Interview Archive/2016-2025

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


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2016 to 2025

Published March 28, 2016


In February, Paris Manga had the honor of hosting Masahiko Komino, a veteran of the industry who's highly acclaimed for his various roles on the animated adaptations of JoJo's Bizarre Adventure, including lead Character Designer of Stardust Crusaders. We took advantage of his visit to Paris to meet with him for a fully dedicated JoJo interview!

Mashiko Komino, thank you very much for accepting this meeting! Can you tell us what brought you to work in animation?

Masahiko Komino: I've been interested in animation since I was very young, but it was only after a brief period abroad that I decided to join a school that specialized in animation.

Are there any artists or works that have influenced your choice of career?

In terms of manga, Ushio & Tora was a series that impacted me deeply, but anime-wise, Sailor Moon was the true turning point in my attraction to this medium. Particularly the first season and its animation, I think the staff managed to find a good balance between the different aspects of the work. It's thanks to Sailor Moon that I discovered that we could convey a lot of emotion through an anime.

Stardust Crusaders is the first anime where you hold the position of Character Designer. How did you go about approaching this first time endeavor?

To be honest, it really wasn't my first time. In fact, I was already given a shot at character design in the past without ever being credited, though Stardust Crusaders is the first series where my name is properly listed in the credits. My past experiences have given me a certain bias of the medium as I've been a long time fan of 80's-90's Shonen such as Dragon Ball, Hokuto no Ken and, of course, Jojo. The problem was that they had previously offered me the character designer role for other series, but I ended up declining them out of lack of interest. However, when I was asked to design the Stardust Crusaders characters, you can imagine how thrilled I was since it brought me back to the type of shonen I love.

Although you were already on the staff of Jojo's first animated series, you were not the character designer. Why this change of position between the first anime and Stardust Crusaders?

In the original manga, Hirohiko Araki has a trait of constantly evolving with the times. Out of respect to his series, we felt that it was also necessary to signify these changes in the anime. That's why with each new animated season of Jojo, the character designer is switched out. (Spoiler for Battle Tendency) Regarding the reason that I was chosen for Stardust Crusader's design, the team had admitted to being fairly impressed with how I adapted Part 2, particularly the episode where Caesar died. From there, they wanted to see me push that experience forward.

Hirohiko Araki is one of those authors whose art is very personal and immediately identifiable. How did you handle recapturing it? What was most difficult?

Yes, its true that he has a very special design; Araki is one of those designers who really have their own style. But you know, I've read the manga since I was a kid, so I've constantly absorbed it throughout the years to a point where I find no real difficulty recapturing it. What has actually been difficult is the process. When you draw a manga, you are only responsible for yourself, whereas when you're character designer, you are responsible for a team of a dozen or even hundreds of people who are all waiting to see what they'll work on. The issue is finding a good balance between ease of animation (where the rest of the staff can work without difficulty) and keeping true to the characters. That is what is most difficult.

Which characters were harder to work with? Who was easiest? And who are your favorite characters?

The person I had the most problems with is Daniel J. D'Arby (D'Arby the Gambler). This is a man who is not really old or young, and finding the right balance to emphasize that age and animate it without distorting Araki's original design was very complicated. The easiest character was Jean-Pierre Polnareff because he was very simple to work with, even for action scenes. As for my favorite characters, the one who I prefer to draw is Jotaro, while my favorite short character was Anne as she was the one I related to most.

How was working with Hirohiko Araki?

I have never actually met Mr. Araki. Generally, I would send him my work every Thursday and then he'd make suggestions on modifications, though everything was usually accepted very quickly. I felt alot of confidence from him.

What would you say to a person who would be reluctant to watch Jojo?

Watch, and you'll understand. (Laughs)

JoJo's Bizarre Adventure: Diamond is Unbreakable is arriving this spring. Will you be a part of the staff?

For now, I still have things to wrap up with Stardust Crusaders. I have contacts for participating in Diamond is Unbreakable and I'd love to participate, but before that I'd like to finish what I have to do.

Character Designer, is it an experience that you'd like to repeat?

It's actually not one of the positions I prefer, because I like above all to live the characters, animate them and make them speak. The character design is obviously important, but I prefer positions where I can work on the animation.

Thanks to Mr. Masahiko Komino, his interpreter and manager Emmanuel Bochew, and Paris Manga for the reception.[1]


Newtype August 2016.png
Published July 9, 2016


Savage Garden: Darren Stanley Hayes

Had you heard of this manga "JoJo's Bizarre Adventure" before? If yes, please tell us how you came to know of it.

I was aware that JoJo's was considered to be the coolest anime in Japan. I have many friends who love comics, anime and the show but I admit I had never watched it before! When the request came through, I did of course watch some episodes and I immediately knew the show was lovingly made and clearly adored by millions.

What did you think of your hit "I Want You" being chosen as the ending theme for the TV anime of "JoJo's Bizarre Adventure?"

I was very touched by the fact that the creator of the show had been fond of the song "I Want You" and 'Savage Garden'. When I confirmed the news on twitter, my timeline literally blew up and I was swamped with kind messages of support and welcome from the JoJo community. The last thing I wanted was for fans of the show to think the song didn't fit or wasn't appropriate. So to see the positive response, I felt very grateful.

The Part 4 episodes of "JoJo's Bizarre Adventure" (currently aired in Japan) are set in the year 1999, fairly close to the time "I Want You" first became an international hit. Can you share some memories from around that time?

1996 to 2002 was a roller coaster. In the music industry, this was a time of great excess. The entire Savage Garden period was part of a golden time in music where sales were thriving, music videos were high budget and extravagant and I loved very single minute of it. The fashion, the experimentation and the excitement of radio back then was so electric. I am proud to have been part of that period.

There's been an increased buzz for Savage Garden now that people are hearing "I Want You" on the broadcast of the latest "JoJo's Bizarre Adventure: Diamond is Unbreakable." What is your impression of the reaction from fans?

It's a privilege to reconnect with older fans and meet new fans who were just children when Savage Garden songs were on the radio. I'm meeting fans in their 20's who remember buying our music as their first album. Especially in Japan, the reaction to Savage Garden in the 90's was very special to me. I remember playing some incredible shows to the most gracious and enthusiastic audiences. I still remember my Japanese fans to this day.

The creator of the JoJo series has been a long time fan of Savage Garden and he is thrilled to have "I Want You" on his latest anime series. Any thoughts on the loyalty of your fans and it leading to your track being reintroduced in a brand-new anime project?

I'm just very appreciative that the music has occupied a very special place in people's lives. I absolutely love the repackaged cover of the album featuring JoJo artwork - it's incredibly cool! Such an honor.

Please give us a message for our Japanese fans.

Thank you for remembering me, our band and our music. My time in Japan was amongst the most magical of my adventures in the music industry. I have fond memories of cheery blossoms, tiny Starbucks cups, incredibly thoughtful gifts, amazing food and an outpouring of love. I love Japan and our Japanese fans and I always will.


Manga Volume
Published August 5, 2016
👤 Yugo Kanno
Which songs would you recommend besides the character themes?

The jingle of "Morioh town RADIO" that plays throughout the series. It has a really happy and easygoing feel to it, doesn't it? I also composed a Western music-style song in English like one of those often played on FM radio stations, and it's one of my favorites. It's not often that the chance to write a song like that comes along. Speaking of Western music, the ending song is also a favorite of mine, although it's not my own song. I found out later that it was a request from Mr. Araki and was quite impressed by that. It's a bit strange to say this myself, but he has a great sense of style.

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

Animage November 2016.jpg
Missing translation
Published October 8, 2016

Note: Missing full interview.





Other Notes: ソエジマヤスフミさんの解説には、この他にも、OP2は『スターウォーズ/帝国の逆襲』みたいな気持ちで作っていたのに対し、OP3は『ジェダイの帰還』のような位置づけであるなど、ディ・モールト興味深い情報が「たっぷり!」語られている。また、今月号はページ後半の赤黒2色カラーページにも、仗助から辻彩、吉良吉影までの「キャラクター設定資料ファイル」が6ページに渡って掲載されているので、TVアニメ『ジョジョ』に興味のある方は雑誌の方でぜひチェックしよう。[2]


Great Festival Logo.png
Published February 19, 2017


- It seems like some parts of the part 4 anime were arranged differently compared to the original manga

Naokatsu Tsuda: Creating a television series has its own set of conditions and compositional considerations, but Araki-sensei told us "you should change things around if you need to". Originally it was rare for Araki-sensei to offer up his thoughts concerning the anime adaptations, and at the beginning he had a completely hands-off approach. He began to get more involved around the time of Part 3, and by the time Part 4 came around he was going as far as to help us check our use of colors.

For example, I don't think fans of the original manga necessarily got the impression that Koichi had grey hair, but when we presented him a number of color concepts to use and asked him "which of these do you think is closest to the image you have of Koichi?", that's what he settled on. We had other color designs prepared as well, like blond, white & brown. That said, he doesn't come to us saying "I want this to be like this", but rather he takes the time to properly check what we show him. In that sense, I suppose I would say that Araki-sensei's stance towards the anime hasn't changed all that much since we worked on Part 1.

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

Published February 2017
Interview by "Les Illuminati" :

Translated from the French script.

Interviewer: Are you aware that without you helping out Tetsuo Hara, we may have never had known Hokuto no Ken? (Fist of the North Star)

Buichi Terasawa: This legend is false, it was Tetsuo Hara who came to see me to become my assistant and I rejected him. But without that, he wouldn't have gone elsewhere and wouldn't have done what he did... So I do not regret having pushed him away.

On the contrary, I supported Hirohiko Araki (author of JoJo's Bizarre Adventure). At the beginning he wasn't very skilled at drawing but he had a very strong capacity for storytelling. I supported him because drawing can easily be improved over time but not storytelling. I encouraged him because he could tell stories better than draw them, and he was already telling his stories very well... In one of his first works, the "BT" is a reference to my name "Buichi Terasawa". It's in "Ma ShĂ´nen B.T.". I see this as an homage from his part.[3]
BunkoSBR vol1.jpg
Manga Volume
Published February 17, 2017

In 2004, I started drawing JoJo's Bizarre Adventure: Part 7 “Steel Ball Run”. This was the story of Johnny Joestar and Gyro Zeppeli and their participation in the great race throughout the North American continent, going from San Diego on the West Coast to New York on the East Coast. I'd like to now share with you all some memories regarding the genesis of this work.

Part 1: The Protagonists
Each one of them has their own family problems: Johnny's relationship with his dad and Gyro's lineage. It's almost as if their births are a contradiction and their desire to take control of their lives pushed them to enter the race. The other characters have a positive attitude as well and those who hide the power of a Stand are very confident in themselves. That being said, maintaining a positive attitude is a tiresome way to live life. After all, to find a bit of peace they only have 2 choices: retire from the race or reach New York.

Part 2: The Stands
Up until now, I've created Stands with the intent of visually representing elements which are impossible to perceive with earthly eyes yet still very much exist. This includes all physical phenomenons and creations, stuff like transforming flames into characters or drawing time itself. With my previous work "Stone Ocean," I had accomplished a certain sense of fulfillment and was wondering, "What I should do next?" When I started drawing SBR, I had a predilection for rotations (specifically spiral rotations). The flames that I designed resembled whirlwinds, splashing water flew like vortexes, body joints bent as if screwed together, hair grew in a sinuous way, the branches of plants and trees connected curved into the main stem, petals of flowers were like spirals, the shadows of rocks seemed like they were rotating, etc.. By constantly drawing things like these, I reached the conclusion that rotations and spirals gave a clear explanation to every phenomenon in this world of ours. Had I made a Stand out of them it probably would have been extremely powerful. Additionally, by connecting the concept of "rotation" to "rebirth," then ideally the story would return to its starting point. It's through this reasoning that I convinced myself that SBR had to be set in the same time period as Part 1, that being the end of the XIX century.

Part 3: Research
I love stories in which characters grow throughout a journey and I believe tends to be a universal experience. These days, you can obtain information on anything you need through searching on the internet, and as a result research trips are no longer necessary. However, there are places where its necessary to be there in person, in order to really perceive their magnitude. To truly comprehend the other side of the coin, we must live in these places to experience their miseries and inequities, and understand what would happen if, for example, we were to find ourselves without milk. Pushed by the desire to experiment with these sentiments, I went on a discovery trip on a Cessna and in a car starting from a desert in the Far West. It wasn't necessarily related to SBR, but I was particularly fascinated by the abandoned crash sites of planes right in the middle of nowhere.

Later on, I hiked for 5 days and 4 nights in the mountains of Kumano Kodo (a group of ancient pilgrimage footpaths, patrimony of UNESCO since 2004) in the prefecture of Wakayama in Japan. I wanted to find out what would happen to me if I walked 20 kilometers every day, and so I did. Maybe this experience in particular has some relevance to SBR. Everyday, the marvelous view offered by the forests would become increasingly darker after 4 o'clock, more than you could imagine. One day I happened to see an old lady all alone, coming out of the dark and saying "If I hadn't met that kid I would have certainly been lost and I would have been in trouble!" (what kid was she talking about?!). After 2 days of walking my muscles started to hurt a lot, the phone had no signal and it seemed so heavy that each day I would ponder the idea of just throwing it away. The contradictions of useless inventions.

Part 4: The Enemies
President Valentine, who appears in the second half of SBR is the final boss, the worst enemy, the big bad, an extremely evil person. However, I would like to explain why he is a villain from the POV of the protagonists, Johnny and Gyro. President Valentine uses the Steel Ball Run race to collect the treasures necessary to transform his native country into the greatest and biggest nation in the world and to steer it towards a new era. Basically, through this event, he plans to conquer the sympathy of the people and obtain the rights for his fellow countrymen. He is aware that the future will bring forth the movement from horses to machines, and knows that democracy means the acquisition of the rights of a capitalist economy. That being said, a person who doesn't know egoism is truly terrifying. In practice, the ideas of President Valentine are much more valid than those of our protagonists Johnny, Gyro, Stephen Steel, etc.. As a result, this president who wants to follow the rightful path is the antagonist by 'antonomasia'. In him resides the contradiction that exists between good and evil. It's sort of a paradox. However it may be, what is happiness? If happiness coincided with the victory of truth, then would it have to be the objective of this era? In the end, will Johnny and Gyro really be able to achieve it?

Part 5: Area
The publication of this work switched from Weekly Shonen Jump to the monthly Ultra Jump, not just because after many years the weekly deadlines began to feel stressing, but also because I felt that in SBR the "area" which I could draw had grew a lot (I'm referring to the number of pages per chapter). I sensed that I could improve on the proportions between backgrounds and characters and also felt that I had found an ideal rhythm to develop this manga which, by its nature, is more suited to being monthly.

—Hirohiko Araki
TV Program
Published March 18, 2017
GUNS N' ROSES --- Welcome to the jungle

ZZ TOPS --- Legs
DIRE STRAITS --- Money for nothing
UB40 --- Red red wine
BRUCE SPRINGSTEEN --- Dancing in the dark
U2 --- I still haven't found what I'm looking for
DONALD FAGEN --- New Frontier
THE STYLE COUNCIL --- Shout to the top
SADE --- Smooth Operator
PRINCE ---When doves cry
DAVID LEE ROTH ---California Girls

The 80s were an exciting period for a mangaka too. The stories that were coming out were gradually becoming stronger and deeper. This feeling that was floating around at that time could be perceived in both manga and music I think. From "Welcome to the Jungle" by Guns N' Roses, I really liked that while it's an overly long song it contains a lot of different ideas.

How the riff vertically enters the song "When Doves Cry" by Prince and how the melody feels like rain sticking to the ground gives me a really nice effect of 'solid' and sexy. I think the sound effects in 'JoJo's Bizarre Adventure' came from my desire to incorporate the strange voice that comes out from this song in a manga. For David Lee Roth's "California Girls," I adored the excitement and happy feeling it gave me. If you link the music and images it reflects, ZZ TOPS' "Legs" reminded me of something like the Pinup Girl style.

I consider these songs similar to an oil painting; I especially consider the way Norman Rockwell used to draw them to be quite erotic. His art used to appear in calendars, but it's popular now too. I think it would be nice to listen to these songs while watching those calendars.[4]
—Hirohiko Araki

[Translated by macchalion]

Anime Boston 2017.jpeg
Published April 1, 2017

Naokatsu Tsuda, the creative director in charge of David Production's anime adaptation of JoJo's Bizarre Adventure, was a guest at the Anime Boston 2017 convention. The following is paraphrased from questions that he answered.[5]

Araki had approached them when they started Part 4 to ask them to add in the foreshadowing scenes with Kira. When he was writing the part, he didn’t know who the main villain would be, and if he had known, this is how he would have wanted it to have been.

Tsuda said the color schemes for the characters were based off the Medicos palettes because those are Araki approved. They wanted to add in those color changes because 1) no other anime does that and 2) he felt like everyone reading it had different visions of the colors and wanted to include that feeling in.

His favorite openings were the first one and Great Days, and he talked about how usually directors don’t get a say in the openings but he got to choose the style of music and the feel for the openings. He also mentioned he couldn’t legally say which songs he wished he could have used for the endings but he had a lot.

Usually, anime come out before games, so the voice actors from the anime carry over to the game. However, since All Star Battle was out before the anime, what they did was they allowed those voice actors to re-audition for their roles. Since game voices are recorded alone, and anime is recorded together in a group, they cast voice actors based on how well the teams meshed together, which was why some were chosen differently for the anime. They wanted to have a team that sounded good all together.

The first opening included all the JoJos because Tsuda wanted to promise the fans that he would animate them all. He really wants to do all the parts, and said it really helps to show the companies like Warner that the audience has an interest in them by doing things like writing in. He asks everyone to please send comments in to let them know more JoJo is wanted.

When asked which part he would be most excited to animate, Tsuda replied saying Part 8. He then facetiously asked how they knew Part 8 since it wasn’t officially translated.


There is another interview with Tsuda by AnimeHerald at Anime Boston.[6]

It would be difficult to overstate how profound of an effect “Jojo’s Bizarre Adventure” has had on Naokatsu Tsuda’s career. He had been a fan of the manga from Shonen Jump, which led directly to him getting the job directing the anime adaptation. David Production COO Koji Kajita asked Tsuda directly if he liked Jojo, and Tsuda responded “Yes.” Kajita wanted fans on the production team.

After being given the directing job, Tsuda needed to decide how the anime was going to look. Tsuda explained that the publisher provided feedback that they wanted to anime to stick very close to the manga. I’m not sure they anticipated just how close Tsuda was prepared to go.

Of course, the publisher may have had a good reason for wanting the anime to hem quite close to the manga:

“Jojo fans are very fanatical.” -Naokatsu Tsuda

He noted that his job is getting harder every year. The trick is making each season unique, and Tsuda himself noted that “the idea drawer is getting depleted.”

The discussion then moved into the difference between original works and adaptations. Tsuda commented on the subject, stating:

“Both are challenging, but original adaptations are much more difficult and rewarding.” -Naokatsu Tsuda

He explained his reasoning. With an original work, you need to generate a screenplay from scratch. Furthermore, with so little set in stone, directing is much harder.

I was curious if the growth of the American audience, via Crunchyroll, Amazon, and Netflix has affected his job. He responded:

“No change for me yet. We will start thinking about the future audiences for our next productions.” -Naokatsu Tsuda

He elaborated that he’s currently working on several different productions, some of original works, others of existing properties, but he wasn’t at liberty to give specifics.

He dropped a bombshell when I asked about how the industry has changed during his career. He noted that digitization had been the biggest change, but then followed:

“I feel we can do away with paper as soon as possible.” -Naokatsu Tsuda

He explained that the issue is geography. When working digitally, you can have many people working on the project from any location. I’ll come back to this in a second. I followed up, asking what he felt the greater limitation in production was: Money or time. He laughed and replied:

“Talent!” -Naokatsu Tsuda

He followed up, stating that it really depends on the position and the production. Sound directors and editors were very important areas to have quality staff. Character designers, in particular, had to fit the production. I guess that makes a lot of sense, given how much everything flows from the lead character’s design. Nailing Jojo and Dio helped propel the show into the stratosphere.

I was curious about the process for selecting what shows both he and his studio would work on. Tsuda explained that the label would send their producer out to pitch a show to Tsuda’s studio. Tsuda became a bit introspective here, and wondered if their studio might be at the point where they could do an entire production in-house. (I want to confirm that is what he meant as the translator may have struggled a bit here)

I asked him if he felt it was harder to move up in the industry today. He felt this was not the case:

“It is much easier today, with so many titles in production. Too many.” -Naokatsu Tsuda

I swear to Jojo that he said the next line exactly as you’re reading it:

“Each title eats a director.” -Naokatsu Tsuda

We moved on to the nuts and bolts of the job. He explained that he is almost never completely happy with his work. However, he has a responsibility to keep up with the schedule, so that keeps him moving forward. The most important thing are the storyboards. With those, he simply cannot move on until they get a passing mark. After that, he’ll strive to perfect them as time allows.

I was curious if he was worried about being typecast. He replied:

“I’m happy to be known as that ‘JoJo guy’, but it is not something I can rest on.” -Naokatsu Tsuda

He went on to share that he felt compelled to go work on original titles. He was concerned about stuck in one place, mentally.

“I was happy to work on Planetarian. I explored new things, grew, and took that growth back to JoJo.” -Naokatsu Tsuda

I asked him what recent works had impressed him. He replied that KonoSuba: God’s Blessing on this Wonderful World! was pretty much flawless, with nothing to complain about. Sword Art Online and Attack on Titan also impressed him, as did Erased.

He noted that he was impressed both with the Erased manga, as well as the anime. He knew they were going to have different endings, but the fact that they were both executed so well, and in such a short turnaround, that was something special. He followed with one more title:

“I liked Your Lie in April. It was good.”

I finished up by asking what he was reading these days. He said he was reading “Wave, Listen to Me”. Kind of a lucky break that it is something that is available in America, as that didn’t have to be the case.

After having some time to think about and digest everything Tsuda said, I’m wondering if the current production system is sustainable. Tsuda was clearly concerned about acquiring the proper talent for each production, and I wonder if that is going to become more difficult in the future. His push to go digital so that they can work with the best staff available, from anywhere in the world, is apt. He’s also concerned about burnout, with so many productions ongoing.

Special thanks to the Anime Boston staff, including translator Takayuki Karahasi. Thanks to Naokatsu Tsuda as well.

