araki: Well, because he never takes off his cap.
Shoko: The cap is part of his body?
Araki: Right. When drawing Jotaro, I felt it was OK to combine him and his hair since he never takes it off.
Shoko: That's a unique idea.
Araki: Indeed. By doing so, Jotaro looks more elegant. I want readers to recognize him from the back, not just his forefront.
Shoko: So he isn't actually wearing a cap. The cap is completely part of his body.
Araki: That is right.
Shoko: Only Araki-sensei could come up with such an idea. It's me who wants to use Rohan's stand to see inside of Araki-Sensei's imagination.
There is a rumor that one scene in the 20th volume of JoJo's Bizarre Adventure predicted the 9/11 attack in New York 11 years before it actually happened. Did Boingo really predict 9/11?
Araki: Yeah, that actually surprised me. I don't know why I drew such a scene.
Shoko: You clearly wrote the word 911 and the laughing plane.
Araki: I don't even know why the plane is laughing.
Shoko: You didn't intentionally draw the scene?
Araki: Well, I don't know. I don't remember. I drew that scene as part of the story, but I don't know what it means. I learned about it recently, but I think it's just a coincidence.
Shoko:Your stand can predict the future. Your Stand predicts the future AND keeps your yourself young. (Laugh)
How can one defeat Star Platinum: The World, the most powerful stand ever?
Araki: Eh...Jotaro can be defeated only by Jotaro himself or by the child of Jotaro and Shokotan.
Shoko: You allow me to have his child? So Jotaro-sama and I have a child and he won't be invincible.
Shoko: That's a great idea!!
Araki: Actually, it's impossible to defeat his stand at the moment. Star Platinum can halt the flow of time, so to defeat him, you need to let time flow again.
Shoko: So you would need to possess a power to control time itself? Sounds great.
What do you keep in mind when drawing pictures in color?
Araki: Well, the combination of colors is important. Like what color should be placed where.
Shoko: What is your favorite color?
Araki: My favorite color? Green...or moss green with some white. The mix of dark moss green and white is my favorite.
Shoko: But the color you actually draw with and the color that is printed are somewhat different right?
Araki: Yeah, you're right. So the important thing is not only the color itself but its adjacent colors.
Shoko: When you were a child, what were you drawing?
Araki: I was drawing things like Hakagata Mitsuru, a character from Kyojin no Hoshi. I'm a big fan of Ikki Kajiwara. I was curious how Joe Yabuki's hair looked like when we saw him from the forefront, right side and left side.
Shoko: Ordinary kids draw Joe only from the right or left sides, but you were not a normal kid.
Araki: (Laugh) Yeah.
What type of woman does Araki-Sensei like?
Araki: EH..? This question is hard to answer.
Shoko: You wife may be watching this show.
Araki: I like a woman like my wife.
Shoko: A good answer. What do you like about your wife?
Araki: As soon as you meet her, you will see that she loves gags. She will often say gags like Shokotan's giza thing (means "super").
Shoko: She uses "giza"?
Araki: When I said to her "Giza Ohayu-su" (Super good morning), she told me I was doing it wrong.
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Kaneda: A while ago, there was a story called "Let's Go Hunting" and I really liked how Josuke and Jotaro teamed up. First you have Josuke who always feels like he's about to burst into a rage but he's always reliable when push comes to shove. Then there's Jotaro who can get really mad and he'll barely lose the cool expression on his face. I thought them working together went well, I love that story. It's to be expected seeing as he's a scientist, but I'm really enthralled with how Jotaro knows so much about wild animals (laugh).
Araki: Yeah, I like partnerships. When I see artists that have partnerships, I get all jealous. Though I guess there's sort of a partnership between a mangaka and an editor. I liked the partnership of Josuke and Jotaro, too. They both have a kind of "pursuer" feel to them, don't they?
Kaneda: It was so cool when Jotaro said "You've got to be the one to shoot." and then went off to let himself become a decoy.
Araki: They have a relationship where they sort of bring out each other's strengths.
Kaneda: I think that because Josuke respects Jotaro so much, he feels a lot of pride from just being with him. It's an exceedingly good relationship, even one that almost crosses a certain line (laugh).
Editor: Sounds like she's reading into it in a yaoi sort of way. I guess she's excited by that sort of thing.
Araki: Oh, I see (laugh). Maybe it's better that I didn't write that, then.
Kaneda: Yeah! If you'd written that openly, there'd be no room for imagination and that'd ruin all the fun. I don't think anything like that would happen for the whole hunting thing, but if it turned into something like "After the hunt is over, do you wanna go to a hotel?", I feel like that'd be really overdoing it! (Laugh) Also, if something like that were written in the story, there would be a lot of people that really like coupling and would say things like "the only one for Jotaro is Kakyoin!" So it would actually, it would actually narrow the scope of the story. So I really think that stopping just short of that is much better.