Missing translation
Published June 28, 2017
👤 Kaori Mizuhashi, Mai Nakahara, Takahiro Sakurai, Wataru Takagi, Toshiyuki Kato


左から、水橋 かおりさん、中原 麻衣さん、櫻井 孝宏さん、高木 渉さん 監督 加藤 敏幸 今回のOVAの見どころを教えてください。







泉はそのルックスおよび言動から見てかわいらしいキャラクターだと思っています。露伴に不遜な態度をとりつつも、きっちりと仕事へとつなげてしまうところがタダモノではない。うるさいだけの女性に見えないよう気を使いたいです。 一究は物語のバックボーンと直接つながっていることもあって、神秘的な要素、外見共に意識して演出しています。どこか福助のようなイメージと老獪な執事を思わせるような物腰。そこに注意して映像化したつもりです。







岸辺露伴 役 櫻井 孝宏

久しぶりの「ジョジョ」のアフレコでしたが、いかがでしたか。 再び岸辺露伴を演じての感想やアフレコ現場の様子など、お教えください。

周りの人にはわかりにくかったと思いますが、こっそりテンション高かったです! またジョジョできるのが嬉しくて興奮しました。 集中して一気に録り切ってしまったので、もっと味わいたかったですね。

今回は第4部のTVアニメとはキャラクターデザインの印象が少し異なっています。 演じられる上で意識したことはありますか。

その違いを味わえたのが一番の贅沢だったかもしれません。 「ダイヤモンドは砕けない」と「岸辺露伴は動かない」の間には長い年月の隔たりがありますが、それを一気に飛び越えてしまいました。 お芝居で変えた部分は一切ありません。同じ露伴です。


導入部分が好きなんです。 間違いなく何かが起きる気配が冒頭の露伴と泉京香のやりとりに立ち込めていて、そこが堪りません。ミステリっぽいドキドキを味わってください。


皆さんの期待を裏切らない素晴らしいクオリティのアニメーションです。 岸辺露伴が皆さんをスリリングな世界へと案内してくれますよ。 ぜひ、見てください。

泉京香 役 中原 麻衣









一究 役 水橋 かおり


スタジオがちょっとしたジョジョ空間になっているようでおもしろかったです。 なんというか、良い意味で独特の緊張感がある現場だなと思いました。


音響監督から「とにかく怪しいやつ」な雰囲気が出るようにやってみてくださいという指示がありましたのでそんな感じになるよう頑張ってみました。 こんな子供が本当にいたら怪しいです(笑)


見所はたくさんあるのですが、個人的に山奥の謎の村を取材するという設定が好きです。 推理小説みたいな導入が非常にワクワクします。


本編とはまた違った、それでいて本編の世界観が垣間見えるような素敵な物語になっていると思います。 映像化を待っていた方にも、ここで初めて触れる方にも、楽しんでいただけたら幸いです。[7]

Published August 11, 2017
👤 Terumi Nishii
Graduating from the Specialized Osaka Design Course, Terumi Nishii joined Studio Cockpit, where she met Yoshihiko Umakoshi. Although their shared influences make their styles similar, Nishii carved her own path by becoming a character designer for Marawa Penguindrum, JoJo’s Bizarre Adventure: Diamond is Unbreakable, and the Haikara-san ga Tooru movies. Her talent being undeniable, she is in charge of developing the designs of the future Saint Seiya 3D which will broadcast on Netflix in 2019.

During her free time, Terumi Nishii draws her doujinshi, Crown of Ouroboros, which she sells every year at the Comiket with her BBM/BKM circle. Terumi Nishii has also opened a Patreon account in case you want to support her.

Aware of the difficulties young animators are facing, she doesn’t hesitate to invest herself to help them: last March 25th, she had organized a meeting between animators to create connections, so that the newbies could meet their seniors and exchange contacts and advice.

Q: What kind of series did you like as a kid?
T: Saint Seiya! *laughs*
Q What? We’re already talking about Saint Seiya?
T: Yes, Shingo Araki is like a god *laughs*
I’m a big fan of Shun, I loved the way Ryô Horikawa played him. When I was a child, nobody believed me when I claimed he was also Vegeta’s voice, it really doesn’t sound like the same person.

Q: Ah yes, I understand why you were the animation director for the episode where Shun appears in Saint Seyia Omega.
T: Yes, I asked Yoshihiko Umakoshi, and he allowed me to be the animation director for this series. I only made corrections, but I like the Nebula Chain part a lot.

Q: You have worked on the third OVA of Saint Seiya Hades, I imagine it was like a dream come true to you. However, you’ve never taken part on an episode where Shingo Araki was animation director. Have you had the chance to profit from his experience?

T: Unfortunately, I’ve never had the chance to work under Shingo Araki. At the studio, everyone knew I was a big fan of Shun. Even if I was a beginner, I’ve been given the opportunity to draw him. It was the shot where he was running in the harbor, just before he put on his armor. I am really proud I did that, since in the artbook compiling the drawings of the series, Araki has kept my scene.

Q: What is you favorite Saint Seiya scene?
T: There are a lot of those… I would answer the second movie, Kamigami no atsuki tatakai (Heated Battle of the Gods), which had a lot of cult classic scenes like the one where Saori is hanging on the arch. There is also Ikki entering the scene… Seiya’s silence when he must save Saori, until the end… really, you can't do better with Shigeyasu Yamauchi at the director’s seat!

Q: Now, you’ve been chosen to be character designer for the 3DCG remake of Saint Seiya on Netflix, what you can say on the subject?
T: Actually, I cannot say much about the subject at the moment, or Tôei will scold me… It’s the first time Tôei will make a 3D series on TV, so it will be a new experience. However, I am happy to have been chosen, and I will do my best on it. I’d really like to talk about the way I approached the designs, but I don’t think I’m allowed to say anything for now…

Q: Since the official announcement of the remake, a lot of foreigners have begun to follow you on Twitter. Were you aware of the series’ popularity abroad?
T: More than abroad, I’ve heard that Saint Seiya was extremely popular in Europe, yes. In Italy, in France… I think it’s also very popular in Mexico? It’s interesting and flattering to be part of such a project, I’m under pressure. *laughs*

Q: Saint Seiya made in USA... I’m nervous that they’ll bowdlerize the plot, the franchise isn’t well known there.
T: It’ll be between the USA and Japan; over there, they’ll manage the scenario and production and here, we’ll manage the animation. I understand that those who’ve grown with the original series will be a little worried about how the Americans will adapt it.

Q: What was your experience before becoming animator?
T: Originally, I wanted to become a mangaka. During my high school period, I watched series like Evangelion or Utena. I found those series excellent and they made me want to learn more about the business. I already knew how a manga was made, but I didn’t know how an animator worked. So I followed a specialized course, then I went to Studio Cockpit where I really learned the tricks of the trade.

Q: To enter Studio Cockpit, it seems that you had to be be interviewed by Masaaki Iwane.
T: He’s an interesting fellow, there are a lot of stories about him. I knew who he was, I had already met him several times when he came to school as a speaker. The interview went well, there was no pressure.

Q: However, it was Yoshihiko Umakoshi who took charge of you.
T: No, my first tutor here was Hisashi Kagawa, the character designer for Fresh Precure. He was the one who took charge of me.

Q: However, we feel a lot of influence from Umakoshi in your style.
T: Certainly, because we both originally appreciated Araki’s style. However, even if we have a similar style, his influence is more personal as a man and as an animator. He taught me the way to see things, that we must always look further. In instance, to make a character laugh, the average animator will have two or three patterns, but he is able to draw ten variants. He also taught me how to handle the shot reverse shot technique as well as volume. His teaching have served me well.

Q: Is that why you frequently work with him on his projects?
T: I’ve begun to work with him on Jubei-chan, but then he asked me to work with him on Mushishi and Casshern Sin. I had the chance to be surrounded by talented animators during my entire career.

Q: However, you’re not working on Boku no Hero Academia.
T: I am a little at the moment, I’m finishing the Haikara-san ga Tōru movie which is scheduled for November.

Q: By the way, how did you become character designer for the Haikara-san movies?
T: The producers at Nippon Animation had contacted me because they had chosen me at the start of production. They asked me to draw some illustrations to see if my style would correspond to the series.

Q: For the designs of the outfits in Haikara-san, you weren’t alone, you’ve been helped on this.
T: NaSka had the same role as a costume designer for a play or a movie, she’s been urgently assigned to this key role.
Although the original work happens during the Taisho era, during the 20s, the publication has been made during the 70s and there was a mix between the trends of the two periods. I wasn’t comfortable with that and so by readjusting this aspect, we’ve reduced the anachronisms in the work.

Q: The first series where you were an animation director on a regular basis was Fushigiboshi no fugato hime, which wasn’t designed by Umakoshi.
T: I had been director several times on Doremi. It’s because of the job, animators rotate between several series. I’ve then worked with him on Mushishi.

Q: Among other disciples of Umakoshi, there is Marie Ino, with which you work a lot. How is working with her?
T: In fact, she is my kouhai, not his, so it’s an indirect influence *laughs*
In shorts, the lineage is Masami Suda, then Junichi Hayama, Yoshihiko Umakoshi, me and Mari Ino *laughs*
By the way, Hayama hasn’t finished his scene on Haikara-san, he won’t be here tomorrow at the Comiket. *laughs*
Ino is really talented and conscientious, so when I work with her, I trust her and give her leeway.

Q: You’ve also regularly done work for Studio Gainax at the beginning of the 2000s on series like Diebuster or Gurren-Lagann.
T: I am of the same class as Shouko Nakamura, who is at Production I.G and who’s participated on several anime produced by Gainax. It was her who called me to work with her on her projects.

Q: On Mawaru Penguindrum, Shouko Kanamura was in charge of a lot of things when she was only an animator. What was her exact role here? During a previous interview, Kunihiko Ikuhara has been vague on the subject.
T: There were a lot of problems during the production, we were short on staff and she had to accumulate several jobs. No doubt this is why Ikuhara didn’t want to talk about it. Normally, he’s a real chatterbox *laughs*

Q: What kind of director is Ikuhara?
T: He’s a director who’s more out of the studio than behind our backs to give directives, so we have a large margin of maneuver.

Q: What were the difficulties to rework the designs of the characters created by Lily Hoshino?
T: Her designs are difficult to animate. I have to take that into account to adapt them. I have to mind the hair, etc… Maybe I’ve found it difficult because it was my first work as character designer. If I had to rework these characters with my current experience, I may find it easier but at the time, I had it rough.

Q: I think Shingo Araki also had it rough at the time, for the hair in Saint Seiya. *laughs*
T: Since it’s in 3D, it won’t be my concern. *laughs*

Q: How did you come to work on the 4th part of JoJo’s Bizarre Adventure, Diamond is Unbreakable?
T: Every JoJo part has its own character-designer and thus its own style, the production team simply thought that my style would fit with this part. Personally, I wasn’t particularly a fan of the series, but like everyone else, I read it when I was in Middle School. What I really remember about the series were Part 3 and 4. My favorite part was 3, but I am happy to have participated in part 4, because Jotaro was there. After all, JoJo is Jotaro, isn’t it?

Q: Hirohiko Araki’s style from this period was still very rough, how did you work to smoothen it.
T: It is from Part 4 onward that Araki’s style has begun to evolve. I don't swing that way, but I had to make it so the art pleased the “Boy Love” (Yaoi) fans. However, I just drew with my regular style.

Q: JoJo is known for its poses. How do you work to create these still moments in animation without ruining the scene?
T: Since it was the third season, I think that those who already worked on it was accustomed to the universe of JoJo. These pose shots were well managed by those in charge of the storyboard. It is them who placed the poses at the right moment. When I was young, scenes where characters stayed still and took poses were common. With the coming of the "moe" type series, we don’t get as many examples of that now. I really like the end of episodes which froze on a "pencil sketch", it was beautiful.

Q: With your doujinshi, we can say that you’ve realized your childhood dream, to be a mangaka somewhat.
T: Well, it’s more peaceful than being an animator *laughs*

Q: Why is Yendaman in English?
T: The character reminds people of American comics, so I’ve been suggested to translate it. I don’t speak English, so I’ve asked something to translate it for me. Personally, I use an app to answer some of my fan’s messages? *laughs” However, I try to learn English when I have free time. On the social media, a friend is translating my messages in Spanish.

In Japan, there are less and less children, so less and less readers. I think that mangaka must now aim for foreign markets.
Araki tetsuo hara.jpg
Missing translation
Published August 11, 2017

『週刊少年ジャンプ』創刊50周年記念を機に、六本木ヒルズ森タワー52階の森アーツセンターギャラリーで2017年10月15日まで開催されている「週刊少年ジャンプ展VOL.1 創刊~1980年代、伝説のはじまり」。同誌の黎明期を盛り上げたレジェンド作家たちによる生原画が拝める貴重なイベントであるが、そんな中でさらなるスペシャル企画が行われた。




原 僕のほうはすごく優しかったですよ。ピンクのポロシャツを着たクマさんみたいな。 ただ僕の仕事が遅いんで、だんだん怒りのクマさんみたいになってきて、オーラがラオウみたいに変わってくるんです。しかも夜に酔っぱらって来るから「原稿どこまでできてるんだよ!」「何でここまでしかできてねえんだよ!」って机バーンと蹴られて。

荒木 それ、今言うとダメなやつだよね(笑)。僕の場合はすごく直しの多い人でしたね。いつも地元の仙台で描いた原稿を宅急便とかで送ってたけど、あとで電話が鳴って「直しに来い」って言われるんです。そこから(東京にある)集英社の会議室で、同じ原稿を10枚とかもう一回描くわけですよ。顔が違うとかそういう理由で。隣の部屋にはゆでたまご先生とか江口(寿史)先生もいて、よく「ゆで先生、ドライヤー貸してください」なんてやり取りしてました。彼らはもう泊まり慣れてるんだよね。

原 僕はそういう缶詰みたいな体験はなかったですね。当時は杉並区に住んでたけど、担当さんも中央線沿線だから帰り道に原稿を取りに来るんです。他のマンガ家さんも同じように通り道に住むようになって、みんな吉祥寺に集まっちゃった(笑)。


原 椛島さんって身長180cmくらいあって圧がすごいじゃないですか。荒木さんはカワイイ女の子みたいだから、(打ち合わせで)抱きかかえられて連れていかれちゃったよみたいな。あの後ろ姿、よく見てました。

荒木 (笑)。マンガ家と編集ってすごく密接な感じになるんだよね。打ち合わせとかも一晩ずっとやったりとか。たとえば僕、旅行とかあんまり好きじゃなかったんだけど、椛島さんが「経費でさ、エジプト行こうよ!」って言い出すんです。でも「ええー、食中毒になったらどうするんですか」って言いながら渋々付いていって。それで描いたのが『ジョジョの奇妙な冒険』だったんです。

原 ええー、そうだったんですか。僕もなんか、『北斗の拳』の連載が終了した時にご褒美旅行とかいってグアテマラに連れていかれましたね。あちらって瓶に入っている水でも濁ってるからお腹こわしちゃって。しかもホテルでは堀江さんと同じ部屋で寝るわけですよ。途中でロサンゼルスに泊まった時なんて、部屋と直結したプールに素っ裸でバーンって飛び込んで、上がってきたと思ったらそのまんまガーって寝るんです。僕そういうの苦手だから、「風邪ひきますよ?」みたいな感じで辛い旅行でした(笑)。

「“あべし”は誤字じゃないんだぞ!」(原氏) 当時の週刊少年ジャンプ編集部は、今の時勢では想像もつかないほどハードで修羅場な環境だったらしい。編集者たちは面白いマンガを作るために血気盛んで、酒が入れば喧嘩になることもしばしば。その反面、「他のマンガ誌に比べると、新人に対して門戸が開かれているイメージがあった」と原氏は語る。


原 僕なんて絵が描けるバカみたいなものだから、まず堀江さんの壁が越えられなかったんですよね。編集者ってみんな高学歴で頭がいいんですよ。僕が「ひでぶ」とか「あべし」とか描いて出しても「字を間違えてるぞ」って返ってきて(笑)。「違うんだよなあ、一生懸命考えて出したんだけどなあ。バカだと思って、俺だって考えてるんだぞ!」って思ったことがありましたね。

荒木 僕なんかはね、他の作家さんが描いた作品と似たマンガを描くと怒られたんですよ。たとえば原先生だったり江口先生みたいなマンガを描いたら、椛島さんから「おい、お前こういうのは絶対描くなよ!」って。だから他の人たちの隙間を縫うようにアイデアを出してったんです。

「ある日、大事な原稿がなくなって……」(原氏) 自分ならではのオリジナリティを磨き続けてきた延長線上に、今の栄光があるのかもしれない。いつの時代もマンガ家たちは腕を磨くために色々な努力や経験を積んできた。中でも本誌で活躍している先輩作家の下でアシスタントを経験できれば、この上ない修業になったという。絵に多少の自信があった原氏は、高校時代に『COBRA』で知られる寺沢武一先生へのアシスタントを志望したものの、堀江氏に「あそこはダメだ、高橋よしひろ先生のところへ行け」と言われたそうだ。

原 初めは「えっ!?」て思ったけど、当時ジャンプで人気があったのが(高橋)よしひろ先生だったんですよね。だから「そういう作家の下で修業したほうがいいよ」って言われて僕も納得したんです。よしひろ先生はすごく良い人でしたね。寺沢先生とも仲が良くて、後日「僕んところ来たらダメだったんじゃないの」って言われました。

荒木 いいなあ。仙台いたから行けなかったけど、僕もアシスタントとか誰かのところ行きたかったです。実は『バオー来訪者』で上京するまでホワイト(修正液)で直せることも知らなかったから、全部(白い部分を)抜いて描いてて(笑)。編集者ってマンガ家をすごく大事にしてるから、編集部に行っても他の作家の原稿とか見せてくれないんですよ。お願いしても企業秘密みたいに全然ダメで。だからこっそり誰かのデスクに置いてあった原稿をのぞいたりするんです。あれは勉強になったなあ。

原 だから独特なのか。でも、そのほうがいい画ができるんですよね。知らないほうがいいこともありますよ(笑)。

荒木 あ、でも原先生の原稿は見たことあるよ。僕の仕事場に原先生のアシスタントが来てくれたことがあって。その時に彼が原稿を持ってたんですよ。たぶん『北斗の拳』だったと思うんだけど、一枚くらい見せてくれて。

原 えっ。なんか僕の大事な原稿がなくなった時があって……。○○君かな?

荒木 いや分かんないけど。あと名前もダメだから(笑)。

「今のマンガと並べて見比べてみたい」(荒木氏) 他にも荒木氏や原氏が影響を受けたマンガや、美しいイラストの作画ポイント、週刊少年ジャンプで連載していた頃に好きだったページ数や紙の色など、マニアックな話題にも及んだ。最後に今回の展覧会を2人はどのような気持ちでご覧になったのだろうか。

荒木 やっぱり他の作家さんのを見てると上手いよね。古いっていう意味じゃなくて、ちょっと違ったエネルギーみたいなマンガ家の生命感があって。今のジャンプで連載をしている作品と描き方を見比べてみたいですね。個人的にはジャンプって圧倒的に紙質とか印刷が……なんだけど、みんなそれを承知して描いていて、読んでいてその匂いとかも好きなわけで。でもこうして生原画を見ると、すげえなあって思いました。ちょっと改めてすみませんって感じなんですよ、宮下あきら先生とか(笑)。

原 残念ながらそれ、アシスタントさんが描いてますからね(笑)。それは冗談として、僕は今まさに豊臣秀吉の気持ちが分かる気がしましたね。

荒木 ……ちょっと分かんないから説明していただけると(笑)。

原 豊臣秀吉の辞世の句(露と落ち 露と消えにし 我が身かな 浪速のことは 夢のまた夢)ですよ。僕はまだ死んでないけど、これまで頑張ってきた日々も夢のようにはかない露みたいなものだなあって思ったら、ちょっと空しくなってきて。でも、いつも気持ちが若々しい荒木先生を見たら元気をもらいました。どうもありがとうございました(笑)。

荒木 ええー、そういう感じで締めちゃうの?



取材・文=小松良介 [8]

Incomplete translation
Published October 26, 2017
👤 Kano Koji



The event was made because it was the 30th Anniversary of JoJo. The director chose Stardust Crusaders as the setting as it was the first part to introduce Stands. The game itself will have 6 players, 5 People (Humans) and 1 Animal (similar to the Stardust Crusaders). The director stated that it might be a bit too tough [to be Iggy]. He thinks that since this event is smaller than the amusement park, it will be fun if everyone gets to become a character and quote JoJo during the game.

Escape from JoJo amusement park was good because people were enthusiastic about Morioh and the world around it. However this time, since the event takes place in a Egyptian Mansion, it will be easier to take in the total worldview of JoJo inside of it such as the decoration of the mansion. The tension for this event will be different than the amusement park since there is a time limit of one hour.

As for the creation of the original character, Dija Maker... At first, it was going to be DIO, but since those who have read JoJo already knew the ability of DIO's stand and how to defeat it. It was difficult to make it a mystery. The director went with an original character as there would be more dynamic mystery ideas. He was set on it with the compatibility of problem solving. After that, he first created the personality and the background of the character and then asked Hirohiko Araki to supervise. Araki then told him, "I want you to make more configurations" in this way. Initially, in addition to the height of weight of the character, it was about his personality being "Seemingly soft and polite, but inside is sly and cunning". When thinking about Dija Makers' favorite music, the director chose 'Anton Bruckner's Symphony No. 7 in E major' because it would be interesting if his favourite song would be as long as he lurks.