Araki: That kinda sounds like "Beverly Hills, 90210". This person and this person are connected, and this person is with so-and-so, that sorta thing.
Kaneda: It's good to draw all sorts of jumbled lines like that (laugh). That way it never goes to the point of actual acts, it's more desirable to be potential.
Araki: I see.
Kaneda: Really, from a boy's point of view a team play is "admirable friendship". and from a girl's point of view it's has a different kind of admiration. And we want it to end with that double meaning. Personally, I think Okuyasu and Josuke make a good partnership, too. Both are good-for-nothing-types. Truthfully, if Okuyasu were smart, he would have a top-class Stand. I think that the user not being smart strikes a good balance.
Araki: He's a lovable character, isn't he? (laugh).
Kaneda: I think Okuyasu is the best person you'd want for your friend. But in regards to partnerships, I think Johnny and Gyro in the current Part, "SBR" are the best.
Araki: That was me tracing the story of Part 1 with Zeppeli making Jonathan grow and trying to write it a bit more deeply. This time they're a bit closer in age, and I'm really enjoying writing their conversations.
Kaneda: I just love those pointless exchanges between the two. Like when Johnny used his evolved nail bullets to brush his teeth and Gyro gave that monotone response about being jealous (laugh). I remember thinking "This is how boys communicate!" when I read that.
Araki: Yeah, boys tend to have those sorts of pointless back-and-forth conversations a lot, don't they? (Laugh)
Kaneda: You really feel their friendship in those sorts of scenes. Rather than hug each other or anything, that makes them really charming to girls.
Saitou: But they have a fixed relationship, so they're kinda hard to couple, right?
Araki: Yeah, there really isn't much room there for reading too much into it, is there? I wanted to have a deeper connection of friendship between teacher and disciple than I did in Part 1.
Kaneda: It's written so richly, so they don't even need to be coupled, I guess. People have ideas about how Johnny is paralyzed in the lower half of his body, so while Gyro generally seems very cold, there are times at night when he has to care for Johnny and that sort of thing.
Araki: Yeah, I like that (laugh). Well, maybe I'll draw a scene of them in a night-time camp scene.
Kaneda: That sounds good! I hope you do (laugh)! Also, I'm hoping that Dio gets involved in their relationship somehow...... Fundamentally, Dio is a character who started out in poverty. So then, because of his desire to be successful in life, he's not afraid of anyone and he's not afraid to dirty himself to make his way to the top. Girls love that sort of thing. Fujoshi-wise, I mean in my mind, at the point in Part 6 where the character of Father Pucci that feels seriously about Dio, I've made this theory of "Dio = Princess" (laugh). Like he started out from the status of prostitute, so he dirtied his body with lots of different men, but his soul never lost its purity. And the 16 year old Pucci was attracted by that...... Early on, there's a scene where Dio and Pucci are sitting slovenly on the same bed facing different directions and having a discussion ('The Time of Heaven', "Stone Ocean" Volume 11). I simultaneously could barely believe my eyes and went mad with joy. That's the effect you must've been going for, right, Araki-sensei?
Araki: Uh... I didn't really think it would be taken that way, I don't think. Guys do that sorta thing all the time. Just sorta crashing someplace. Like when you go drinking and it gets late, so you need to stay over at somebody's place.
Kaneda: Eh, then you're saying that Father Pucci and Dio were out late drinking?! (Laugh) Um, I'm not so sure these are the types of characters who would crash at each other's place because they missed the last train for the night or something.
Araki: Now that you mention it, I think I might've had something like that in mind when I drew it (laugh). But Dio's sort of a composed character that could go either way. He could go with a man or a woman.
Kaneda: Really?! As I thought, my interpretation was correct.... (laugh). So, Dio originally liked Jonathan, right?
Araki: Ah, did he?! (Laugh)
Kaneda: Jonathan Joestar was a man that had everything he didn't, so Dio felt that he wanted to make Jonathan his. That sort of thing. He couldn't allow Jonathan's first kiss to be with Erina, so he did it to Erina himself.
Araki: Uh, it kinda sounds comedic if you're gonna go that far (Laugh).
Kaneda: No, but Dio thought about Jonathan seriously, but at the same time homosexuality was a serious crime in England during that era, so Dio had to hide his desires for such a future deep inside.
Araki: Uh, I guess that could be.
Kaneda: And those feelings he'd suppressed so long finally resulted in him taking over Jonathan's body.
Araki: I see. Well if you look at it at that angle, it gives the story a fresh feel, I suppose. (Laugh)
Kaneda: Dio, someone so dirtied, wanted to profess "I like you" to Jonathan. But he was unable to and then Erina took Jonathan, so through bitter tears at the end he took Jonathan's body. "Now we've finally become one, Jonathan." That sorta thing. If he'd had time to smooth his words over a bit more, he would have said that he wanted to be part of Jonathan's bloodline.