  1. リアル脱出ゲーム #中国・四国 #九州 #北海道 #北陸 #東北 #東海 #関東 #関西

――2017年11月2日から、「リアル脱出ゲーム × ジョジョの奇妙な冒険 スターダストクルセイダース『ジョジョの奇妙な館からの脱出』」が全国で順次開催されます。まず、本公演の内容について、お教えください。

コンテンツ・ディレクター 鹿野康二(以下、鹿野) 『ジョジョの奇妙な冒険 スターダストクルセイダース』(以下、『ジョジョ』第3部)が舞台となっていて、宿敵DIOの館へ向かう旅の途中での主人公・承太郎一行の話になります。 承太郎たちは、DIOの館に着く前に訪れたホテルでスタンド使いから襲撃をされ、ホテルの中に閉じ込められてしまいます。 そこから1時間以内に脱出をしないと、スタンド能力によって消滅…つまり、死んでしまう、という設定です。 プレイヤーの方々は、それぞれ5人と1匹の承太郎一行になりきってもらい、その館から脱出する方法を探っていくという大掛かりなゲームになっています。


鹿野 イギーをやる方は、ちょっと苦戦するかもしれません(笑)。


鹿野 集英社さんとは『ワンピース』や『キングダム』など、これまでもさまざまな作品でコラボをやらせていただきましたが、今年が『ジョジョ』30周年ということで実現に至りました。 お客さんへの「どんな公演をプレイしてみたいですか?」というアンケートで、「『ジョジョ』とコラボしてほしい」というのはいつもめちゃくちゃ多かったので、ついに来た……!という感じでした(笑)。 リアル脱出ゲームのファンと『ジョジョ』のファンは、重なる部分もあるのかもしれません。


鹿野 私は『遊園地からの脱出』でも、ディレクターを担当しました。 もともとSCRAPのコンテンツチームでライターをやっていて、ディレクターをやったことはなかったんです。 でも、『ジョジョ』が大好きなので。コラボが決まった時に、僕が社内で一番最初に「えっ!!」って反応したんです。 そうしたら、「よし、お前がディレクターをやれ」って。 やっぱり、「好きこそものの上手なれ」じゃないですけど、作品への愛を尊重するところがあるので。 企画としては『ジョジョの奇妙な館からの脱出』が先に挙がったんですが、 今年の夏に第4部が原作の実写映画『ジョジョの奇妙な冒険 ダイヤモンドは砕けない 第一章』が公開されるということと、 毎年夏に遊園地公演をやっていることもあって、『遊園地からの脱出』が先に開催されることになりました。


鹿野 やっぱり、「『ジョジョ』といえばスタンド」というところがあると思います。スタンドが初登場したのが第3部なので、第3部をやりたかったんです。



鹿野 リアル脱出ゲームの公演に、どうスタンド能力を落とし込むのか?というところは議論を重ねてきたので、ぜひ注目していただきたいです。 今回、シルバーチャリオッツだったら「レイピアで突く」という風に、それぞれスタンド特有のアイテムを使ったアクションを謎解きに組み込んでいます。『ジョジョ』はバトルマンガなので、実際に体を動かしてもらって、バトル感や自分がスタンドを使ってる感じを体験してもらいたいです。 思いっきり「シルバーチャリオッツ!!」とか「スター・プラチナ!!」とか叫べます(笑)。


鹿野 少ないですね。『遊園地からの脱出』も、自分がオリジナルのスタンド使いになるって感じでした。 なので、みなさんにはキャラクターになりきってもらって、ゲーム中に『ジョジョ』の名言をいっぱい言ってもらえると楽しいと思います。


鹿野 チェックポイントで“ジョジョのポーズ”をして進む、という感じ。 謎を解くには無駄な部分なんですけど、僕は絶対に必要だと思っているんです。 アクションで体を動かしたり、名言を言い合ったりするようなことが意外に楽しかったりするので。 ほかにも、公演中には『ジョジョ』ファンならニヤッとしてしまう小ネタもちょこちょこ入れているので、楽しんでもらいたいですね。

――承太郎一行として、「To Be Continued」の矢印と一緒に“ジョジョのポーズ”を決めて写真を撮りたいですね(笑)。

鹿野 承太郎やジョセフといったジョースター一族の「星型の痣」タトゥーシールといったなりきりグッズもあるので、ぜひ(笑)。


鹿野 遊園地公演は実際にアトラクションに乗って謎を解くほか、次の目的地までの道のり自体が謎になっていたりと、かなり謎の質が違います。 また、遊園地などのオープンフィールド型と、ホール型のリアル脱出ゲームでは世界観の作り込みも違うと思います。 『遊園地からの脱出』はフォトスポットのアンジェロ岩など、『ジョジョ』第4部の舞台・杜王町の世界観にうまくハマったのが良かったです。 今回はエジプトのホテルという館が舞台になっているので、館の装飾や館に閉じ込められるという設定など、『ジョジョ』で大事な世界観をトータルで作り込むことができました。 あと、これは『ジョジョ』に限らずですが、ホール型は1時間の時間制限があるので、その緊張感も全然違うと思います。



鹿野 敵キャラのスタンド使いなんですけど、特に第3部の『ジョジョ』っぽさを意識してキャラクターを作っていきました。 外見もそうですが、身長や体重、性格だったり、好きな映画や好きな音楽、またDIOの手下でもあるので、DIOとの関係性など、いろいろな方向から考えましたね。


鹿野 承太郎一行になりきってもらった時に、敵キャラはどうしよう? ということになったんです。 最初はDIOを敵として考えたんですが、『ジョジョ』を読んだことがある人はDIOの能力や倒し方などを知っているので、謎を作りにくいというのがありました。 一方で、オリジナルキャラクターであれば、よりダイナミックな謎のアイディアも出てくるだろうということもあり、謎解きとの相性を考えてオリジナルキャラクターを設定しました。 最初、こちらでディジャ・メイカーの性格や生い立ちといった資料を作って、荒木飛呂彦先生に監修をお願いしたんですが、先生からは「もっと設定を作ってほしい」という風に伺いました。 というのも、最初は身長や体重のほか、性格も「一見、物腰柔らかで丁寧だが内面は陰険で狡猾」といったぐらいだったんです。


鹿野 ですので、そこから好きな映画や音楽だったり、公開はしていない裏設定なども考えていきました。 そうすると、自分の中でキャラクターのイメージがすごく湧いてきて、勝手に動きはじめてくれる感じがありました。 公演のストーリー展開やシナリオを作る際にも、「このキャラだったら、こういうことはしない」「こいつは、ここで多分逃げ出すだろう」というのが見えてきました。 オリジナルのキャラクターを作ったことに加えて、改めて原作を読み込んで、「『ジョジョ』だったら、どうなるだろうか?」という、『ジョジョ』っぽい展開も意識して考えることができたんです。 そして、「これは『ジョジョ』とは違うな」という部分は排除して、制作してきました。


鹿野 好きな音楽の設定を考える時に、きっとディジャは1時間どこかに潜んでいるから、音楽でもその1時間を測っていたら面白いね、という話になったんです。 その曲を聞き終えたら、1時間経過して敵を始末したことがわかる、っていう。 コンテンツチームは妄想癖のある人が多いので(笑)、みんなでわいわいブレストした中から良いアイディアを採用していきましたね。


鹿野 外見ですかね。なるべく『ジョジョ』第3部に出てきてもおかしくない、クセの強い外見にしたかった。 例えば、原作ではすごく変な小さなメガネをかけたアレッシーや、目からシマシマの線が出ているダービーだったりと、クセの強い外見のキャラが登場してきます。 その雰囲気をデザイナーさんにイメージとして伝えるのは難しかったです。 ただ、それもいきなり外見から考えるんじゃなくて、こういうキャラクターだからヒゲを生やしているのかとか、メガネをかけているのか、っていう風に考えていきました。 デザイナーさんが設定からビジュアルのアイディアをすごく膨らませてくれて、「カギのイヤリングはどうか?」とか「ルービックキューブ模様の柄はどうか」といった意見を出してくれて。 そうやって一緒に作り出していった感じです。



鹿野 『ジョジョ』の公演を作るとなった時に「ほかのコラボと何が違うのか?」ということを考えました。 その時に、『ジョジョ』の“すごい強い敵に工夫して勝つ”とか“運命を乗り越える”といった感じを出したいな、と思ったんです。 それこそ、荒木先生は原作の単行本などで「人間賛歌をうたっていきたい」、つまり『ジョジョ』は人間と勇気の素晴らしさを描いているということを書いているので、そういった部分が出せたらな、と。 なので、ぜひ「運命を乗り越えて、絶対勝つぞ」という気持ちで来ていただけると嬉しいですね。 あとは、SCRAPの社長・加藤もジョジョ好きなので、打ち合わせをしていても『ジョジョ』談義が止まらなくなっちゃうんですよ(笑)。 「あのシーンはヤバい!」とか、「一番良いシーンは…」とか話し出して、ブレストが進まなくなる、みたいなのは本当にありましたね。


鹿野 実は、原作から考えると承太郎一行が全員揃うのって、DIOの館に乗り込む直前の数時間しかないので、世界観的には少しifの世界になってしまうんですけど、ファンの方には5人と1匹が揃った感じを楽しんでもらいたいですね。


鹿野 もちろん楽しめると思います。 今回は先ほど言ったレイピアなど、紙ものを含めてアイテム数が多くなっています。 なので、ただひたすらパズルを解くというのではなく、アイテムを使って立体的に謎を解くという方向性で制作をしています。 そういったギミックが好きな方は楽しめると思います。 それこそ、『館からの脱出』を体験した後にでも、原作・アニメに触れてもらって『ジョジョ』を好きになってもらえるとすごく嬉しいです。


鹿野 ぜひ原作を読んで、名言を覚えてきてもらえると。 『ジョジョ』の名言を使うポイントもきっとあると思うので、「絶対に『やれやれだぜ』を使うぞ」といった気持ちで来てもらって、キャラになりきっていただけたら、楽しさは何倍にもなると思います。 それと、今特設サイトでは謎を解くとアブドゥルがタロット占いをしてくれる「アブドゥル占い」もやっているので、それをやって気持ちを高めていただいても面白いかな、と。 アブドゥルからのコメントもちゃんと『ジョジョ』の原作に合ったものになっていますよ。


鹿野 『ジョジョの奇妙な館からの脱出』に来てもらって、その一時間はキャラクターになりきって、思いっきりスタンド名を叫んでもらえたらな、と。 それで、みんなで運命を乗り越えてもらいたいです。 ……もうみんな、脱出すればいいですよね(笑)。


リアル脱出ゲーム×ジョジョの奇妙な冒険 スターダストクルセイダース「ジョジョの奇妙な館からの脱出」[9]


BunkoSBR vol16.jpg
Manga Volume
Published January 18, 2018
At the end of Volume 1 of this edition of Steel Ball Run, I had shared some memories which encompassed the entirety of the JoJo's Bizarre Adventure series. As such, I want to now focus on writing something more specific about its endings.

This may seem like a given when creating a manga series, but between the writing, researching, personal anxieties, etc...the beginning of a manga serialization can be a pretty tough undertaking. However, when it comes to ending a series, I’m under the impression that the task is even more challenging.

It'll depend on the work, but there are times where the editorial department or the manga author themselves will want a series to approach some kind of conclusion. Even if that's the case, requests from the audience can make it difficult for an author to write that closing word, "End." During this time, it's always necessary for us as authors to separate ourselves from the characters that have accompanied our story, the ones we've grown attached to as the days go by, the ones we've shared many important moments with. Similarly, it is also necessary to leave behind the setting and world that we've created and built up. On the other hand, we can’t abandon the answers behind the main mysteries or the destinies of our characters. We must close the curtain in the best way possible. “Will this ending satisfy the readers?” This sort of doubt generates anxiety and a certain sense of importance. Even after we finally finish drawing, there's a certain sensation that nothing else remains and you start to ask yourself: “What do I do now?!” This is what happens with the end of a serialized manga.

It may also happen to have a strong ending like in this case, but with this work and for the third part of JoJo, Stardust Crusaders, I chose a plot structure that had a very obvious finish line and readers would be aware of the fact that a conclusion would be inevitable. So, without a sense of loss or desperation, the closure was nothing else but a way to conclude a journey and so this way I could finish as necessary. When I reach the finishing line of these works, I only had the feeling of having completed a task and of having obtained a good result, and that gave me a sense of gratitude.

One of the ending scenes of Steel Ball Run that I particularly enjoyed drawing is the one in which Johnny and Gyro confide their personal secrets to each other and Gyro reveals to his friend his true name, while Johnny tells him about his fetish. They were just frivolities, but can a secret become eternal? Or, if one survives, will that secret continue to live on in their heart? While I was creating those panels, I found myself crying.
—Hirohiko Araki
Ekin Painting Darkness.jpg
Missing translation
Published July 5, 2018
👤 Hirohiko Araki, Masaki Kinoshita

木下昌輝さんは『絵金、闇を塗る』を執筆しながら、主人公の絵金に、ある漫画家の姿を重ねていることに気がついた。その漫画家とは、荒木飛呂彦さん。 大人気漫画『ジョジョの奇妙な冒険』で革新的な世界観を展開し、アートやファッションの世界でも大きな存在となっている。今回、荒木さんに『絵金、闇を塗る』と絵金の画集をお渡しして、対談を申し込み、OKのお返事をいただいた。 荒木さんも惹かれた絵金の絵と、その人物像の魅力とは?



荒木 ありがとうございます。

木下 こちらこそありがとうございます。絵金について取材したところ、小さい頃に絵金の絵を見てトラウマになったという方が多かったんです。トラウマになりつつも、愛される。自分にとってそういう創作物は何かなと考えると、それが荒木先生の『ジョジョの奇妙な冒険』でした。僕が中一ぐらいのときに第1部(『ファントムブラッド』)が始まったんですけど、あまりに怖くてトラウマになりました。とくにディオに吸血鬼にされたお母さんが自分の赤ちゃんを殺す、という場面を読んだときには悪夢にうなされました。でも、同時にすごく面白くて夢中になって読んできました。絵金が描く人物たちのポージングに、荒木先生の絵と共通するものを感じたこともあって、ぜひ対談をお願いしたいと思ったんです。

荒木 僕の絵がトラウマになるっていうのは……光栄です(笑)。絵金の資料をいただいて、なんとなくそういうことをお話しになりたいのかなと思いました。















木下そうですね。ちょうどこの頃、西洋顔料が入ってきたんです。絵金のライバルに河田小龍という画家がいるんですが、その人は西洋顔料のウルトラマリンブルーを使って描いていますね。 江戸時代の絵画ってあんまり写実的じゃないという先入観があったんですけど、当時の絵師の手記を読むと、自分の描いた絵馬が笑われたと。馬が草を食む様子を描いたらしいんですけど、その馬は目を開けたまま草を食んでいた。馬は目を怪我しないように、草を食むときは絶対に目を閉じるらしいんですよ。こいつ、そんなこともわからずに描いてるって大笑いされて恥をかいたそうです。








荒木本当に人が死んでいるところをリアルに描いているような部分ですね。ちょっとフィクションが欲しい。ファンタジーというか。 絵金が描いているのも一種のファンタジーかもしれない。歌舞伎の場面ですよね。お芝居だからこういう残酷な絵が描けたのかな。でも、江戸時代だからリアルな感じもしますよね。武士が刀を持って歩いていた時代だから。だから、パワーがすごいのかもしれないし。





























荒木実際、カラヴァッジョはケンカで人を殺したこともあったみたいです。とにかく心がすごく激しい人だったらしい。絵も本当にすごいんですよ。 あと、タランティーノとか思い出しますよね。絵金を見たせいか、タランティーノの映画を見返しました。『キル・ビル』とか(笑)。やっぱり面白いなと思って。






































荒木最初はやはりみんながやっているような感じでいくけれど、たぶん競争ですね。漫画家って、同じもの描いたらけなされる。誰々に似てるよねって言われるんですよ。だから、そうじゃないところをいくとこうなってくる。みんなそうです。漫画家もすごいキャラクターがそろっているというか。『キャプテン翼』もあれば、『ジョジョ』もあれば、『SLAM DUNK』もある。




荒木頑張っていればそのうち出てくるんですけど。でも、何か似せないように描こうと意識したり、新しいことを考えようとしたりはしますね。空をピンクに塗ってみようというのもその一つです。あとは、書店に本が平積みで並んだときに、隣に負けてる感じが嫌なんです。いろんな雑誌、文庫本とかも並んでいるじゃないですか。その中でぐわーんって来るにはどうするか。それが構図だったり、誰も使っていない色だったりするんですよ。 絵金の場合、残酷だったり、ドラマチックな絵っていうのは、最初、「うっ」となるけど、やっぱり引きつける何かがあるんでしょうね。色遣いを計算していることもわかります。適当だったら、目立つ赤をばんばん置くじゃないですか。あえて一カ所だけに止めているし、緑も置いている。あと、首が飛ぶときも、ぐあーっと前に、前に飛ばしている。あれは3Dですよ。

木下3Dですか! たしかに飛び出してくる感じがしますね。絵金は白目のところにろうを塗っているそうです。目力を出そうとしたんですかね。






荒木チャレンジというほどではなかったですね。僕はもともと異端扱い。「少年ジャンプ」の中では変わってるって言われながらデビューしているので。むしろ編集者からは、「少年ジャンプ」はメジャー誌だから、逆にマイナーなことやったほうがいいんじゃない? って言われましたね。編集者が澁澤龍彥とか、怪奇幻想が大好きだったということもありましたし。















































Published July 6, 2018

Q: So, what's your day to day activities like when you aren't directing anime?

Tsuda: I sleep, wake up, get ready for work, work, come back home, and sleep, really.

Q:Really? That's it?

Tsuda:Really, it's true.

Q:What are the secrets to creating an opening and ending sequence for JoJo's?

Tsuda: The opening sequence should serve as the intro to the show but also get the audience hyped up. The ending sequence, though, needs to leave audiences feeling like, “Aw man, it's done?”

Q: I like how in one opening sequence during Stardust Crusaders, the opening sequence was interrupted by Dio's stand. It's that kind of thinking outside of the box that's really unique.

Tsuda: I'm glad you bring that up, actually. I'm glad that the title includes the word “bizarre.” It really gives us free license to do what we want to do.

Q: What is your favorite Stand and what Stand would you hire to work at the studio?

Tsuda: My favorite Stand is Gold Experience because its really strong. When it comes to what Stand I'd work with, I think “Heaven's Door” is what I'd pick. It'd be very convenient for meeting deadlines.

Q: What directors have influenced you?

Tsuda: Actually, a lot of American movie directors, like Ridley Scott, Guillermo del Toro, and Stephen Spielberg.

Q: How closely did you work with Araki on the music choices in the opening and ending sequences?

Tsuda: We didn't work with Araki so much on the opening sequences but definitely a lot in the endings. He was heavily involved in providing the art and music choices.

Q: When it comes to “Roundabout” by Yes, I bet they had an increase in sales after their song was used and were pretty confused when that happened.

Tsuda:I think that song was not well known by Japanese people but when they heard it, they thought “Wow, who sings this? It's cool!”

Q:So what inspired you to transfer the sound effects from the manga directly into the anime series?

Tsuda: Well, the idea came from the manga. I think the world of JoJo's Bizarre Adventure would be incomplete without the sound effects there.

Q:What do you want viewers to know about this new anime season of JoJo's Bizarre Adventure?

Tsuda: I think this one has the heaviest themes, so I hope you'll please watch it with all of us in Japan until the very end. [11]

Missing translation
Published August 17, 2018

「これ以上、王道の漫画はない」――荒木飛呂彦が「ジョジョ」を描き続ける理由 8/17(金) 9:26 配信

8月24日から東京の国立新美術館で「荒木飛呂彦原画展 JOJO 冒険の波紋」が開催される。国立美術館としては、手塚治虫以来28年ぶりとなる漫画家の個展。週刊少年ジャンプ黄金期を支え、30年以上も続く「ジョジョの奇妙な冒険」が主役だ。単行本は通巻120巻を超え、スピンオフ作品も生まれた。各界を代表するクリエーターや漫画界でもファンを公言する人が多い。独特の絵柄とストーリー展開から「ジャンプでは異端」の作品と呼ばれながらも、荒木さんは「これ以上、王道の漫画はない」と断言する。キーワードは「信じる道を歩むこと」。そして「切り開く力」――。(石戸諭/Yahoo!ニュース 特集編集部)














「ジョジョの奇妙な冒険」第1部「プロローグ」から。ジョナサン(上)とディオの出会いのシーン ©荒木飛呂彦/集英社




「トーナメント方式」全盛時代を乗り越える 初代「ジョジョ」担当にして、デビュー前から荒木さんの作品を見てきた編集者、椛島良介さんは当時をこう振り返る。



















そして「スタンド」でブレーク 信じたものを描き続けることで、やがてブレークの時がやってくる。




スタンドが初めて詳しく語られるシーン。第3部「空条承太郎 その③」から©荒木飛呂彦&LUCKY LAND COMMUNICATIONS/集英社









荒木さんは、2000年に出版された画集『JOJO A-GO!GO!』のなかで、好きなキャラクターの1位に東方仗助を選んでいるほど思い入れが強い。


第4部の主人公・東方仗助。普段は温厚だが、髪形をけなされると「プッツン」する。「ジョジョの奇妙な冒険」第4部「空条承太郎!東方仗助に会う その①」から©LUCKY LAND COMMUNICATIONS/集英社


「常に前向きでなくてはいけない」 主人公も設定も変わるのに、なぜ一本の漫画として続けているのか。それは「人間賛歌」という一貫したテーマがあるからだ。過去の著作で荒木さんはこう語っている。








悪役さえ前向き 荒木さんは、悪役であってもこのルールを適用している。


スタンド「キラークイーン」を駆使する殺人鬼・吉良吉影。第4部「シアーハートアタック その⑨」から ©LUCKY LAND COMMUNICATIONS/集英社








漫画家も「画家」である 「王道」とセットで荒木さんがよく使う言葉がある。それは「サスペンス」だ。サスペンスとは、荒木さんが考える「良い物語」「おもしろい物語」の基礎にあるもの。いったい、この後どうなってしまうのか。読者がドキドキしながら、ページをめくらずにはいられなくなる要素だ。















SPUR September 2018.jpg
Missing translation
Published August 23, 2018


Interview with Hirohiko Araki! -- Behind the Heroines of "30 Years of JoJo"
The female characters in the manga JoJo's Bizarre Adventure are what makes it so interesting!

"They're so stylish that it's almost out of this world."

With the theme this time being "JoJo's Bizarre Heroines", I'd like to explore the charms of female characters appear in the JoJo series. Is there anything that worries or concerns you when you draw female characters?

Araki: Not really. I don't distinguish between men and women like that. When it comes down to it I think I'm more concerned about whether I make them stylish or cute. I'm not very good at the so-called cute part, so I often focus on drawing then stylish instead. The definition of stylish is pretty broad, but in my opinion it's someone who's a loner. Although society doesn't recognize them, they're still able to maintain a sense of justice. That's what makes a hero or heroine. They're so stylish that it's almost out of this world.

On the previous page there's a photo-shoot with the likes of four of your female characters, Erina, Suzi Q, Jolyne and Yasuho. If you could describe each of these characters with a single word, what would it be?

Araki: If I were to contrast these four, Erina would obviously be the most honest, Suzi Q would be joyful and a bit absent-minded, Jolyne would stand out as tough and hardy, and Yasuho would be the most modern of the bunch.

Which of these characters do you have the most fondness of?

Araki: From those few I'd have to say Yasuho, since I like drawing her the most. I don't get sick of drawing Yasuho, which is why I like her (laughs).