Araki: That kind of sounds like the movie, "Purple Noon".
Kaneda: He wanted to become Jonathan. But I think in the end, he lost track of whether he wanted to become Jonathan or he wanted Jonathan to become his. With his noble soul that harbored such sorrow, there were men showing up that loved Dio one after another. Like in Part 3, Vanilla Ice and N'Doul and those guys. Particularly in Part 3, whenever was mentioned, they talk about his almost-transparent white skin and his bewitching charm that made it hard to believe he was a man. Even Avdol felt dizzy the first time (laugh). Even Avdol, that macho guy that liked peeing outside was attracted to Dio. So he really had an aura that attracted all types of men.
Araki: Uh, I guess that's a way of looking at it, too. (Laugh)
Kaneda: ......I'm glad. If you'd said something like "There's no way there was anything like that!" and just cut me off, I don't know what I would've done.... (Laugh)
Araki: There's no way I could write that, but I'll admit that could exist as a sort of hidden meaning. He definitely had some lust somewhere.
Kaneda: Dio's confusion of not being sure himself if he wanted Jonathan's bloodline or wanted his body or wanted his heart is really juicy from a yaoi aspect.
Araki: But someone like Dio would never offer his love 100% to someone.
Kaneda: Speaking of which, he had lots of illegitimate children, didn't he? I feel bad for Ungaro being the only ugly one. (Laugh)
Kaneda: So it's a bit different from the sort of love Jonathan and such have, huh?
Araki: Jonathan and the others' love is far deeper than Dio's. They didn't run purely on desire like Dio. Dio will do anything to get what he wants, but he would absolutely never pour 100% of his love into a specific person.
Kaneda: True. It doesn't sound so much like love as it does like stealing. Well, I suppose Father Pucci, pursuing the princess he would never obtain, was really the juiciest character of Part 6.
Araki: Now that you mention it, I think I really did consciously write it that way (Laugh).
Kaneda: He wanted so thoroughly to love Dio more, so when Pucci said the line "I love you as I love God", it was a real thrill. And in response to that, I'm glad Dio said "I was afraid you'd disappear". Vanilla Ice loved Dio as well, but he died spinning around in circles like that, so you wanted to have a character express their intense feelings towards Dio in a more open way, huh?
Araki: I think if Dio had lived, it could've gone a bit more in that direction. But he's dead, so all of that will just remain in the realms of imagination.
Kaneda: But there were people like this in Dio's life, so I feel vindicated.
Araki: But I don't think Dio loved Pucci.
Kaneda: I suppose so. I think for Dio, their relationship was casual. There was a sort of feeling like "You don't know anything about my life, so don't start worshipping me like a god." I guess. "I've been the object of pleasure for hundreds of men!"
Araki: He was made the object of their pleasure? (Laugh)
[Translated by Kewl0210]
Araki: But that's essentially a result of the fashion aspect, so I don't think they're fundamentally an established couple. Also, their fashion is mostly drawn referencing women's fashion, so it might be because they are a bit androgynous.
Kaneda: In part 5, everyone's wearing really sexy clothes that have holes which show their skin in various places. That must be mostly because its set in Italy, right? It feels totally natural that if it's in Italia, men can be so lovey-dovey with each other.Araki: With the enemy characters, I think that's the case. But that's totally impossible, for example, with Narancia and Abbacchio, haha. That's definitely just friendship.
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- I would like you to tell me about Part 4 in detail. Araki-sensei, what kind of work is Part 4?
Araki: In short, the theme of Part 4 is "building a city". It's meant to take JoJo's "mythical" story that its had up until Part 3, and drop it down into everyday life. Of course it's ordinary, but at the same time extraordinary. I wanted the "reality" in Part 4 to bring the story closer to the real world. That's why a certain manga artist, whose profession I know best, and a chef of a familiar restaurant also appear in this part.
- The year is 1999, and the fact that the stage is a "town" also brings about a sense of "reality".
Araki: You get the feeling that the town of Morioh actually exists. Part 4 had to end because Kira was gone, but I really want to draw more. I want to put something else in that town, so maybe I will draw it again someday... In Part 8 and 9 (laughs).
- I would definitely want to read it. Is there anything else you tried to come up with in Part 4 regarding ârealityâ?
Araki: I would often think about the different sides of characters that aren't really shown in the manga, but not like obscure trivia or something. For example, Josuke was truly hurt by the fact that he grew up never knowing his father. However, he covers up this pain with the pompadour man who saved him as a kid. He considers that man a hero, somebody he can rely on, and a symbol of his faith in people.
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