[...] I prefer using women's fashion magazines as a reference when drawing. The models in men's fashion just stand around, while the models in women's fashion are always doing interesting poses, like twisting their hips or bending their necks.

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


荒木飛呂彦インタビュー! JOJO30年のヒロインの裏側


―― 今回は「JOJOの奇妙なヒロインたち」というテーマで、『ジョジョ』シリーズにおける女性キャラクターの魅力などについてお話を伺っていきたいと思います。荒木さんが女性キャラクターを描くにあたって、何か意識していることやこだわっていることはあるのですか?

荒木 特にないんですよね。女性だからとか、男性だからとか、そういった形では区別していなくて、しいて言えば、可愛いか、かっこいいかぐらいの意識の違いかな。ただ、僕はいわゆる可愛いがあまり得意じゃないから、どうしてもかっこよさを意識して描くことが多いですね。かっこいいといっても、そこにはいろいろな定義があって、僕の場合はまず孤独であることだと思っています。社会から認められていないけれど、自分の信じる正義を貫いている。それがヒーローであり、ヒロインなんですよ。ちょっと世の中からはみ出ているところがかっこいいんです。

―― 前のページで、エリナ、スージーQ、徐倫、康穂の4名の女性キャラクターをイメージしてファッションシューティングを行なっているのですが、それぞれのキャラクターをひと言で表現するとしたらどんな感じになりますか?

荒木 この4人を対比させるのであれば、エリナはやっぱり誠実で、スージーQは明るくておっちょこちょいで、徐倫はポップではつらつとしていて、康穂はいちばん現代的な子という感じですかね。

―― この中でいちばん思い入れがあるのは誰ですか?

荒木 僕は今描いているのがいちばん好きなので、この中だと康穂ですね。康穂ってちょっと病んでいる感じがあって、それが何かいいんですよ(笑)。

―― 徐倫はどうですか?『ジョジョ』シリーズで初めての女性の主人公でした。

荒木 もちろん、思い入れはあります。女性にパンチを食らわしたり、腕を切られたり、そういうバイオレンス描写ができるようになったのはやっぱり徐倫からなので。それまではなかなかできなかったですからね。『ジョジョ』を描く前に、『ゴージャス☆アイリン』(,85 年)という女性が主人公の作品を描いたことがあるんですよ。今でこそ女性が戦う作品はたくさんありますけど、当時の少年誌ではあり得なくて、描いていて気持ち悪くなるし、「これはダメだ」と思って長編にするのをやめました。

―― 自分の作品なのに、描いていて気持ち悪くなったんですか?

荒木 アクションシーンを描くのがダメでしたね。当時は『エイリアン2』が公開された頃で、シガニー・ウィーバー演じるリプリーが強い女性でかっこいいなと思ったから、僕もマンガでトライしてみたんだけど、やっぱり女の子が殴られたりするのはちょっと残酷すぎて描けませんでした。それに、当時は細い眉も描けなかったんですよ。あの頃の少年誌の男の主人公はみんな眉が太くて、それが普通だったので、細い眉のキャラクターって何か悪役に見えてくるんですよね。そういう時代だったから、少年誌で女性の主人公を描くのはまだ早かった。まだスタローンとシュワルツェネッガーの時代だったんですよ(笑)。ただ、それから15年近くたつと時代も変わって、女の子がパンチを食らったりするシーンを描いても平気な感じになった。これならちゃんとタフな女の子が描けると思って、第6部は徐倫を主人公にしたんです。


―― たとえば、女性キャラクターを描くときは目から描き始めるとか、男性キャラクターのときと手順が違ったりするのですか?

荒木 そういった描き方の違いも特にないですね。というより、絵を描くときは基本的に女性のポージングを参考にして描いています。なので、男性のキャラクターも女性ファッション誌に登場するモデルとかを見ながら描いているんですよ。男性ファッション誌のモデルはただ立っているだけというのが多いんですけど、女性誌のモデルは腰をぐっとひねったり、首をぐいっと曲げたり、ポージングがいろいろあって面白いんですよね。輪郭とか骨格みたいなところはさすがにそれぞれ別のものを参考にしますが、ポージングに関しては男と女のキャラクターで違いはなくて、どちらもだいたい女性ファッション誌を参考にして描いています。

―― では、ファッションはいかがでしょう。男女のキャラクターを描くうえで、ファッションの違いは大きいですか?

荒木 そうですね。男女で大きく違ってくるのは、ファッションの部分だと思います。僕は、キャラクターを考えるときは身上調査書みたいなものをつくるんですよ。全部で60項目ぐらいあるんですけど、性格とか口癖とか好きな食べ物とか、いろいろと細かく設定していくことで、キャラクターがどんどん立体的になっていくというか、実在の人物のように生き生きしてくるんです。そうやって設定を考えるときでも、ほとんど男とか女ということは意識しないのですが、やっぱりファッションだけはどうしても違いが出てきますね。


荒木 ファッション誌とかを見て、参考にすることが多いですね。チェーンをつけたりするのは、要するにファンタジーなんですよ。学生服にチェーンをつけることってまずないじゃないですか。だから、そうすることで、ファンタジーになっていくというか、「これはマンガなんです」ってことを表現しているんです。スカートに花がたくさんついているのもそう。それがわかりやすくできるところが、ファッションを描いていて面白い部分ですね。


―― 理想のヒロイン像というのはあったりするのですか?

荒木 目的に向かって強い意志を持っていて、そのうえでどこかにやさしさがあるというのが理想ですよね。あとは、ちょっとゲスな部分があるのもいいかな(笑)。男のゲスな部分は許せないけど、女性のゲスな部分は許せます。その背景に何か理由があるのかなって思っちゃうんですよね。今の時代状況を考えると、品行方正なキャラクターよりも、どこかに欠点があったり、悩みを抱えているキャラクターのほうが読んでいて共感する部分が多いと思います。聖母マリアみたいなエリナよりも、ちょっと病んだ感じの康穂のほうが間違いなく面白くなるんだろうなって。

―― 漠然とした質問になりますけど、荒木さんにとって女性とはいったいどういう存在ですか?

荒木 女神ですね。世の中を幸せにする存在。ダメですかね(笑)。

―― ダメではないですよ(笑)。

荒木 だからといって、過剰に崇め奉るということではなく、マナーを守り、きちんと敬意をもって接するという意味合いでの女神なので、レディファーストみたいな考え方に近いのかな。だから、何かもめ事が起きたときも、よほどのことがない限り、女性を上に置くようにしています。女性という存在を女神だと思って生活していると、大抵のことはうまくいくんです。少なくとも、わが家はそうですね(笑)。

―― 女神なのに、ゲスな部分があってもいいんですか?

荒木 いいんです。だって、ギリシャ神話に登場する女性たちはヤバいじゃないですか(笑)。ゼウスの奥さんとか、ものすごく怒るし、嫉妬深いですよね。でも、そういうところが話を面白くしていると思うので、ゲスな部分ってやっぱりあったほうがいいんですよ(笑)。


Incomplete translation
Published October 10, 2018
- First, what is your fetish?

My fetish!? Hmm, Well... In Part 7, I drew a scene where Johnny confesses to Gyro that he has an insect bite fetish, but that was actually about myself. Your skin swells red when a mosquito bites you, right? I like to push in my nails to make an X mark on the spot. When I was small and my older female cousin would get bitten by a mosquito, I would ask her to let me do it. It's quite erotic too (laughs).

- Next, what is something that scares you?

There are two things, but what scares me in a physical sense is when there's an insect or something in a place it shouldn't be. It's fine when they're in trees or in leaves because that's just nature, but if there was an insect on the ceiling here at the workplace, I'd scream the moment I see it (laughs). The other thing that scares me is to be held responsible for the actions of my ancestors. It's different from a curse or a divine punishment, but it's kind of like why DIO attacks Jotaro. I feel like that type of ancestral karma exists, and I wouldn't want something like that to fall on me. I wouldn't be able to stand it if I got attacked all of a sudden when it's not even my fault (laughs).

- Which character's death made you cry the most?

I guess Shigechi from Part 4 still makes me the saddest. He was a character I liked, so when he died I thought, " he's gone?" Even now, he's still my favorite character. That said, I do cry a good amount over other things too. When someone says something really nice, that's enough to make me cry (laughs).

- For those who have yet to read "JoJo", which part would Araki-sensei recommend they read from?

Hmm, which part would I recommend...Well, there are certain aspects of Jotaro that you wouldn't understand if you've never read a part involving DIO, so if you think about it that way, the ideal method would be to read from the very beginning. Still, I wonder if recommending "JoJolion" would be okay? The reason I say this is because the part before it, "Steel Ball Run" started from a blank slate. The names of the characters are only slightly connected, but I essentially reset Steel Ball Run and JoJolion's relationship with Part 1. My intent was to make it understandable even if people never read the previous series. That way anyone coming into contact with the World of "JoJo" for the first time would have a much easier time entering it.

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

Missing translation
Published November 24, 2018






































Published November 25, 2018
In May, Araki took on a new challenge. He left his usual studio to paint 12 large scale original artworks at a temporary workshop set up in Tokyo. The works were being produced as the main attraction for the “Hirohiko Araki JoJo Exhibition: Ripples of Adventure” that would mark the culmination of 30 years of work since the birth of JoJo. When we visited the workshop, the artist explained to us that he was painting a life-sized JoJo character, while adding brush strokes into an unfinished work.

“The venue for the exhibition is The National Art Center. It’s much larger than any other venue in which I have exhibited my artwork, so I felt I needed something that could stand its own ground in a large space. The painter Akira Yamaguchi has once said ‘if you can draw something of the size of a manga, you can also draw something large’ and I thought this would be a good occasion to try that. And since it was going to be large, why not make the characters life-sized? I wanted to make paintings that made people feel a sense of unity—as if they were sharing the same place with the characters.”

I glance at the desk on the workshop. Disposed on it were felt-tip pens, G-pens, brushes, and copious amounts of black and colored inks and acrylic paints. For Araki, it was important that these enormous paintings were painted by hand, and not digitally or by employing new methods, just like with his usual original artworks. “I like the ‘chemical reactions’ that happen when you draw manga. You could call it contingency. For example, the unexpected contrasts or bleeding that occur when you paint two different colors next to each other. I enjoy being surprised by what happens. Manga presents many appeals be it the story, the characters, or the general world-view, but I’d like to add ‘enjoying hand-drawn original artworks’ to that list. And not only that, I’d like those original artworks to be produced precisely to be enjoyed as original artworks, and not for being printed as it is usually the case.”

In addition to the large original artworks, the exhibition also includes numerous original artworks that are presented to the public for the first time, as well as works produced in collaboration with artists who are fans of JoJo, such as sculptor Motohiko Odani, and designer Kunihiko Morinaga of the fashion brand Anrealage. These works open our eyes anew to JoJo’s multifaceted allure: the “Stands” that materialize super-powers, the poses struck by characters inspired by Renaissance era sculpture and fashion magazines that came to be known as “JoJo dachi” (JoJo standing), or the memorable character quotes. But how did Araki conceive of this work with such expressive breadth?

The answer to this question was connected to Araki’s comment, that he wanted to “thank the manga world,” made in relation to the exhibition. “Gratitude to the manga world is directed to the young manga artists who are bringing excitement to the industry, and of course to my predecessors too. The idea for JoJo was born of the desire to depict something different, something that doesn’t resemble the works of Osamu Tezuka, Fujiko Fujio, Tetsuya Chiba, or Katsuhiro Otomo—all great masters that I used to read. It simply wouldn’t have been possible without such predecessors.” The expression ‘something different’ does not imply that Araki is against the past masters. It rather points to the fact that the origin of JoJo lies in the process of creating ‘something new’ within the lineage of manga’s classic appeal, expression, and style, which Araki scrutinized in a highly logical manner. “Looking back, so many manga artists of the 1970s and 1980s were geniuses. It was also an era in which new forms of music and fashion emerged incessantly. Maybe making a debut and beginning to work on JoJo around that time was good for me.”

Araki mentioned horror films as another one of the sources of inspiration from that era. The 1980s are known to be a period of rapid development for horror film, as low budget experimental works were produced one after another. “I even imported videos of films that were not released in Japan. I was particularly attracted to zombie films. In zombie films, dead people come back to life and everyone is equal as there are no bosses, so the basic philosophy and rules of human society are turned on their head.” He also acknowledges that the various aspects of the bubble economy had an impact. That was translated into the rejection of the tournament format, which was at the time regarded as a crucial element of a popular shōnen manga. In a tournament format, the protagonist defeats a strong opponent and then goes on to fight an even stronger one. This would ultimately lead to an inflation of power, and the collapse of the narrative. Araki, instead, adopted a method where the protagonist encounters enemies during his journey, fights them in a more unpredictable sugoroku (a table-top game similar to snakes and ladders) format, and employs wit rather brute force.

Araki thus seems to have succeeded in creating a sense of contemporariness and reality that directly links to the world we live in by incorporating elements from philosophy, economy, and the natural sciences. “When you draw a tree, it ends up looking weird if you don’t thoroughly observe how the branches are attached. To draw is, in that sense, something like a chemical experiment. In many ways, I learn by drawing. My ideal is to portray the world of JoJo based on an idea or theory that unifies everything from the natural sciences, to philosophy and economy. Manga pertains to fantasy, to the fictional. But when it is drawn based on a unified idea or theory, the characters, in a strange way, begin to feel as though they truly exist there. That’s what’s really fun, and that’s what I always seek when I draw.”

There was one thing I really wanted to ask Araki, and that was about the turning points in his career as a manga artist. I felt that the answer to that would provide a hint as to how the work of JoJo is linked to Araki’s own life. His answer was unexpected. “Maybe it’s when I was hospitalized for gastroenteritis.” He said that being forced to swallow a gastric camera was the most shocking experience of his life. “It made me aware that the period in which one is physically invincible doesn’t last forever. And it made me want to enjoy my daily life more, going travelling or cooking. My attention was no longer exclusively devoted to manga after that.”

His favorite cuisine to cook is Italian. For an online article in the past, he presented his pasta dishes, but he says “I kept working on these recipes and I finally have a few dishes that I feel are perfected.” What is it that draws Araki to cooking? “For example, slicing or chopping garlic changes its flavors and aromas. The order in which you mix lemon juice, salt, and olive oil also has an impact. This is similar to the ‘chemical reaction’ that happens when drawing, and I enjoy researching that. When you make Spaghetti Naporitan [a popular dish in Japan], the key is to put ketchup in two phases, once during the stir-frying and once at the end. In the case of drawing too, overlaying pink in the same manner enhances its beauty.”

The expression ‘chemical reaction’ captures Araki’s idiosyncrasy well. The ‘chemical reaction’ that happens in his drawings that are regarded as art. The encounters and collaborations with fashion and art are also one of the ‘chemical reactions.’ Countless fans visited to enjoy Araki’s large scale original artwork that the artist wished “would be looked at in detail.” The ‘chemical reactions’ must have happened in each of the viewers too.


Missing translation
Published July 27, 2019
👤 Yasuhiro Kimura, Hideya Takahashi

アニメ『ジョジョの奇妙な冒険 黄金の風』木村泰大監督&髙橋秀弥監督 クライマックス直前インタビューゥゥウッ!!!!!|“覚悟”を決めてジョルノたちと共に駆け抜けた怒涛の3クールを振り返るッ!! いよいよ明日、最終話を迎える『ジョジョの奇妙な冒険 黄金の風』。ブチャラティの命を賭した機転により、王の中の王が手に入れるべき矢はジョルノの手に渡った。そして、矢の力でパワーアップしたジョルノのスタンド、ゴールド・エクスペリエンス・レクイエムの拳が遂にディアボロに叩き込まれる! 悲願のボス撃破となるのか……!?


ここまで番組を観てきたファンならば、その問いに素直に首を縦に振ることはしないだろう。サン・ジョルジョ・マジョーレ島で、組織を裏切りボスを討つと決断したアバッキオとナランチャ。そして、肉体が朽ちても執念で動き続け、ボスを追い詰めたブチャラティ。安らかながらもゆっくりと死んでゆく人生とは真反対の、苦難に満ちていながらも激しく脈打つ人間賛歌の生き様だった。\ そして、アニメスタッフもまた誇りを胸に作品制作に取り組み続けてきた。『ジョジョ』という大作を背負う名誉と引き換えの重圧は相当なものだったに違いない。だが、ブチャラティが最期に口にした「幸福というのはこういうことだ」と同様のことを言えるように3クール戦い続けてきたはずだ。

編集部は最終話を制作中の木村泰大監督と髙橋秀弥監督にインタビューを実施。『ジョジョの奇妙な冒険』のTVアニメーションシリーズ第1作から携わっているdavid productionの笠間寿高プロデューサーにもご同席いただき、制作背景について伺った。ディアボロとのバトルをはじめ、船上でのダンスや対チョコラータ戦での無駄無駄ラッシュといったファン注目のシーン、そして原作者・荒木飛呂彦先生からのアドバイスなど、これまでの3クールを振り返っていただいた。

【グッズ-ブロマイド】あんさんぶるスターズ! ぱしゃこれ/IDOL SHOT Ver.4【再々販】 『黄金の風』では「チーム対チーム」を意識した(高橋監督) ――遂にクライマックスです。3クールを戦ってきたご感想をお聞かせください。





髙橋: 第5部特有のことでいうと「悲哀のドラマ」ということを意識しました。最終的に生死を賭けて戦う部分もそうですし、キャラクターたちが必ず幸せではない境遇から始まっていて、そこから抜け出そうとしているので。






敵キャラクターの行動原理にも共感できるようにしている(木村監督) ――『ジョジョ』は大人が読んでも共感できる部分の多い作品ですよね。















――アバッキオがお兄さん的とのことですが、個人的にはブチャラティがチームのお父さんだとしたら、アバッキオはお母さん的な存在かもと思ったのですが、いかがでしょうか? 年下のメンバーのことを細かく見ていて、結構小言を言っているので。



「無駄無駄原画」のラッシュはもっと長くするつもりだった(木村監督) ――作画や撮影処理などの映像面で特に工夫・苦労されたところは?











船上でのマイケル・ジャクソン風ダンスを描くために1ヵ月研究した(木村監督) ――第7話の、船上でズッケェロを拷問する時にラジカセで音楽を聞きながら踊る場面も力が入っていました。原作ではたった数コマですが、とても印象に残る場面です。



木村:あれ? 僕が言ったんですか!?











木村:それで言ったら、第34話のシルバー・チャリオッツ・レクイエムの能力で身体と精神が入れ替わって戸惑うところは完全にギャグでした。あれ相当遊んでるんじゃないですか? 原作よりかなり盛られていますよ。










木村:僕でしたっけ? 大体忘れちゃうんですよ(苦笑)。そう、そういう感じにしました。







デザイン面は荒木飛呂彦先生からのアドバイスが活かされている(木村監督) ――荒木先生からどんなアドバイスがありましたか?













イタリアへロケハンに行った経験がフィルムに表れている(木村監督) ――イタリアにロケハンに行かれたということでしたね。






木村:原作だと、電車でのぼっていって途中駅で降りてそのまま宣言するんですけど、宣言する場所が一番下の海岸沿いなんです。だから、いつの間にか下りているってことになるんです。しかし、映像でそうしてしまうと「あれ? さっきまで山の中腹にいたはずなのに」となるので、新しく、ナポリの街や海が一望できる展望台のようなところを設定しました。ジョルノたちと同じ電車ではないのですが、僕らも似たような路面電車に乗って彼らの足跡を追体験をすることで肌で感じたものや行ったからこそ分かることがありました。


















Hiroki Goto Jump Golden Age of Manga cover.jpg
Published July 4, 2019
👤 Hiroki Goto

Hiroki Goto was the editor-in-chief of Weekly Shonen Jump from 1986 to 1993. Having already entered the company in 1970, Goto's tenure as editor-in-chief saw the greatest period of the magazine with weekly sales reaching up to 6 millions copies. Here's what he has to say about JoJo's Bizarre Adventure. JoJo's Bizarre Adventure by Hirohiko Araki: when storytelling is a vocation.

This manga is awesome. I always thought that JoJo's Bizarre Adventure's main interest was limited to its first chapter. However, I forced myself to read the first 47 volumes that cover the first four parts and I must say that I found it a lot more interesting than when it was published weekly in the pages of Shonen Jump. How do I explain this discrepancy of feelings? When I entered the editing team of Shonen Jump, I was succeeding another editor supervising the manga Chichi no Tamashii from veteran mangaka Hiroshi Kaizuka. At the time, I was told that Hiroshi Kaizuka could only be appreciated when followed continuously. I lacked the experience then so I didn't really understand what those words meant, but now that I think about it, I do now. When we take on the new chapters from a manga each week to correct them with an expert eye, we have a different approach. To read and grasp a manga as a whole allows you to adopt a different relationship to the story that unfolds before your eyes.

When I was in primary school, I had a friend that was gifted for telling stories. I remember that I was always enthralled by anything he used to tell me on the way back from school. Nowadays, I have to tell you that I don't remember anything about the stories themselves! On the other hand, I clearly remember that he was very expressive and used a lot of gestures when he was telling a story. Likewise, our teacher showed us a kamishibai show once during class. There too I do not remember the story well but I still feel the excitement I had while listening and how eager I was to hear the rest. Isn't it what we called being hooked on a story? Hirohiko Araki is a true storyteller and to illustrate this, I'll quote his words:

"People often say that prostitution is the world's oldest profession. Well, that's what I learned in history class at least. But is it really the oldest profession? I found an even older one! I can't prove it, but I bet it goes away back! That profession is the storyteller who tells scary stories.A long, long time ago, people sat under the starry night sky and gathered round a fire, as they listened to an old man tell frightening tales. They listened intently and let their imaginations take them into the world he described. "Okay. That's enough for tonight."

"We want to hear more. I'll give you this fruit if you tell us more."

"I'll tell you tomorrow! Now, go to bed!"

That's the kind of story I hope to tell, and keep on telling."

Hirohiko Araki had his own style and didn't hide his wish to captivate his readers with his works.

Hirohiko Araki, then named Toshiyuki Araki, was runner-up of the end-of-the-year edition of the 1980 Tezuka Awards with his manga Buso Poker. This story was published in the first issue of 1981. The judges of the Tezuka Awards had severe personalites and they didn't easily grant the prize, only giving the runner-up prize when in doubt as was the case for Buso Poker. I always made it so I could be at the selection comity and I remember that during one session, 2 or 3 people asked me what was the author of Buso Poker doing at the moment. Although he didn't win, this young mangaka had managed to catch the eye of these strict experts.

After winning this prize, Hirohiko Araki made the manga Cool Shock BT for a brief time from the no.42 to 51 of 1983 of Shonen Jump. The next year, he began to write Baoh The Visitor from no.45 of 1984 to no.11 of 1985. The last chapter of "BT" narrates how BT manages to drive away a freckled boy and his family of squatters. This episode highlights Evil as something that takes away what others cherish. In Baoh, Ikuro Hashizawa fights the secret organization Doress that made him a living weapon by inserting a parasite into him. Ikuro steadily gains conscience of his new potential. His way of fighting is also varied and original. Araki's art had also clearly improved and was concerned with the idea of Evil that hides within everyone's heart. These two mangas had a short life but we find the essence of JoJo's Bizarre Adventure's first chapter that was published in the no.1-2 of 1987 in Shonen Jump.

"From the XIIth Century to the XVIth Century, a brave and valorous kingdom prospered on a plateau in the heart of Mexico. [...] They were called the Aztecs, the Sun people! Among them, a tribe had the ambition to reign over the world thanks to the power of the Stone Mask! [...] But this tribe suddenly disappeared from History without reaching its goals. It only ledt behind it a ruined palace. [...] This story depicts the mysterious Stone Mask from Mexico and its raveling of the destinies of two youngsters and their bizarre adventures!"

Thus opens his story that happens in Great Britain in the year 1880. Despite the predominant idea that a manga that was set out of Japan and featured a foreign hero couldn't become successful, Araki decided to put his story in Britain, during the XIXth Century at that. To maintain this publication over time was thus far from being easy for such a manga. But the characters of Jonathan Joestar (the first JoJo) and Dio Brando rapidly caught the eyes of the readers.

I have to say that the meeting between Hirohiko Araki and his editor Ryosuke Kabashima was determining. Kabashima had studied archeology and the History of the western world from Antiquity to the contemporary times. He was the kind of erudite few editors were and Hirohiko Araki speaks of his like this:

Sometimes, the meeting between a mangaka and his editor is the result of fate. In my case, it was Mr. Kabashima who answered my call when I contacted the editing team of Shonen Jump to bring them my script. He became my first editor. Without him, I wouldn't be drawing mangas like I do now. He always encouraged me to make something marginal within Jump. He used to tell me that publishing a marginal story in a popular magazine would be interesting. (Hirohiko Araki speaks about his work, Shukan Bunshun, June 18 2009, interview from Shunsuke Kimura).

The iconoclastic position taken by Kabashima and Araki consisted in making a work that fit the mangaka's personality rather than minding the know-how of Shonen Jump's way to success, which was clearly audacious. What is extraordinary with Hirohiko Araki is that he managed to make a good manga while imposing his style. To say it like Araki, it is about telling a good story and master it. To always keep a little in reserve. JoJo narrates the years-long battle between the noble-born Joestar Family and Dio Brando. Dio is a bad boy by nature who exploits the weaknesses of the people to manipulate them. Deceitful and cunning, he doesn't hesitate to betray his benefactors and annihilate them for his pleasure. He also doesn't hesitate to kill people to accomplish his ambitions. Dio is without doubt the incarnation of Evil. Dio poisons George Joestar, the father of Jonathan, and ends up killing him and bringing the Joestar Family to ruin. Dio burns JoJo's dog alive and also destroys his budding relationship with Erina with several deceitful plots. You can see Dio's attitude as a form of benign malice and agression but the violence he exhibits has a unique facet. By stealing or destroying what JoJo loves, he doesn't directly use physical violence but tries to destroy him from within by tearing his soul apart. Psychological wounds can be worse because they are more difficult to apprehend, it is the highest form of harrassing. Hirohiko Araki has a gift for portraying this kind of Evil.

JoJo is still being published today but among the first four parts I am talking about here, my favorite is Stardust Crusaders. The second JoJo (Joseph Joestar) and the third JoJo (Jotaro Kujo) go to Egypt to kill Dio, who's come back as a vampire, for good. The JoJo's and their companions use their Stands and nothing can stop them. Little by little, the story becomes a fight between Stand Users.

One of JoJo's main attractions are these famous Stands that first appeared in the third part. Stands are the materialization of the vital spirit of its creator, some sort of persona. To perfectly understand what Stands are and how they work, it is best to see them in action in the manga but I'll still give you an example. Dio's Stand, The World, has the ability to stop time and dominate the world. When The World stops time, Dio can move and kill his ennemi who is still immobile. However, Jotaro manages to vanquish Dio through ruse and abnegation, Dio is sensible to sunlight and thus annihilated by the Egyptian sun. It is here that the long struggle between Dio and the Joestar Family ends but it won't be the end of the manga.

The fourth part, Diamond is Unbreakable, takes place in the fictional town of Morioh in Japan where serial murders take place, starting from March 1999. The case is solved by Jotaro Kujo and the fourth JoJo (Josuke Higashikata) as well as their companions. This chapter is the most terrifying in JoJo's history and gives the reader a story that contrasts heavily with the adventurous aspect and and the super-powered fights of the previous part. Here we don't cross exotic countries anymore, we stay in the peaceful day-to-day life of the the small ordinary town of Morioh, disturbed by murders of great cruelty. The menace that lurks in the shadow is quite chilling. The author of these murders, Yoshikage Kira, is a well thought character. This man is 33 years old, single, graduated in literature and works at a mall in town.

Although he's graduated from a second rate university, from the outside he seems to have benefited from an elite education. His appearance and refined manners make him a very popular man among his feminine colleagues. His still performs mediocre work but his seriousness and his general appearance make him appreciated by all. He's thus truly terrifying because it is a man with ordinary personality and capacities, a psychopath who perfectly blends into the mass or ordinary people! The way Hirohiko Araki depicts the madness that inhabits Yoshikage Kira is simply brilliant. The idea of being in the average is a only a good thing in a society where the majority lives well and all are equal. In an unequal society, this idea crumbles. The pressure for this increasingly competitive society makes Evil germinate in a spirit dominated by disquietude and insastifaction.

Reading these for parts back to back, I profoundly felt the way the author tries hard to depict Evil and explore its different facets. The Evil that inhabits Dio Brando and Yoshikage Kira has a viscerally realistic and these antagonists are so well done that we could ask ourselves of the true heroes of this story spanning four generations aren't the JoJos but their enemies. Usually, in shonens, the bad guys who occupy this role until the end have a small presence that then increases. But in Araki's work, the more their presence is felt, the more those of the heroes (the Joestar Family and their allies) is felt too, making them shine more and more. In this themes and also in its general narrative, Hirohiko Araki has managed to create a "major yet marginal" work.

To conclude, I would like to quote the author's note in Volume 46:

"I was thinking about how strong enemies show up in manga. After them, an even stronger enemy shows up, and after them, an even stronger one... so what happens at the very end? It's kind of like thinking about the edges of the universe. Once you look about the world, you realize that what it really means to be a "strong" person is not to do bad things. "An enemy who does bad things" is a person who has "a spiritual weakness," and what's truly scary is when someone takes that weakness and uses it to lash out against others."

Araki is talking about both his own manga and the favorite genre of Shonen Jump, fighting manga. But in our own world, strong people are rare and weak-minded people are sadly in the majority. Thus, the individuals who use their own weakness to hurt others are also numerous. In this text, I think that Araki is warning us about our contemporary society and what happens in there every day.

Hiroki Goto, translated from the French version of his book, "Jump, the Golden Age of Manga".
Published July 31, 2019
👤 Terumi Nishii

To commemorate the end of JoJo Part 5‘s anime, we’re looking back on the previous series and sharing a short but sweet interview with its character designer Terumi Nishii, where she went over her experience with the franchise as a fan and as a creator.

Credit to Kalai Chik for reaching out to Nishii and holding this exclusive interview.

Known for her work as the chief animation director and character designer on JoJo’s Bizarre Adventure: Diamond is Unbreakable, Terumi Nishii is currently a freelance animator in the anime industry while also working on her independent original series, “Crown of Uroboros.” She has worked on many other notable shows before JoJo, particularly Mawaru Penguindrum and most recently Netflix’s Saint Seiya: Knights of the Zodiac. She spoke about her introduction through the series, her views on the A.P.P.P. JoJo OVA series, and her experience as the character designer for Part 4.

Thank you for responding to my sudden request and taking the time to meet me.

Thank you for reaching out. It’s nice to meet you and speak to you.

As an introductory question, I have to ask: how did you come to learn of JoJo’s Bizarre Adventure?

I read the manga back when it was serialized in Shueisha’s Weekly Shonen Jump.

Who was your favorite character in JoJo then?

That would have to be Yukako.

At this point there have been many anime interpretations of JoJo, so which one is your personal favorite?

I’d have to go with studio A.P.P.P.’s JoJo OVA series, particularly (Junichi) Hayama’s Dio segments. I saw it when I was young, probably in high school? I found it amazing and inspirational.

I see. What did you think of the A.P.P.P. production of JoJo’s Bizarre Adventure as a whole then?

Like I mentioned before, I was in high school and thought it was very cool. However, at the time I hadn’t thought of working in animation, so my opinion at the time was genuine admiration as a fan. I would borrow it multiple times from the video stores.

It’s interesting to see how the work of the people surrounding Mr. Hayama and his very own work evolved over time, which you see even throughout the OVA series.

Moving on from Nishii the JoJo fan to Nishii the JoJo character designer: how did you get involved with David Production?

I actually didn’t work there directly – I simply was a freelancer who received the request to handle the designs for Part 4. Truth to be told, there actually aren’t a lot of employees at David Production.

Among your many roles in the production of Part 4, you were in charge of the character art and oversaw the opening and ending sequences as the animation director. Do you have any lasting memories of your time as supervisor?

In terms of correcting the drawings, I focused my efforts on Part 4’s ending. When it comes to the openings, I collaborated with Shunichi Ishimoto, who more recently worked on the intros for Part 5 too. As their work was coming together and they’d almost finished, I was entrusted with wrapping it all up. Thankfully, I was surrounded by very talented people, which made the process much easier.

Part 4 is quite popular in America, in part because it looks very cheery – the catchy opening itself embodies that.

I’m surprised, but you’re right that the theme is very happy compared to the ones that preceded it. When I first heard the song, I thought, “Is this really JoJo?”

I imagined something a little more “hardboiled” so to speak, but the series direction favored something more poppy.

Let’s step back to the very start of your role in the production again. Hirohiko Araki’s designs are rich in detail, but they’re not necessarily optimized for animation. As the character designer, how did you overcome the challenges of adapting his work?

Luckily, there were lots of reference material for the characters in the first place. In terms of their movement, I used the figures based on the manga designs, which were also checked and approved by Mr. Araki. I would reference those figures as much as possible and consult other members on the team.

Considering Part 4 comes right after a very different series, and the designs change from season to season, what did you struggle with?

Up until that point, JoJo characters in both the anime and manga were very big and muscular. And then, bam!, suddenly they slim down in their body structure. With that in mind, I wanted to find a happy medium.

Of course, I didn’t want them to look too macho or too skinny. I went through a lot of designs even for when it came to their clothes. Koichi, in particular, went through several transformations.

I brought a couple of the original key animation sheets and other animation materials from A.P.P.P.’s JoJo OVA series. When looking at these and comparing it to the work that you’ve done for David Production’s version of Part 4, what’s the change that stands out to you the most?

At first glance, what stands out the most to me is simply that contrast you sense when you revisit a previous generation’s style and compare it to a more contemporary style of animation.

But more precisely, there are details like new anime series choosing to include the manga’s onomatopoeias, such as the menacing sound effects of “gogogogo,” whereas that was an element absent from the A.P.P.P. OVAs. And that’s all because people like Mr. Hayama, who worked on both incarnations of the OVAs, aimed to make them look more cinematic.

The OVA series did have a more somber tone to it, didn’t it?

In that same vein, the OVA had more restrictions to it – the biggest one being the runtime. This meant that major plot points from Part 3 had to be removed in order to fit everything in those episodes. Unfortunately, a lot of the gag scenes had to be cut short or removed completely.

Comparatively, the TV anime series had fewer restrictions and also allowed for more creative freedom. Not to say that elements like that weren’t taken out as well, but there was more leeway to fit more in.

Before we end, what would you like to tell JoJo fans? And thank you for your time, of course.

I encourage you all to come to Japan, and celebrate JoJo – not just limited to the otaku space, but the entirety of the property. I’m also looking forward to seeing everyone at Crunchyroll Expo later this year!


Published August 1, 2019
👤 Hiroyuki Omori, Takamitsu Sueyoshi

JoJo’s Bizarre Adventure: Golden Wind has captivated anime fans over the past few months. Warner Bros. Japan brought Warner producer Hiroyuki Omori and Shueisha producer Takamitsu Sueyoshi to Anime Expo 2019. We had the opportunity to interview both producers before JoJo’s Bizarre Adventure panel.

How has your time been in Los Angeles so far? Have you gotten the opportunity to do any touring?

Hiroyuki Omori Omori: I was here once in 2013. Last time I was here, I also participated in a JoJo panel. The weather in Los Angeles is wonderful. It’s much drier than Japan. Sightseeing, we haven’t done much. We really haven’t gone sightseeing, but with Sueyoshi-san we visited Warner Brothers studio as Sueyoshi-san can share [about our tour].

Sueyoshi: For me, I was here in the US about 20 years or so, when I was a kid. LA, the weather is wonderful, it’s easy to spend time here and the people are friendly, so it’s a wonderful place to be in. So, the sightseeing, we visited the Warner Brothers studio, and I was impressed. This is a place where all the movies are made!

To start, what are your responsibilities as a producer?

Omori: One common thing that we both work together on is to create the highest quality works of animation.

Sueyoshi: For me, I’m a producer from a publisher, so we are given the rights of this work from Araki-sensei. That’s one area I’m also involved in.

How did you get into working as an anime producer? What steps does one have to take if they want a job like yours?

Omori: In my case, one of the companies I worked for simply told me to do this, and that was 20 years ago. It’s not that I wanted to be a producer or anything. Of course, I love anime, but no one at the company knew that I loved anime. So, it’s a mystery why I was asked to be a producer. It’s not much of advice here, but it’s just uh… happenstance and luck maybe (laughs)

Sueyoshi: My story is fairly similar. I originally worked at an ad agency, and I always loved manga, so I changed my job to a publisher. After that, it was pretty much the same thing! I was told to be one (a producer).

Did you anticipate such a positive response to Jojo’s from the fans here at Anime Expo?

Omori: Since 2013, we have had some kind of event related to JoJo, and it seems that the scale of the event and the popularity has grown over the years. We’d like to see that the interest will grow this year as well.

Sueyoshi: So I tweet, and I see a lot of comments from overseas. They all seem like positive comments, but I never thought that such an enthusiasm exists, and I’m really happy about that.

What is your favorite Part of the series? (for example: Phantom Blood, Battle Tendency, Stardust Crusaders, Diamond is Unbreakable, Golden Wind, etc)

Omori: At the panel in 2013, I gave the same answer, that Battle Tendency was my favorite, and there was a call of “USA”. In the second episode of part 2, is titled “New York’s JoJo.”

Sueyoshi: Part 7, Steel Ball Run, takes place in the United States as well. There’s a protagonist, and a buddy. It’s a very, very hot story.

What was the process and the decisions that led to Part 5: Golden Wind, getting green-lit for adaptation?

Omori: The start of the project was after Part 4 ended. Well same goes for every series, [we have to think about] the next series after the previous series ended. We have to think about how popular the next series is going to be, and how satisfied our audience will be. That’s how we plan the subsequent series.

For the story, we have the original work to work with, so there will be no changes. But how we are going to staff the next animation production, like who the director is going to be, who the character design is going to be, we work with the Shueisha to figure that out.

Sueyoshi: For Part 5, I wasn’t involved with the very beginning of the project, so I’m not familiar with the actual process. However, how it normally goes is that Warner Bros. would talk to us (hey we wanna do this), and then we would talk to Araki-sensei (hey, we would like to produce the next series) and we go from there.

For a continuing series, how much does the success of a previous anime contribute to the decision to adapt more?

Omori: There’s an incredible, immense impact on whether the subsequent series will be produced or not. Thus, the series has to be successful.

Sueyoshi: As a publisher, we always like to see the following series produced. However, as Omori-san said, the series has to be successful.

Omori-san, you’ve produced JoJo’s Bizarre Adventure ever since the first season. How does it feel to have continued working on this series for so long?

Omori: In the production of the series, I was able to meet so many people, but at the same time, once the series ends, you sort of part ways, so I’ve experienced many happy things, but many sad things as well.

And of course, parting ways with people you’ve worked with is a sad occasion, and also meeting new people is such a happy occasion, so it’s really become a part of my life. It’s kind of a … sad story

Part 5 is home to the scene known as “the torture dance” in episode 7, which turned four panels of manga into a minute long surreal audio-visual experience, to much fan acclaim. From the perspective of a producer, what do you want the audience to get out of that scene?

Episode 7 Omori: The idea of making the scene, was an idea from three directors: Tsuda-san, Takahashi-san, and Kimura-san. They wanted to make this scene a substantial one. At first, I was asked to create music, and then to create the animation. It’s just like an approach you’d have for a music video. And, this is something that the audience would probably never suspect. We looked forward to seeing how the audience would react to it.

Sueyoshi: When I heard that music was going to be created, I realized that there was so much energy that was going to go into this particular production. So yes, because of that, I expected a lot as well. When I saw the storyboard for the video itself, I seriously thought “Are you serious with this? Are you going to go this far?”

When the video and images came out, my reaction, like “Are you serious?” That was the kind of reaction I wanted the audience have as well, and that was also when I realized, “Oh wow, JoJo is the kind of work that would go this far.”

You mentioned that there is a back and forth when deciding what to adapt and how to go about adapting it. For this scene, obviously it was a surprise to go all out. How is that working relationship with the team on deciding what to emphasise and what to abbreviate or cut?

Omori: It’s really up to the three directors I mentioned earlier – Tsuda-san, Takahashi-san, and Kimura-san. They would think about it. In order to improve the appeal of the animation itself, such as which area should we emphasize? They will discuss and create a proposal. Then bring it up to us, and then we would talk among ourselves and make decisions whether to do it or not.

Sueyoshi: So the rule to make the decision would be, when the audience watches the piece, “This is JoJo”. That is the standard we make the decision on.

JoJo’s Bizarre Adventure is unique among anime for having ending themes that are songs by Western artists such as “Yes, The Bangles, Pat Metheny, Savage Garden, Jodeci, and Enigma.” What led to the decision of picking these songs as ending themes? Why Western artists?

Omori: It goes back to when we were designing the theme song of part 1. When we made a proposal for the theme song to Araki-sensei, the reaction was “Hmm that’s not quite the right image for the piece”. So we asked Araki-sensei to come up with some songs we could use as a reference for the theme song. He came up with the three songs as a reference, and they were all progressive rock. Though, it’s not that he was telling us to use them.

He came up with the three songs, they were all progressive rock and roll, but for me to make a new progressive rock and roll song, or the song that is a similar mood, I couldn’t really imagine making it.

I asked, is it okay to use one or all of the songs that he gave us? Out of the three, we decided to go with the one, “Roundabout” and one of the reasons we decided to go with it is we got the licensing!

“Roundabout” is one of my favorite songs, and I’m familiar with the lyrics also. It is an intersection, but it’s a roundabout. It’s like a roundabout of life: you meet and part ways in life, just like the relationship between Dio and JoJo. I think that “Roundabout” is very fitting, and it matches well with the JoJo story, and that’s also how fans reacted, positively.

Since then we asked Araki-sensei, “What would be a song that would fit the image of this series?”. And then, we will make a request for licensing.

Any final remarks?

Omori: We are getting very close to the finale of part 5. We have received many positive voices and reactions from our audience. I hope we’ll be able to deliver JoJo in a way that [will leave you] happy and satisfied, so please continue watching!

Sueyoshi: And even while we’re in Japan, we hear a lot of support from overseas, and we will really appreciate if you continue to support our work. And of course, that little support may trigger whether we will continue with the series.

Thank you very much! [17]

Published August 19, 2019
👤 Hiroyuki Omori, Takamitsu Sueyoshi

After many years of waiting, JoJo's Bizarre Adventure fans were rewarded in 2018 with an adaptation of the manga's most popular arc (in Japan at least): Golden Wind! We got the opportunity to sit down with two of the producers behind this thrilling anime series, Hiroyuki Omori (Warner Bros. Japan) and Takamitsu Sueyoshi (SHUEISHA) and discuss Part Five's journey from page to screen.

ANN: Golden Wind has a reputation for being one of the most popular JoJo arcs in Japan, with some of the most beloved characters. Why do you think it is so adored?

Takamitsu Sueyoshi: Unlike previous Jojo's series, the protagonist is not exactly a straightforward man of justice. Giorno's way of life may make him seem more like a bad person, but he's very direct about what he believes in. Araki-sensei told us that through Golden Wind, he wanted to illustrate very beautiful men, so the characters themselves are all more beautiful than before. So that's probably two of the biggest answers to that question.

Hiroyuki Omori: For any series, when it comes to broad appeal, the attractiveness of the protagonist is quite high on the list. In the case of Golden Wind, we already had quite a number of attractive characters to work with on the protagonist's side. As we produced the animation, once we reached the first team of antagonist hitmen, the series' popularity grew immensely. So I think one of the reasons that Golden Wind is more popular than the other Jojo's parts is probably the sheer number of such highly attractive characters.

Which character in Golden Wind do you personally identify with most and why?

Sueyoshi: Guido Mista! I hold a very personal adoration for him, because he's such a positive guy, and he's good with a gun.

Omori: It's Narancia for me. He's actually older than Giorno, even though he seems much more childish. However, when he engages in battle, he always looks so cool, so I'm attracted to the gap between those attributes.

What unique production challenges did Golden Wind's material pose to the staff that you hadn't encountered with previous arcs?

Sueyoshi: One of the hurdles that we encountered starting with this series was that all the clothing for each character became so fashionable right away, so we wondered how in the world we were going to put that into animation. That was a real issue!

Omori: The soul-swapping episodes were a real challenge too.

Sueyoshi: Ah, that's right!

Omori: Having Mista's seiyuu play the role of Trish...

I had not read the manga, so I was experiencing this story through the anime for the first time, and I remember thinking "Why is Mista talking so weird?" When the twist was revealed, it was the most shocking and unexpected turn in the story for me.

Omori: We were afraid that it was just going to be chaos for the audience.

It made sense to me! It was a lot of fun. Now that the season is complete, what was your favorite battle in the Golden Wind anime and why?

Sueyoshi: Oh no, it's so hard to narrow down to one! I'd have to say the battle in Venice between Ghiaccio and Mista, in episode 19 or 20. Even after Mista got shot so many times, he kept fighting. He seems to be kind of a happy-go-lucky person, so seeing him take the battle so seriously was quite impressive.

Omori: Probably the battle in episode 10 or 11, Narancia vs. Formaggio. Flames totally engulf the city, and once they are burning at their absolute peak, they turn purple. It looks pretty cool. But it's so hard to choose just one battle.

There's so many! I think Golden Wind has the best fights in Jojo's so far.

Omori: So what is your favorite?

Off the top of my head, I'd have to say Narancia's big fight in Venice, where his tongue gets possessed. I love the way it builds, because the villains are so sure that Narancia isn't going to catch them, but he keeps finding ways to overcome every challenge they put in front of him, and mostly by himself.

What was the process like for producing the series' first opening theme, "Fighting Gold", and how does the Jojo's team keep coming up with such incredible theme songs?

Omori: I work on the music myself, and in the case of Jojo's, we've always tackled the composition first, and then we work on the lyrics afterward. The reason for this is that we want to choose a singer who will best represent the song after we finalize the sound. For Fighting Gold, we actually didn't go through that usual process. Back when we were working on Part 2, Battle Tendency, the composer for that theme song was Toshiyuki Omori, and the singer was Coda, which resulted in "Bloody Stream". When Golden Wind came around, we had already made the decision to return to that composer and singer combo for the theme song before all else. There's a saying in Japan that you might translate as "going back to the original thinking." This was on our minds for Golden Wind, because we didn't want to risk becoming arrogant about the strong popularity of this work and the positive reactions we were already seeing from fans at the announcement. We wanted to put in a sincere effort for this new theme song to be great. Originally, I was told by others that because the original work was so popular, it was guaranteed that the anime adaptation would be successful. That was the common thinking in that moment, but I thought that the reality would never be that easy. I always thought that I would have to put in a serious effort to make the best anime possible, so that our audience would love it on its own quality. And when I tried "going back to the original thinking" about how we started, and the kind of passion we felt at the beginning, I thought of returning to that specific musical collaboration. I know this response is pretty long, but I'm serious about this, so hopefully that's fine. You can always cut it shorter, I hope.

Oh no, it's good! Long answers are good. On that note, it's been my experience in America that the poor fan-translations of the Golden Wind manga created a misconception for English-speaking fans. People didn't really understand what was happening in the story, so even though this arc is very popular in Japan, it was not really appreciated in America as a manga. So creating the anime to be the best version of itself was very important, because now I believe Golden Wind is the best part so far, and fans everywhere are like "Oh, this was great all along, we just didn't know."

Sueyoshi: Oh wow. We should tell the team doing the official English publication for the manga to get it done faster!

Omori: And to start working on 6 and 7, they are great as well!

On a similar note to my previous question, what was the thought process behind choosing Jodeci's "Freek'n You" for the Western closing theme of Golden Wind?

Sueyoshi: In selecting the ending theme song, of course we asked for Araki-sensei's advice, and he said the genre would have to be gangster rap, because this is a story about gangsters. So when we asked for a list of songs in that vein, he came up with a few, one of which was Jodeci's "Freek'n You." Once we started listening to it, we realized that it wasn't really gangster rap at all, it was more R&B. But the mood of the song itself fit so well with the series' aesthetic that we wanted to use it, and I think that choice was successful.

There were a number of unique adaptation changes in the Golden Wind anime, most notably the addition of Fugo's backstory in episode 12. Did Hirohiko Araki propose such changes himself, and what was that adaptation process like?

Sueyoshi: For the details about how those anime-original elements were chosen, I will leave it to Omori-san, but in the case of Fugo, he was the one character whose past was never described in the original manga. So in developing the anime's scenario, that was one of the big challenges we knew we had to tackle. We talked at length with the scenario writer about how we would like to approach telling Fugo's backstory, and then we brought our finished proposal to Araki-sensei. We thought it was very important to detail Fugo's past for this version of the story, so we worked hard on it.

Omori: In terms of our general approach to creating original elements for animation, they have to be something that will enhance the work's appeal. Even though these elements are new, they must never step away from the intent of the original work. That's the angle we work hardest on, always thinking about how the audience will feel about the story.

Golden Wind expresses the most intense and dark emotions in JoJo's Bizarre Adventure so far. How did the team approach the balance between keeping the series fun and adventurous when there's so much tragedy and horror in the story compared to the previous arcs?

Sueyoshi: It's not that we set out to create a good balance between a dark story and a fun one. I think we just wanted to be true to the original work. As long as we stay true to that spirit, we believe the balance will be maintained, so that was our focus.

Omori: The one thing we always kept in mind when producing the animation was maintaining the balance of emotions that you would feel when reading the original manga.

There was a much greater gap between the announcement and premiere of Golden Wind compared to previous Jojo's seasons. What was the cause for this extra time being taken with production?

Omori: The reason was that we really wanted to make a solid work for Part Five. We even took the three directors to Italy for location scouting. So that research trip is one of the biggest reasons we had a greater gap of time between series.

Well, I'm happy for that. I think Golden Wind is the most impressive production in Jojo's adaptation history so far, and it's a joy to watch every week. Thank you so much for working so hard on it.

Omori: Thank you! [18]

Lucca comics poster.jpg
Missing translation
Published October 30, 2019
Innanzitutto, è per noi un grandissimo onore averla qui. Vorrei sapere qual è il processo di creazione del look dei suoi personaggi, che sono davvero particolari e unici.

Si basano principalmente sugli incontri che faccio quotidianamente, su tutto ciò che riesco a captare dalle persone. Persone strane, vestite in maniera azzardata, ma anche persone vestite in modo piÚ coraggioso e colorato. Cerco di prendere il piÚ possibile dalle persone che incontro ogni giorno. A queste persone faccio anche delle foto. Guardando le immagini sfruttando le diverse angolazioni riesco a studiarmi al meglio il look. Sull'Italia, poi, in particolare, mi ispiro molto alle statute, che hanno un design piÚ classico.

Abbiamo visto all'inizio di JoJo un’influenza europea, neo-classica, prima nelle pose per poi finire ad abbracciarla nella sua totalità. Come ha accolto il mercato giapponese un’estetica di questo tipo?

Sono stati di grandissima ispirazione soprattutto i miei viaggi in Italia e le visite ai musei, con la loro atmosfera molto classica. Per me disegnare cosÏ ormai è naturale, e secondo me anche i lettori giapponesi lo accettano normalmente proprio per la naturalità con cui lo faccio. Al contrario, se dovessi fare qualcosa come scrittore, non risulterebbe facile.

Lei fa parte di una rosa selezionata per disegnare i poster delle Paralimpiadi. Potrebbe parlarci di come ha ricevuto questa proposta e del progetto legato alle Paralimpiadi?

Sinceramente non so perchÊ abbiano scelto proprio me, ma ne sono molto grato. Credo che il comitato organizzativo sia rimasto colpito dai miei lavori e dalle mostre dedicate, come quella dei 30 Anni di JoJo che si è tenuta a Tokyo. Per quanto il lavoro svolto fino ad adesso, non credo di poter esprimere giudizi dato che è ancora in corso.

A cosa e a chi si è ispirato per la creazione del primo JoJo, Jonathan Joestar?

In realtà è molto semplice: in Giappone c’è una catena di ristoranti H24, molto famosa, che si chiama "Jonathan's". Per vari motivi, ci sono molto affezionato e ho voluto partire da qui per il nome. Per quanto riguarda il suo design, volevo semplicemente disegnare un "macho", un uomo scolpito e dalle proporzioni classiche delle statue.

Jojolion, l’ottava parte di JoJo, sta per concludersi. Quale sarà il futuro della serie?

Sinceramente non lo so, devo pensarci ancora bene. È qualcosa da definire.

Lei legge o ha mai letto fumetti di stampo supereroistico? Se sĂŹ, quali sono le influenze che hanno avuto sulla scrittura della serie?

Non sono un grandissimo fan dei supereroi, anche se da giovane ho letto molta fumettistica francese. Li trovo personaggi che si piangono un po' troppo addosso, preferirei vedere un personaggio che guarda maggiormente davanti a sĂŠ e con i piedi per terra. anche se mi piace molto Spider-Man.

Se le chiedessero di collaborare alla realizzazione di un film per i personaggi e le scene, che genere di film avrebbe in mente e con chi le piacerebbe collaborare?

Mi piacciono molto i film horror, credo che realizzerei un horror molto realistico. Apprezzo molto anche The Walking Dead per questo motivo, per il suo realismo.

Questa estate si è conclusa la trasposizione animata di Vento Aureo, la serie ambientata in Italia. Una delle cose che piÚ mi sono rimaste impresse, già quando lessi il manga, fu la totale sparizione dalla scena di Fugo Pannacotta dopo il tradimento fatto alla gang di Bucciarati. Come mai questa scelta?

È una motivazione molto complessa. Poiché Vento Aureo veniva pubblicato su Shōnen Jump, il suo target erano i ragazzi e gli adolescenti. Per loro, il tradimento è qualcosa di molto pesante e brutto da commettere. Continuare a mostrare Fugo nel manga avrebbe appesantito rattristato l’atmosfera e gli eventi di Vento Aureo, e probabilmente rovinato il personaggio.

Come mai al termine di Stone Ocean ha deciso di resettare l’intero universo narrativo, abbandonando così alcuni dei personaggi più amati dai fan, come Jotaro Kujo e Dio Brando?

È stata dura abbandonare quei personaggi, anche se in realtà non li ho mai abbandonati del tutto, rinascono leggermente diversi. Il reset, per quanto duro, è stato necessario. La storia di JoJo era arrivata alla sua naturale conclusione, e allungarla ulteriormente sarebbe stato poco sensato e controproducente.

La saga di JoJo, negli anni, è cambiata molto, stilisticamente e narrativamente. Vorrei sapere se e come è cambiato lei nel corso di questi anni.

Indubbiamente anche io sono cambiato. Per quanto riguarda i personaggi, anche se cambiano, sono in realtà tutti uniti da un filo conduttore che attraversa tutta la saga, ovvero la spiritualità, il cuore e l’anima dei personaggi, che viene di volta in volta ereditata. Durante la stesura di Phantom Blood, molti erano rimasti straniti dalla morte di Jonathan, ma in realtà la sua morte è solo una metafora. L’anima di Jonathan continuerà a vivere per sempre nei suoi discendenti. Per esempio, all'inizio abbiamo dei personaggi estremamente attempati, che sfruttavano la loro fisicità attraverso le Onde Concentriche. Questa loro spiritualità si è poi evoluta naturalmente negli Stand come spiriti guardiani. Sono la conseguenza diretta dell’anima che i personaggi trasmettono alle generazioni successive.

Rimanendo in tema Stand, sarebbe bello conoscere a cosa si ispira per la creazione degli Spiriti Guardiani e quanto impiega per crearne uno nuovo.

Gli Stand sono la manifestazione fisica della volontà e dell’anima delle persone. Sono invisibili ad un occhio normale, ma il potere e la spiritualità dei personaggi sono così forti che non troverei un altro modo per farlo.

Nell'universo di JoJo, tutti i poteri piÚ forti, nonchÊ quelli dei villain principali, hanno a che fare con la manipolazione del tempo. Come mai per lei è cosÏ importante per lei il tempo?

Semplicemente, penso che poter controllare il tempo è il potere piÚ forte in assoluto, in tutte le sue declinazioni. Per questo motivo, quando creavo i cattivi finali, studiavo i modi con cui potessero manovrarlo. Il potere piegare lo scorrere del tempo al proprio volere è qualcosa che mi affascina da sempre e credo che sia il potere piÚ forte di tutti.

A chi o cosa si è ispirato per creare il personaggio di Yoshikage Kira?

Quando ho creato Kira, ho immaginato che il mio vicino di casa fosse un assassino, ma un assassino che vive, insospettabile, vicino a te, non è un personaggio vistoso. Al contrario, sembra una persona comune, calma, tranquilla. Ha degli hobby e delle attività come tutti, magari gli piace stare a casa, o magari gli piace uscire. Ho immaginato queste cose, e Kira è nato cosÏ. Lui è un personaggio che mi affascina molto, perchÊ non fugge la sua natura. Kira accetta se stesso, non si combatte. Conosce se stesso, sa come è fatto e affronta la sua quotidianità giorno per giorno.

La sua passione per la moda è nota a tutti. Vorrei sapere quali sono i suoi stilisti preferiti e se al momento ha in programma nuove collaborazioni con stilisti, come quella fatta con Gucci.

Da giovane mi piaceva molto lo stile di Versace, con abiti arricchiti da spille e decorazioni. Al momento non ho però in mente collaborazioni con altri stilisti, sono concentrato sul progetto delle Paralimpiadi.

Qual è il suo personaggio preferito di JoJo?

Shigechi, un personaggio della quarta serie Diamond is Unbreakable.

Qual’è la Parte di JoJo a cui è più affezionato?

È proprio l’appena citata Diamond is Unbreakable. Questo perché la città in cui si ambienta, Morio-cho, è ispirata al posto in cui sono nato e cresciuto. Ci sono molto legato.

Sia lei che Haruki Murakami usate spesso la musica nella vostra narrativa. Pensa che ci siano dei punti in comune fra il suo modo di lavorare e quello di Murakami e, generale, fra le vostre opere?

In realtà non so. Non conosco il modus operandi e il processo creativo che adopera Murakami, ma per quanto mi riguarda l’ascolto della musica è qualcosa di quotidiano. Non se lui faccia così. Per esempio, parlando di me, amo profondamente Puccini, e sono stato a Lucca proprio per ascoltarlo.

Come mai il personaggio di Dio è tornato cosÏ tante volte all'interno della serie, riuscendo anche a reincarnarsi nella settima parte, Steel Ball Run?

Dio è molto potente, probabilmente uno dei più potenti dell’universo di JoJo. È un personaggio che incute paura, in quanto non ha nessun rimorso o senso di responsabilità. Dio è letteralmente l'antitesi della famiglia Joestar, e così ho creato Dio come qualcosa di ereditario per la famiglia Joestar anche attraverso la sua reincarnazione, come se fosse una maledizione. È talmente forte che non può morire in modo banale, e la sua rinascita lo rende ancora più spaventoso, come se, appunto, fosse una maledizione.

Inoltre, poche ore dopo, il Maestro ha incontrato anche i fan della saga al Teatro del Giglio, e ha risposto ad una serie di domande poste dall'organizzazione della Fiera e dai presenti in sala.

Maestro, poichÊ questo è un talk e vogliamo anche ripercorrere quella che è stata la storia di JoJo, la prima cosa che le chiedo è proprio come è nato Le Bizzarre Avventure di JoJo.

Buongiorno a tutti. L’idea dalla quale è partito JoJo era la mia volontà di mettere "su carta" i superpoteri di qualcuno, superpoteri che, di solito, non si possono vedere disegnati. Li ho trasformati in immagini su Shōnen Jump, e ho scelto il nome JoJo cercando un’assonanza.

C’è un tema che unisce JoJo e l’edizione di quest’anno di Lucca Comics & Games, ovvero l’attenzione all'umanità, il suo stretto legame il destino e con la fatalità. Inoltre, JoJo si collega anche all’immortalità dello spirito umano. Come mai, Maestro, ha scelto questi temi? Come mai gli è così legato?

In realtà è nato tutto perché mi è stato detto di disegnare una cosa del genere. Mi sono accorto in corso d’opera della profondità dei personaggi, dell’ammirazione per il lato umano e del tema del destino. In realtà, spiegando in modo più prolisso, io avevo intenzione di mettere su carta il tema dell’affermazione del genere umano, non dimenticare la propria umanità. Esistono le persone buone, positive, con tutti i loro lati apprezzabili, ma esistono anche persone negative con i loro lati umani e apprezzabili.

Rimaniamo sempre su questo tema. Nella serie, non c’è solo la famiglia Joestar, protagonista di tutte le Parti di JoJo, ma abbiamo anche gli Zeppeli. Sarebbe interessante sapere se gli Zeppeli riusciranno a loro volta, nelle loro future apparizioni, a sfuggire ad un destino che sembra accanirsi su di loro.

Ovviamente non c’è nessun accanimento nei confronti degli Zeppeli, ma sono semplicemente complementari alla famiglia Joestar, e per tale motivo la loro esistenza è un completamento necessario al cammino dei Joestar, nonché una "facilitazione" che gli consente di proseguire. Personalmente, amo molto la famiglia Zeppeli, in quanto trasmettono i loro valori e la loro positività anche attraverso la loro morte.

In JoJo, rispetto ad altri manga, in cui i protagonisti e i comprimari combattono, c’è una scelta ben precisa, ovvero l’assenza di uno scontro diretto, optando per uno scontro studiato, strategico, come una partita a scacchi. Il fulcro di questo sono gli Stand. Come fa, Maestro, a studiare sempre nuovi poteri e strategie.

Essendo il mio lavoro, trovo ispirazione in tantissime cose, soprattutto momenti di quotidianità. Quando incontro i miei amici, quando osservo il mio vicino di casa, quando bevo un po' d’acqua e mi rimane in gola… Potrei fare un potere anche partendo da queste cose. Essenzialmente, credo che sia l’osservazione dei piccoli dettagli l’essenziale in un processo creativo.

Molte delle serie di JoJo sono dei veri e propri diari di viaggio, il che comporta una grandissima variazione delle ambientazioni. In che misura l’ambientazione influenza la scrittura dell’opera, e quanto è fondamentale? Si parte da lì per creare la storia oppure è un plus?

Ad ispirarmi nella loro creazione sono stati i miei viaggi in bicicletta da piccolo. Quando ero giovane, facevo spesso dei piccoli viaggi in bicicletta e visitavo molti posti. Visitavo montagne, campagne, città. Questo muovermi, questo viaggiare, mi ha aiutato a crescere e a diventare adulto. Per me, la filosofia del viaggio come metafora della crescita, è veramente molto importante, perchÊ consente ai miei personaggi di crescere, dalla partenza alla fine del viaggio.

Per quanto riguarda la seconda parte della domanda, prendo ad esempio la creazione di Morio-cho. Quando si deve affrontare un problema, solitamente lo si affronta di petto, a viso aperto, ma mi sono chiesto cosa sarebbe successo se questo “problema”, questa minaccia, si nascondesse e aspettasse. Magari è l’uomo della porta accanto e non lo sappiamo. Da questa idea, nasce il contesto di Morio-cho, l’avere un nemico invisibile, insospettabile che aspetta nell'ombra. È stata un’altra sfida rispetto alla creazione di una storia incentrata su un viaggio.

Rimaniamo su Morio-cho. È una città completamente inventata da lei. Le piacerebbe viverci?

Sì ci vivrei. Morio-cho è basato sul luogo in cui sono nato e cresciuto, ed era pieno di brava gente, anche se un po’ strana (c’era anche qualche "Zeppeli")

Rimanendo sempre nell'ambito del processo creativo, è conoscenza comune che lei ascolta moltissima musica. È anche un concetto interessante, in quanto il ritmo è fondamentale per lo storytelling. In che modo la musica, e che tipo di musica, influenza il suo lavoro.

La cosa che mi influenza di piÚ è proprio il ritmo. Ci sono diversi tipi di ritmica, stili musicali, tempi di battute che influenzano il mio lavoro. La musica è molto importante.

Faccio la mia ultima domanda e poi passiamo la palla al pubblico. Cosa possiamo aspettarci dal futuro di JoJo?

In realtà non lo so. Di JoJo ho sempre avuto chiaro l'inizio e abbastanza chiara la sua fine. Su tutto ciò che c’è nel messo, aleggia una nebbia, ma perché la narrazione di JoJo è molto spontanea. Essenzialmente, però, mi è abbastanza chiaro come finirà JoJo.

Pubblico: Come dicevamo prima, il Maestro si ispira molto alla sua infanzia, ai suoi viaggi e alle sue esperienze di vita. In Diamond is Unbreakable, c’è lo Stand di Keicho Nijimura, Bad Company, che è formato da tanti soldatini. Ricordo una cosa del genere in una storia di Stephen King. Lei si ispira in qualche modo al Cinema e alla Letteratura Horror?

A me Stephen King piace, e in generale mi piacciono molto i film Horror, e sicuramente ho tratto ispirazione anche da lui, ma per quanto concerne l’Horror come genere, trovo più ispirazione per JoJo in film come Chucky.

Pubblico: Se non vado errato, ho letto che le ending dell’Anime di JoJo le sceglie direttamente lei. Mi piacerebbe sapere se c’è una canzone italiana che a lei piace e che in futuro utilizzerebbe come Ending di JoJo.

Mi piacciono molto la PFM e l'opera, in particolare la musica di Puccini. Ovviamente non ho ancora deciso nulla in modo definitivo.

Pubblico: In JoJo, i vestiti sono alcune delle parti piĂš caratteristiche e importanti. Alcuni sono ispirati a pezzi di designer molto famosi. Come si sviluppa il processo creativo attorno ai vestiti?

I vestiti devono avere tutti una caratteristica in comune: devono essere comodi e facilitare i movimenti. Di base, però, mi concentro sempre sul modello della divisa scolastica giapponese. Su quella base poi lavoro ai particolari, come le spille di Giorno a forma di coccinella. Ma di base, l’ispirazione viene dalle divise scolastiche. Un manga che a me è piaciuto molto è Babil Junior, e il suo protagonista va in posti desolati, come il deserto, sempre con la divisa scolastico. Lo trovo fantastico, ed è stato di grandissima ispirazione, mi è sempre piaciuta l’idea di far muovere personaggi in divisa scolastica in ambientazioni di questo tipo. Quando ci sono riuscito mi sono commosso.

Pubblico: Se lei potesse scegliere il potere del suo Stand, quale sarebbe?

Penso che sceglierei il potere di portare il sereno e rischiarire il cielo. Oggi teoricamente doveva piovere, e invece grazie a me c’è il sereno *ride*.

Pubblico: Rimanendo in tema con quanto abbiamo detto prima, sul restare umani e sul valore dell’umanità, non crede che la punizione di Diavolo sia troppo crudele persino per lui?

Sinceramente no. Diavolo è talmente malvagio e ha portato talmente tanto dolore che non meritava nient’altro che quella fine.

Mi permetto di collegarmi a questa domanda appena posta per le ultime domande della giornata. C’è qualche personaggio che le somiglia o qualcuno in cui si rivede?

  • ride* Premetto questo: non è Rohan. Anzi, Rohan è ciò che io vorrei diventare. Detto questo, in realtĂ  non c’è un personaggio che mi somiglia, ma se proprio dovessi scegliere qualcuno con qualcosa di mio, direi Shigechi.

Oggi abbiamo vissuto un viaggio nell’universo di JoJo. C’è un aneddoto sulla lavorazione di JoJo che le piacerebbe raccontare oggi?

Non so se può essere interessante, ma vi racconto questo: quando scrivevo su Shōnen Jump, mi davano come consegna 19 pagine a settimana. Il problema è che io non riuscivo mai a farne 19, ne facevo SEMPRE 21. Così, ogni volta ero costretto a tagliare 2 pagine. E non parlo di pagine che venivano poi recuperate nel capitolo successivo, parlo di tagli definitivi a tavole che non sarebbero mai apparse nel manga. Fortunatamente, ora che scrivo su Ultra Jump ho una consegna di 45 pagine al mese, e forse sono anche troppe.

Chiudiamo con questa domanda: se potesse tornare indietro, al giorno in cui ha iniziato a lavorare a JoJo, cosa correggerebbe? Cosa migliorerebbe e cosa cambierebbe del tutto?

Correggerei degli errori di stampa, come esclamazioni giapponesi che variano da scritto a parlato, in quanto difficilmente ho la possibilitĂ  di correggere quello che scrivo.

Grazie di cuore per questo prezioso incontro Maestro. È stato molto interessante parlare con lei di JoJo.[19]

Figuratevi. Grazie mille a tutti voi.

Q: What do you think about Lucca?

A: I came to Italy 10 years ago so I could see Puccini's (Giacomo Puccini on Wikipedia) house. I'm really happy to be here, in this beautiful town, meeting you all.

Q: Vento Aureo is set in Italy. What's the reason behind this choice?

A: My primary reason is that I love Italy and I wanted to travel here. It could be just a common preference, but I like the museums, the cinema, the food, basically I love everything here in Italy.

Q: On which source materials did you concentrate on in order to bring Italy on your comics?

A: Well, I obviously like the food. The "Spaghetti al nero di seppia" (Translator note: Spaghetti with squid ink) intrigued me that much with its black colour. I also adore cooking, so I'd like to ask you for recipes and advice. I'd appreciate it a lot. For example, on the "Spaghetti aglio, olio e peperoncino" (Translator note: Spaghetti with garlic, oil and chili pepper) how should I cut the garlic, like cubes or in another way? Or do I crush it? It's really important for me to know! I usually cut it in cubes, but then I pour some dashi (Japanese broth) [Audience is audibly shocked] Wait so you shouldn't even use butter? [Audience answers in shock] Oh, sorry! What about the salt? You use that, right?

Q: Another obligatory question for you, at this point. For how much time do you cook your spaghetti?

A: Eight minutes. Will I actually make a good dish? I don't know, but I always try to. I like cooking a lot of things, actually. With bottarga (Bottarga on Wikipedia) or tomato sauce. Moderator: You could also use cacio (Translator note: It's a type of salted cheese) and pepper. Alright, anyways I love putting all these things in my manga.

Q: Speaking of Naples, what can you tell us about it? Why did you start from this city and what's your relationship with pizza?

A: Because there are a lot of beautiful places like Pompei. For me it was the right location from which I could start the journey (Translator note: referring to Vento Aureo). I've obviously visited it. Speaking of pizza, you mean the thin version or the one with a big crust? In any case it's delicious, sadly I cannot cook it.

Q: Capri is an island usually connected to "good living". Did you manage to capture that feeling too?

A: To be honest I was actually interested in it because Emperor Tiberio (A Roman emperor) had a house there, as a relaxing place. He didn't trust the people around him, so I think that it's a little bit sad to see this contrast between living in a such beautiful place and being isolated from society.

Q: Pompei in one of the few locations that still preserves original paintings of that era. As an artist, what did you grasp?

A: It affascinated me. It was brought back to light after Vesuvio's eruction; it has a mysterious atmosphere, fantastic as a setting.

Q: What's your opinion on Michelangelo's art, his sculptures with their muscular bodies?

A: In this case we're talking about JoJo poses: in my opinion poses are what remains impressed in your brain. I've studied Bernini (Gian Lorenzo Bernini on Wikipedia), works of art like "Dafne e Apollo", and so on. The thing that I absolutely love watching are the bodies' torsions in every form and shape.

Q: What would you like to say about Venezia?

A: They told me that there's a staircase on which people sit on just to relax. And I wonder, why? What do they do?

Moderator: Eh, it's just an Italian habit. They're basically "wasting time".

Araki: So none of them read manga? And if you don't read them outside, where do you do so?

Moderator: We just read them at home, for us it's more of a private business.

Araki: Then I've got a mission for you all: go outside and read manga!

Q: Costa Smeralda, another location that tells about Italian wealth. In your comics it doesn't appear often. How so?

A: It's a fantastic place, in my opinion a resort, however at first glance it looks so gorgeous that it appears almost absorbed in a world of fantasy, mystery. It gives me inspiration.

Q: Have you ever tried Sardinian food?

A: Yes, and it's obviously delicious.

Q: Your deep love for Italy and the Italian audience is evident, and it's mutual for us. How can you explain this alchemy? A: I don't really know the answer to that in all honesty, but I never write my manga for a specific group of people. I try to represent the beauty and the sadness in humanity's life. If someone appreciates my work, I'm always happy about it. I've been drawing manga for thirty years, however it's now my turn to ask you which things made you interested in my drawings.

Q: Regarding Italian fashion: JoJo is full of Italian aesthetics and ideas, so how is your relationship with fashion?

A: Indeed, it's a fantastic subject. I love this classical and traditional style, moreover the buildings and monuments share the same motive, some of which are even from the Roman era. Moderator: We thank you for capturing all of this and made it eternal through JoJo.

[Questions from the audience]

Q: We suggest a dish: Spaghetti alle vongole. (Translator note: Spaghetti with clams) A: Does it have white wine in it? No butter? [Audience says no]

Q: After JoJolion will we have a new part set in Italy? A: I should make some research first, but I'll try.

Q from Maurizio Merluzzo (popular person on YouTube Italy, also a Dub official Voice Actor on various anime): I've started reading JoJo in 1999, it's been twenty years by now. Like everyone else, I've appreciated your drawing style evolving. However, why did Jonathan start from being so buffed like Kenshiro, and today he looks like someone from Sailor Moon?

Araki: Sorry about that, I wasn't as good at drawing back then, so now I am able to draw him with correct proportions.

Maurizio: But he was so gorgeous!

Araki: He looked like Sylvester Stallone.

Maurizio: You've got something against muscular men? (Translator note: for the record, Maurizio is quite muscular, so that's why he ironically states that)

Araki: No no, I don't hate them at all. But you really look like a Stand user, may I ask you who is that Stand?

Maurizio: A blender, I'll explain that to you later. (Translator note: He has a series on YT in which he uses a blender to make juice out of various food)

Araki: And what's your juice?

Maurizio: Spaghetti al nero di seppia.

Araki: Can it do apple juice?

Maurizio: So were Star Platinum and The World both Jonathan in different moments of his life?

Araki: The air tanks serve the purpose of breathing when time stops (Translator note: Possibly referring to The World's design)

Q: One of your characters uses a term from Firenze's dialect: "dimorto". (Translator note: dimorto means "di molto", and as you know Melone says that. Basically the pronounciation from the anime is similar to "dimorto" rather than "di molto")

A: Oh, I didn't know that!

Q: A lot of people came here from outside of Italy. A question from Japan: are there any quotes from your story that you particularily like?

A: Yes, your "mi rifiuto". In Japanese it's "kotowaru".

Q: Why are some important characters killed in an unexpected way?

[Here I've deleted a phrase because it totally doesn't make sense in this context, perhaps the article writer made an error here] A: Because, for example in Narancia's case, I wanted to describe the sadness inside life, the destiny which is often decided by a birth context more or less favorable. However when someone has a good sensibility and spirit, they manage to elevate themselves from all of this. He died while believing in more elevated morals in comparison with what he believed at the beginning.

Q: Does Bucciarati have tattoos or peculiar clothes?

A: They're drawings on the clothing, not tattoos.

Q: What's your favorite Italian artistic current? I've seen some references to classical art for example, but which one is your most preferred?

A: Obviously the Roman era and Renaissance art. If we're talking about modern art instead, I'd say Giorgio Morandi. (Giorgio Morandi on Wikipedia)

Q: Would you like to return to Italy and Lucca? Which one is your favorite city? A: Lucca's fair is beautiful, I also like the context in which this city is valorized as a whole. I'm astonished by the various influences being combined here. If you're going to call me again in the future, I'll gladly return. My favorite cities are probably Napoli and Capri.

Q: We propose the "Frittata di maccheroni", which is a typical napolitan dish. Anyways, there's a lot of characters which lack a parental figure. How so?

A: I'm interested in orphans. Actually there are a lot more things I'd like to tell about, speaking of this subject, but I decided to cut that so I could narrate something else.[20][21]

Note: This is the Italian transcript of Araki's interview during his appearance at Lucca Comics 2019.

Che ne pensa di Lucca?

Sono venuto in viaggio in Italia dieci anni fa, per vedere la location di Puccini. Sono veramente contento di essere in questa splendida cittadina e poter incontrare tutti voi.

Vento Aureo è ambientato in Italia. Come mai questa scelta?

Amo l'Italia e volevo venirci, questo è il primo e vero motivo. Sarà un po' comune come linea di pensiero, ma dell'Italia mi piacciono i musei, il cinema, il cibo, insomma tutto quello che c'è qui io lo amo.

Su quali materiali si è concentrato-basato per portare la nostra Italia nei fumetti?

Beh, chiaramente mi piace anche il cibo. Lo spaghetto nero di seppia, cosÏ scuro e nero, mi incuriosiva moltissimo. A me piace anche cucinare, mi piace molto, pertanto sono io che chiedo a voi di darmi ricette e consigli. Lo apprezzerei moltissimo. Ad esempio, negli spaghetti aglio, olio e peperoncino, l'aglio come lo taglio? A cubetti, oppure lo taglio? oppure lo schiaccio? È importante, lo vorrei sapere veramente!

Io ad esempio lo metto a pezzi, ma poi ci metto il dashi (brodo giapponese, ndb)(urlo di scandalo da parte della folla) Anche il burro quindi non si mette? (risposta indignata della folla)

Ah, scusate! E il sale? Il sale si mette, vero?

Abbiamo un'altra domanda obbligatoria per lei, a questo punto. Gli spaghetti quanto li fa cuocere?

Otto minuti. Ce la farò a fare un buon piatto? Non lo so proprio, ma ci provo. Mi piace preparare tante cose, in verità. Con la bottarga, con la salsa di pomodoro.

Moderatore: consigliamo anche il cacio e pepe.

Ecco, comunque tutte queste cose mi piace metterle nei manga.

A riguardo della città di Napoli, cosa ci può dire? Che ne pensa? PerchÊ è partito da qui per la storia e com'è il suo rapporto con la pizza?

PerchÊ ci sono posti bellissimi come Pompei. Per me era il luogo giusto da cui fare iniziare il viaggio. L'ho visitata, ovviamente. A riguardo della pizza, intendete quella sottile o col bordo alto? In ogni caso è buonissima, purtroppo però non la so cucinare.

Capri è un'isola collegata alla bella vita. È riuscito a goderne anche lei?

A dire il vero mi affascinava molto il fatto che l'imperatore Tiberio avesse lĂŹ una casa, un luogo di riposo. Non si fidava di chi aveva intorno, pertanto reputo che fosse un po' triste questo contrasto del poter vivere in un luogo cosĂŹ bello, eppure dover essere cosĂŹ isolati.

Pompei è uno dei pochi luoghi che conserva le pitture originali dell'epoca. Da artista cosa ne ha colto?

Mi affascina molto. È stata riportata interamente alla luce dopo l'eruzione del Vesuvio; ha un'atmosfera misteriosa un posto meraviglioso da utilizzare come ambientazione.

Firenze e l'arte di Michelangelo, la sua scultura dalle muscolature cosĂŹ massicce. Che ne pensa?

In questo caso parliamo delle pose di JoJo: per me il senso delle pose è quella figura che ti rimane impressa. Ho studiato il Bernini, Dafne e Apollo e cosÏ via. Ciò che mi impressiona e mi piace di piÚ vedere in assoluto è la torsione del corpo in ogni sua forma.

Cosa ci dice di Venezia?

Mi hanno detto che ci sono delle scale su cui la gente si siede per rilassarsi. E mi chiedo, come mai? Che cosa fanno?

Moderatore: eh, si tratta di un'usanza italiana. "Perdono tempo", in pratica.

Araki: quindi nessuno di loro legge manga? E se non li leggete all'aperto, allora dove li leggete i manga?

Moderatore: Da noi si legge a casa, è un fatto piÚ privato, diciamo.

Araki: allora da oggi in poi avete una missione: leggete i manga all'aperto!

Costa Smeralda, un altro luogo che racconta l'opulenza italiana. Nei fumetti appare poco, però. Come mai?

È un luogo meraviglioso, per me è da resort, ma a prima vista sembra talmente bello da apparire quasi immerso in un mondo di fantasia, misterioso. Mi da ispirazione.

Ha provato il cibo sardo?

SÏ, e ovviamente è delizioso.

È evidente il profondo amore che corre tra lei e l'Italia e il suo pubblico italiano, e viceversa. Come si spiega secondo lei questa alchimia?

Non conosco il motivo in verità, però non scrivo i miei manga perchÊ siano destinati ad un pubblico in particolare. Cerco di rappresentare la bellezza e la tristezza del vivere umano. Che qualcuno poi apprezzi il mio lavoro, per me è meraviglioso. Io disegno manga da trent'anni, ma sono io a chiedere ora a voi cosa vi affascina di loro cosÏ tanto.

A riguardo della moda italiana: Jojo trasuda la moda italiana, le sue idee ed estetica da ogni dove. Il suo rapporto con la moda com'è?

SÏ, la moda italiana è fantastica. Mi piace questo stile classico e tradizionale, ma come la moda hanno quest'aria anche i palazzi e gli edifici, alcuni rimangono persino dall'epoca romana. Moderatore: siamo noi a ringraziare lei per aver ripreso tutto questo ed averlo reso eterno in Jojo.

Domande dal pubblico:

Suggeriamo un piatto al maestro: gli spaghetti alle vongole.

Araki: ci mette il vino bianco? Niente burro? (risposta indignata: no, niente burro)

Dopo Jojolion potremo avere una nuova serie ambientata in Italia?

In realtà dovrei fare delle ricerche, ma ci proverò.

(da Maurizio Merluzzo) ho iniziato a leggere Jojo nel 1999, faccio vent'anni quest'anno. Come tutti, ho apprezzato l'evoluzione del disegno nel tempo. E tuttavia, come mai Jonathan partiva da un fisicaccio in modalitĂ  Kenshiro e oggi sembra invece piĂš una Sailor Moon?

Araki: scusate, ma io all'inizio non ero tanto bravo a disegnare, per cui ora riesco a farlo piÚ proporzionato. Maurizio: ma era bellissimo! Araki: somigliava a Sylvester Stallone. Maurizio: ha qualcosa contro le muscolature? Araki: No no, non le odio affatto. Ma tu di contro mi sembri uno che ha il suo stand, posso chiederti chi è? Maurizio: un frullatore, poi avrò modo di spiegarlo. Araki: qual è la tua centrifuga? Maurizio: spaghetti al nero di seppia. Araki: ma il succo di mela lo sai fare? Maurizio: ma allora posso chiedere se Star Platinum e The World sono entrambi Jonathan in due momenti diversi della vita? Araki: le bombole sono una tanica per riuscire a respirare quando si ferma il tempo.

Un personaggio usa un termine fiorentino "dimorto".

Ah sĂŹ? Non lo sapevo affatto!

Molti vengono oggi dall'estero. Una domanda dal Giappone: dentro le storie ci sono delle frasi che le piacciono particolarmente?

SÏ, il vostro "mi rifiuto". In giapponese è "kotowaru".

PerchĂŠ alcuni personaggi importanti muoiono in modi che non ci si aspetta?

Intanto mi scuso però sono personaggi veramente cattivi, quella morta è il modo giusto di concludere il loro percorso umano. Quindi non ti piace?

Pubblico: PerchÊ ad esempio, nel caso di Narancia, io volevo descrivere la tristezza del vivere, il destino spesso che viene deciso da un contesto di nascita piÚ o meno favorevole. Ma quando una persona ha una bella sensibilità e un bello spirito, riesci ad elevarti da tutto questo. Lui è morto credendo a valori ben piÚ elevati rispetto a quelli da cui partiva.

Quelli di Bucciarati sono tatuaggi oppure abiti speciali?

Si tratta di disegni sull'abito, sĂŹ. Non sono tatuaggi.

Quale movimento artistico italiano piÚ le piace? Ho visto citazioni di arte classica, ad esempio. Ma il suo preferito qual è?

Mi piace ovviamente l'epoca romana e rinascimentale. Per quanto riguarda l'arte moderna, mi piace Giorgio Morandi.

Le piacerebbe tornare in Italia e a Lucca? Qual è la sua città preferita?

La fiera di Lucca è bellissima, davvero splendido anche il contesto in cui viene valorizzata la città nel suo insieme. Si mischiano varie influenze, e questo mi ha stupito moltissimo. Se mi chiamerete ancora, io ritornerò sicuramente. Circa la città, penso le mie preferite siano Napoli e Capri.

Consigliamo la frittata di maccheroni, che è un tipico piatto napoletano. Ci sono molti personaggi del manga cui manca una figura genitoriale. Da cosa deriva?

Gli orfani mi interessano molto. In realtĂ  ci sarebbero molte piĂš cose che vorrei raccontare su di loro, di cui vorrei parlare sull'argomento, ma ho preferito tagliarlo per parlare d'altro.

Missing translation
Published November 22, 2019
👤 Yasuhiro Kimura, Hideya Takahashi

“ジョジョ愛”に敬意を表するッ! 『黄金の風』監督コンビが明かす、情熱の制作秘話 2019年11月22日 17時55分 2012年から続くテレビアニメ『ジョジョの奇妙な冒険』(以下、『ジョジョ』)シリーズの最新シーズン『黄金の風』。





第37話は実質的な最終回。いちばんの戦力を注いだ 放送終了から3ヶ月以上が経ちましたが、周囲からの反響はいかがでしたか? 木村 最終話付近でアニメの話題がTwitterトレンドに入って、驚きましたね。全39話の長編作品ではなかなかないので、「最後まで観てくださったんだな」と素直に嬉しいです。 原作はもちろん、テレビアニメも国民的なシリーズに成長した感じがありますよね。 木村 そうですね。僕は『黄金の風』(アニメシーズン4)の放送中に結婚式を挙げたんですが、10年ぶりに会った知人や親戚から「『ジョジョ』、観てるよ」と声をかけられました(笑)。僕がアニメ関係の仕事をしていることすら知らなかったはずなのに…。『ジョジョ』の力は絶大だなと感じましたね。 髙橋 僕はSNSをやらないので正直、視聴者さんからのリアルな反響というのはよくわかっていません(笑)。ただ、スタッフのみなさんが最後まで士気を落とさずに頑張ってくれて、今でも本当に感謝しています。 現場作業のピークはどのあたりだったんですか? 髙橋 ジョルノの覚醒したスタンド、ゴールド・エクスペリエンス・レクイエムが登場する第37話『王の中の王(キング・オブ・キングス)』だと思います。第38話『ゴールド・E(エクスペリエンス)・レクイエム』と第39話『眠れる奴隷』は少しスパンが空いてからの2話連続放送でしたから。 第37話が7月5日に放送され、第38・39話が7月28日に放送。3週間ほど空きましたね。 木村 最後の2話は特別編というか、作り手としてはどこか“お祭り”的な感覚が強かったので、僕らにとっては第37話が実質的な最終回でしたよね。 髙橋 木村さんの担当回でしたが、はたから見ていてもヒシヒシと気合いが伝わってきました。 木村 第37話はスタッフ的にもいちばんの戦力を注ぎ込んでいて、まさに総力戦といった感じでしたね。


▲ジョルノに敗れ、第38話で“無限に”死に続けるディアボロ。シリーズ屈指の悲惨な最期を迎えた。 最終話はまるまるプロローグという内容で、シリーズでも異色のクライマックスでした。原作通りではありますが、演出的には苦労したのではないですか? 髙橋 原作通りの流れでやるかどうか、最初に少しだけ検討したんですが、やはり最後に入れるのがふさわしいだろうという結論に達しました。

第5部のテーマは“運命”ですから、第39話『眠れる奴隷』のエピソードを最後に持ってくることで、繰り返し観た際にテーマをより強く感じられるんじゃないかと思ったんです。 木村 そもそもですが、アニメで原作の設定や構造を変えている部分ってないんです。キャラクターの過去エピソードを増やしたり、必要に応じて場所を変更したりはしていますが、改変しているわけではない。だからこそ、エンディングについても原作準拠が望ましいだろうと。

▲最終回となる第39話では、持ち主の運命を告げる奇妙な「石」のエピソードが描かれた。 キャストの「ジョジョ愛」の強さに驚かされた 今のお話からも制作チームの“原作愛”を感じますが、キャスト陣の思い入れはいかがでしたか? 木村 それはもう強かったです。みなさん完全にキャラクターを作り上げてきていらっしゃるので、収録時のリテイクがほとんどないんですよ。 なかでも、とくに“ジョジョ愛”が強いと思ったのは誰ですか? 髙橋 みなさん本当に熱量が高いんですが、あえてひとりを挙げるなら、僕はアバッキオ役の諏訪部(順一)さんです。収録中もセリフの解釈について指摘をもらって、僕らが「たしかにそうだ」と納得したこともありますから(笑)。 木村 諏訪部さんはアバッキオが好きすぎるんですよね。当初、諏訪部さんはディアボロ役でもハマるんじゃないかと思って提案したことがあるんですが、頑として「アバッキオ役じゃないと出演しない」と(笑)。

▲チームのブレーキ役でもあるアバッキオ。序盤は新参者のジョルノと衝突していたが、次第に信頼を寄せるように。 印象的だったアフレコ時のエピソードはありますか? 髙橋 小野(賢章)さんは「無駄無駄ラッシュ」に対してかなりこだわりを持っていて、本編の収録でも「もう1回やらせてください」と何度も録り直しをしたことがあります。 木村 僕が小野さんのお芝居で覚えているのは第19話『ホワイト・アルバム』の最後で、朝日をバックに「ミスタ…あなたの『覚悟』は…この登りゆく朝日よりも明るい輝きで『道』を照らしている」という決めゼリフです。



▲第31話で、ジョルノは敵のチョコラータ(CV:宮内敦士)に対して“無駄無駄ラッシュ”を披露。小野は、約30秒間にわたって「無駄」を叫び続けた。 ミスタのスタンド「セックス・ピストルズ」の6体は、すべて鳥海浩輔さんが演じているんですよね。 木村 そうです。ナンバーごとに性格が違ったりもするので、6体すべてを別録りにして、最後にそれをミックスして使っています。


▲セックス・ピストルズは、それぞれ性格もバラバラ。ミスタ役の鳥海浩輔は、計7キャラクターを演じ分けた。 監督オファーは本気でドッキリだと思った ここからは、おふたりがいかにして『黄金の風』に関わっていったかを教えてください。『ジョジョ』シリーズに関わるのは、おふたりとも今回が初めてですが、原作やアニメシリーズについては、どの程度注目されていましたか? 髙橋 僕は学生時代から原作を読んでいて、大好きな作品でした。

それもあって、もしアニメを観て違和感を抱いたら嫌だなと思って、放送当初は少し避けていたんです。ただ、そうは言ってもやっぱり気になって『ファントムブラッド』を観たら、めっちゃ良くてビックリしました(笑)。 それ以降はアニメもチェックするようになったんですか? 髙橋 いえ。当時は自分が関われるなんて夢にも思っていなかったので、アニメスタッフへのリスペクトを感じつつも、どこかで距離を取っていました。

しっかりと観ると嫉妬してしまうというか、自分が関われないことが悔しくなる。 では監督のオファーが来たときにはかなり嬉しかったのでは? 髙橋 最初は本気で“ドッキリ”だと思いましたね(笑)。

ずっと疑っていたんですが、アニメーションプロデューサーの笠間(寿高)さんとお会いしたことで初めて「本当にやれるんだ」って(笑)。『黄金の風』はとくに好きな部でもあったので、とても嬉しかったです。 木村 僕は『週刊少年ジャンプ』を読んでこなかった珍しいタイプの人間なので(笑)、未読のまま大人になりました。ただアニメシリーズはリアルタイムでほぼすべて追いかけていて、いち視聴者として楽しみにしていたんです。

監督のオファーが来たのがちょうど『ダイヤモンドは砕けない』の放送が終わる2016年の年末。「『黄金の風』もやるよな。いったい次はどんな話なんだろう?」って思っていたので、まさに青天の霹靂でした。 では、そこから改めて原作をお読みに? 木村 そうです。原作未読のままアニメを新鮮に楽しみたいという気持ちもあったので、オファーを受けたときは「原作読まないとな…」と、ちょっと複雑な気持ちでした(笑)。 実際に原作を読まれた印象はいかがでしたか? 木村 最高に面白かったです。でも、じつは読む前はちょっと不安だったんですよ。 どうしてですか? 木村 「原作は未読」と言いましたが、実際は友達の家でちょこちょこ読ませてもらう機会があったんです。でも子どもだった僕は、密度の濃い絵柄や情報量に頭が追いつかず、投げ出した経験があって(笑)。


「これをフルカラーでアニメにできるんだ」とやりがいも感じましたし、ワクワクしましたね。 総監督から授けられた「『ジョジョ』はプロレス」との言葉 監督を務めるにあたり、津田尚克総監督とはどんなお話をされましたか? 木村 津田さんが「ジョジョはプロレス」と言っていたのが印象深いですね。



▲木村監督の言葉通り、『ジョジョ』では「なにィーッ」や「ば、バカな」といった驚くシーンが多用されている。 髙橋 僕が津田さんの言葉で覚えているのは「ルネッサンス」ですね。 「芸術復興」という意味の、「ルネッサンス」ですか? 木村 そうだと思います。初心に返れという意味なのか、ルネッサンス的な芸術美を追求しろという意味だったのか…。 髙橋 途中ですぐに言わなくなったので、真相は今でも闇の中なんです(笑)。 いつか真意を聞いてみたいですね。ほかに津田総監督から言われたのはどんなことでしょうか? 木村 “現実のイタリア”より“イタリアっぽさ”を大切にしてほしいと言われましたね。 どういう意味でしょう? 木村 イタリアに行ったことはなくても、多くの人の頭の中にピザやパスタ、ワインといったイタリアのイメージはありますよね。


荒木(飛呂彦)先生もイタリアを取材されたうえで描いていますが、随所でそういう“っぽさ”は大切にしているんですよ。 なるほど。みなさんもロケハンでイタリアに行かれていますが、そのうえで“っぽさ”を意識しているんですね。ちなみにロケハンはいつ行ったんですか? 木村 2017年の7月25日に出発しました。たしか8~9日間の日程でした。 髙橋 スゴい! よく覚えてますね。 木村 現地がものすごく暑かったので覚えているんです。熱波注意報が出ていたくらいでしたから。 木村監督は本編の放送中にロケハン時の写真をTwitterに投稿されており、ファンのあいだで話題になりました。 木村 『黄金の風』をアニメ化するにあたり、聖地巡礼をしやすくしようというのは最初から目標にしていたことだったんです。それこそ聖地巡りだけでイタリアツアーが組めるくらいのものにしたくて。

フーゴの過去描写は、荒木先生のアイデアを膨らませた シナリオや絵コンテといった実作業は、いつごろから着手されたんですか? 髙橋 ロケハン前に構成だけは決めてあって、本格的にスタートしたのはロケハンから帰ってきてからですね。 木村 だから、ロケハンのときはかなりフワッとした気持ちでしたよね。 髙橋 そうそう。戻ってきてからようやく「『ジョジョ』の監督をやるんだ」というプレッシャーを感じ始めました。 木村 そもそも僕らふたりはこれまでのシリーズにまったく関わってこなかったので、「自分に『ジョジョ』の絵コンテが描けるのか?」という不安もあったんですよね。 髙橋 ありました。最初の絵コンテ作業がいちばんプレッシャーを感じました。僕は第2話『ブチャラティが来る』、木村さんは第3話『塀の中のギャングに会え』を担当したんですが、そのときは津田さんからのプレッシャーも半端なかったです。


▲木村監督が初めて『ジョジョ』の絵コンテを担当した第3話。ギャング入団試験が描かれる。 『ファントムブラッド』から『スターダストクルセイダース』で監督を務めてきた津田総監督は、今回、1話のコンテ・演出を担当されて以降は、数話でコンテや演出に関わっているのみです。役割としては仕上がりチェックのような感じだったんですか? 髙橋 そうですね。序盤は僕らが上げたものをつぶさにチェックしてもらっていたんですが、途中からはかなり任せてもらえるようになっていきました。 おふたりが一緒に仕事をするのも今回が初めてだと思いますが、演出家としてのお互いの印象はいかがですか? 髙橋 制作作業に入ってすぐのころ、木村さんの描きかけの絵コンテを見たことがあったんです。第3話の冒頭シーンだったんですけど、それがめっちゃオシャレで驚きました。 木村 最初の絵コンテだったので、僕なりにイタリアっぽいオシャレさを狙って頑張っていたんです。 髙橋 隣にいた津田さんと「むしろオシャレすぎじゃない?」って話していましたよ(笑)。 どんな部分にオシャレさを感じたんですか? 髙橋 ごく普通の日常シーンなんですが、その切り取り方がセンスに溢れていたんですよね。木村さんはOPもPVもやられていますし、第5部のビジュアル面に関しては最初から最後まで頼りきりでした。

木村監督から見た髙橋監督はどんな印象ですか? 木村 絵コンテを見て思ったのは、すごくロジカルで緻密な方だなと。細かい演出を丁寧に積み上げていく、まるで詰将棋のような作り方なんですよね。

とくにそれを感じたのが第28話『今にも落ちて来そうな空の下で』ですね。 アバッキオの退場回ですね。 木村 そうです。あくまでアバッキオがメインではありつつも、ほかのキャラクター全員の感情をうまく積み上げていって。だからこそ、あそこまで泣かせるフィルムになったと思うんです。



▲アバッキオが死ぬ直前のひとコマ。表情や構図、背景の雲など、細かいこだわりが見られる。 おふたりはまったく違う個性を持った演出家なんですね。 木村 そうだと思います。

タイプの違うふたりが揃ったのはたまたまだとは思うんですが、今回はそれがうまいことハマりましたね。 それぞれ担当する話数はどのように振り分けていったんですか? 髙橋 ふたりで話し合って決めたんですが、お互いに自分が得意なエピソードや好きなエピソードを選んでいったら、自然と明確に分かれました。

結果的に回想シーンはほとんど僕ですし、アクションは木村さんが多めになりました。 回想シーンに関して言えば、今回はアニメオリジナルのエピソードも多かったように思います。これらはどのようにして作られたんですか? 木村 ちょっとしたものであれば、こちらが作ったものを荒木先生に確認していただきますが、大きなところは先に荒木先生からアイデアをいただくこともありました。


▲原作では深く追求されなかったフーゴの壮絶な過去は、ファンのあいだでも大きな反響を呼んだ。 ナランチャが好きすぎて監督のオファーを快諾 おふたりが個人的に好きなキャラクターは誰ですか? 髙橋 これはインタビューのたびに言っていますが、ナランチャ(CV:山下大輝)一択です。 木村 毎回聞いているので、すっかり「髙橋さん=ナランチャの人」のイメージになってきました(笑)。 髙橋 あながち間違いでもないですよ。僕はナランチャのために監督のオファーを受けたと言っても過言ではないですから(笑)。

本編中のナランチャエピソードはすべて担当させてもらったので、個人的にはそれだけでも大満足なんです。先ほど木村さんの話に出た第28話も、僕としてはアバッキオ回であると同時に、ナランチャ回でもあると思っているんですよ。 アバッキオの死を受け入れられないナランチャの姿は、山下さんの演技もあいまってシリーズ屈指の名シーンとなりました。 髙橋 そうなんですよね。山下さんは以前に別の作品でもご一緒したことがあって、そのときも泣きのお芝居がすごくうまいなと感じていたんです。


▲感情を素直に見せるナランチャは、シリーズを通して見せ場も多い人気キャラクター。 木村監督が好きなキャラクターは? 木村 今はミスタが好きです。勘やノリで生きているところや能天気な性格など、僕らが思い浮かべるイタリア人っぽくていいですよね。

それでいて初対面のジョルノの本質をすぐに見抜いて信用するなど、人間的にも魅力的ですし。スタンドが銃というのもすごくカッコよくて、大好きです。 ミスタで好きなシーンはありますか? 木村 第30話『グリーン・デイとオアシス その1』で、ジョルノとミスタのふたりで銃を撃つシーンが好きですね。





▲第30話では、ミスタとジョルノのコンビ技が登場。セックス・ピストルズにも変化が見られる。 話題になったOPのジョルノの後ろ姿は、木村監督の発案 弾道の色変化のお話が出たついでにお聞きしますが、画面の色味が一瞬で変わるなど、色による演出が印象的でした。 木村 画面の色がシーン単位で丸ごと変わるのを「シーン特色」、カット単位でピンポイントに変わるのを「カット特色」と呼びますが、『ジョジョ』では『ファントムブラッド』からどちらも使われているんです。 髙橋 基本的にはバトルの決着がつきそうなタイミングでシーン特色を多く使っています。「ここからクライマックスに向けて加速していきますよ」ということを表現するための演出で、これは『ジョジョ』シリーズを通じての特徴でもありますね。


▲カット特色の一例。通常カラーのシーン内で、ワンカットのみ特色カットが差し込まれる形式。 そうだったんですね。シリーズの特徴と言えば、OPの特殊演出も毎回話題となりますよね。 木村 『黄金の風』のOPは僕が作っているんですが、当初の構想では最後のGERverはありませんでした。

でもディアボロverに切り替わるのが第34話で、そこから最後まで同じだとちょっと飽きるかなと思い、何かひと捻りしたいとGERverを作りました。 ジョルノの後ろ姿をDIOに似せているのも木村監督のアイデアですか?

木村 そうです。


だからここで重ねてみたら面白いかなと思ったんです。 ファンも大満足のOPになりましたね。 木村 盛り上がっていただいて本当に良かったです。 髙橋 でも『ジョジョ』シリーズのOP&EDって、どんどんハードルが上がって大変なことになってきましたね。 木村 止めようにも後には引けない状態なんですよね(笑)。

▲『黄金の風』のOP映像のひとコマ。物語の展開に合わせて、シーンが差し替わる“特殊演出”はこのシリーズの特色だ。 チョコラータ戦の塔が見つからず、原作を手に探し回った 本編を描くうえで、ロケハンがすごく役に立ったと感じたのはどんな部分ですか? 髙橋 僕は日常シーンを担当することが多く、その際に料理を出したがるタイプなのですが、そこはイタリアでのロケがすごく役立ちました。たとえば第19話『ホワイト・アルバム』で、ブチャラティとミスタがブルスケッタを食べるシーンなどがそうです。

ここはアニメオリジナルの回想シーンなので、最初はパスタかピザにしようかとも思ったんですが、ロケハンの際に食べたブルスケッタを思い出して、こちらにしたんです。ブチャラティの「ブルスケッタを4つ…いや、やはり5つにするか」というセリフは、パスタを注文していたら生まれなかったと思います。 「4」という数字を忌み嫌うミスタの性格がよく表れたシーンでしたが、ブルスケッタのおかげなんですね。 髙橋 そうです。ふたりで4つを注文することが不自然ではないメニューとしてブルスケッタを入れられたのは、まさにイタリアで実際に食べたことがあったからだと思います。 そうだったんですね。逆にロケハンの際に困ったことなどはありましたか? 木村 第1話『黄金体験(ゴールド・エクスペリエンス)』と第2話『ブチャラティが来る』に登場する路面電車は苦労しました。

原作に描かれている車両は古くて残っておらず、しかもちょうどロケハン時にストをやっていて、電車に乗ることすらできなかったんです。 ではあのシーンは想像で? 木村 それが、運良く同じタイプの車両を掲載しているブログを見つけまして(笑)。それを参考に描いたりしました。あとチョコラータ戦でヘリを捕縛した塔もなかなか見つからず、あれも苦労しました。原作を手に探したんですが、その場所には塔らしきものはないんです。

いろいろと考察して、きっとベネツィア広場から近いところにあるんじゃないかと仮説を立てて探した結果、ようやくミリツィエの塔を発見したんです。 モデルとなった塔を自力で発見したんですね。スゴいですね。 木村 本当に幸運でした。

▲『黄金の風』では、建物もキャラクターの一部。ブチャラティがボスを裏切る第21話では、船着き場の階段が、チームの切ない別れを盛り上げた。 荒木先生の頭の中には、一連の映像ができている 裏話をたくさん教えていただきましたが、制作していくなかで、アニメーター陣から“ジョジョ愛”を感じることはありましたか? 髙橋 もちろんあります。個人的な感覚で言えば、男性陣よりも女性陣のほうが“ジョジョ愛”というか、主張が強かったように思います。「リゾット・ネエロ(CV:藤真秀)が好きだから、ぜひ退場回のカットを描かせてくれ。もう描ける機会がなくなってしまうから」とか。 木村 「暗殺者チーム」って、女性陣に意外と人気があるんですよね。 髙橋 そうですね。どんな敵キャラにもそれぞれファンがいることに驚かされます。 木村 もちろん僕らも『ジョジョ』が好きなんですけど、アニメーターさんたちはそれ以上の熱量なので、あえて少し引いた目線でジャッジしていくことも多かったと思います。



▲リゾット率いる暗殺者チームの面々。ジョルノたちの行く先々で死闘を繰り広げた。 シナリオチームはいかがでしたか? とくにシリーズ開始からシナリオを担当されている小林靖子さんとはどんなお話をされましたか? 髙橋 小林さんはずっと「キング・クリムゾン(ディアボロのスタンド)が何をやっているのかわからない」とおっしゃっていましたね(笑)。 木村 津田さんに「わかりやすく絵に描いて説明して」って頼んでました(笑)。 ボス戦については、何をやっているのかちゃんと理解できている人はあまりいないかもしれません。 木村 僕も子どものころに匙を投げていますから(笑)。でもだからこそ、誰にでもわかるようにアニメで表現するというのは今回のミッションのひとつでもあったんです。 実際に、アニメではすごく理解しやすくなっていて驚きました。 木村 でも原作からほとんど何も変えていないんです。原作をきちんと読みこんだうえでコマとコマのあいだを埋めていけば、自然とこのアニメの動きになるんです。 髙橋 きっと荒木先生の頭の中にはきちんとした一連の映像があって、それをコマとして抜き出してマンガにしていると思うんです。本作で多少なりとも再現できたのなら、それだけでアニメ化した意味がある。そこはやっぱり動画ならではの強みですよね。 最後に、おふたり自身が感じる『ジョジョ』シリーズの魅力についてお聞かせください。 木村 昔ながらの少年マンガ感ですね。

「任務は遂行する。部下も守る~」のような、強いセリフがちゃんとカッコよく聞こえる作品って今はあまりないような気がしますし、そこにすごくマッチョイズムを感じますね。 髙橋 どれだけ過剰な演出を盛り込んでも胃もたれしない作品って、『ジョジョ』くらいしか思い浮かびません(笑)。

キャラクターやセリフの強度がとことん強いので、どんな演出にも負けないんです。「もっといける」と思わせてくれるので、作り手としてもすごくやりがいがあります。 木村 『ジョジョ』の演出に慣れると、ほかの作品ができなくなる気がしません? 髙橋 そうですよね! 何をやっても、つい物足りなさを感じてしまうんですよね(笑)。

▲第38話の重要シーン。命を落とした仲間たちを思うジョルノの姿が、ドラマティックに描かれた。 木村泰大(きむら・やすひろ) アニメーション演出家、アニメーター。大学卒業後、2010年よりアニメーターとして活動を開始。主な演出作品は『世界征服~謀略のズヴィズダー~』、『蟲師 続章』、『美男高校地球防衛部LOVE!』、『銀魂°』、『CHAOS;CHILD』など。2016年『三者三葉』で初めて監督を務める。好きなジョジョキャラクターはプッチ神父(原作第6部登場)。 twitter(@namachu) 髙橋秀弥(たかはし・ひでや) アニメーション演出家。2004年、『蒼穹のファフナー』の制作進行として業界デビュー。以降、演出助手を経て演出家に。主な演出作品に『To LOVEる -とらぶる-』、『夏目友人帳 参』、『ソードアート・オンライン』、『フューチャーカード バディファイト』シリーズなど。『ポケットモンスター THE ORIGIN』で各話監督を、『競女!!!!!!!!』でシリーズ監督を務める。好きなジョジョキャラクターはイギー(原作第3部登場)。

Published December 19, 2019

This time, after the exhibitions in Tokyo and Osaka, I got to have original art exhibitions in Nagasaki and Kanezawa. Both of these cities have deep cultural histories and unique local environments, and the art museums we used were architectural masterpieces as well. I am greatly pleased and honored to have the opportunity to display the original artwork of JoJo in these locations.

In addition to the twelve large originals, I created one new key visual each for Nagasaki and Kanezawa. The motif for them was the Japanese artwork "Kakitsubata-zu" (by Korin Ogata). The characters from JoJo will be present, so please come meet them at Nagasaka and Kanezawa. I hope you will enjoy the experience.

Interviewer: There's going to be an art exhibition starting January 2020 in Nagasaki, and in April in Kanezawa. The official visual for these exhibitions features many characters from JoJo's Bizarre Adventure, right?

Araki: I chose the characters based on their silhouettes. Much like with the large original art I made for the Tokyo hall and Osaka hall, titled "There is always a Traitor". I looked at if their hair length, their physique, whether they were muscular or fat, male or female, or whetehr they were wearing skirts or pants, how their feet are pointed... I chose characters based on such criteria, and while I was doing so, I brought in some of the "secret members" who I had wanted to put in the large original art, but couldn't. In that sense, these two official visuals for a pair with the large original art.

(Araki does all his coloring in analogue. He says, "You know how a lot of color inks have been going out of production lately? Some of these makers used to produce really good colors, too. It's a bad situation.")

Interviewer: I was surprised at how some of the characters had their costumes renewed. Wamuu is wearing sneaker, for instance.

Araki: Ahahaha. I was imagining him as an athlete. He wore sandals during the serialization, but this time, I thought, maybe I'll put him in sneakers. It might be because the Olympics are coming soon. But, it's not like I want to change everybody's costumes. For example, Sandman has to be barefoot. He mustn't wear sneakers. I designed Lisa Lisa with her belt at her waist, because I felt her fashion from the serialization had become dated. This Lisa Lisa, she's unrestrained, don't you think? It might be because I tend to picture her in classic clothes, but I like how unrestrained she feels new. I wanna go "Teach me a lesson, missy!" Oh wait, she's a mother, huh? (laughs) And, while the same goes for Kakyoin, I represented Lisa Lisa's shadow with dots. Actually, I also drew Jotaro's shadow with dots in the previous original artwork. It might be the influence of "Pumpkin", by famous avant-garde artist Yayoi Kusama. Its surprisingly nice to represent a 3D shape with dot gradations, isn't it ?

(Much like with typical original colored artwork, he starts by coloring the soft skin tones. "It's import to do it in one go. Manga artists have deadlines, so there's no time to get too detailed", says Araki)

Interviewer: Doesn't the president stand out?

Araki: I had the president slightly twist his mouth, to give the impression he's plotting something. Those things are how I express these characters. Overall, the president's pose is one I'm especially satisfied with. Also, don't you think Polnareff looks a little sexy with that lei around his neck? Ermes is the only one who's strongly expression her emotions. She's the one shouting, "What's going on here?" (laughs) The other characters are acting relatively cool, so I had her as the one contrasts.

Interviewer: Johnny also leaves a strong impression since he's posed with both his hands in fists.

Araki: I pay attention to the expressivity of the hands, as well. The hands can speak too, right? Once again, these characters aren't just closing or opening their hands. There's movements in their fingers, and creating formations with them. That's the sort of thought I put into each character's hands while I was drawing them.

(The original art of the key visuals easily exceeds 2 meters when lined up side by side. It was made with the experience he gained from making the 12 large original artworks from one and a half years ago)

Interviewer: I wasn't expecting Giorno, a main character, to be placed on the right edge. Considering his popularity, he could have been the centerpiece, don't you think?

Araki: I didn't think at all about drawing popular characters, or ones the readers would like. What's important is the layout and the shape of the characters. The first character I placed was the president... Maybe because he acts so haughty (laughs). After deciding on the president and other main features, the next thing I did was place the males and females evenly, and then, while it woud be fine to bring a main character like Giorno to the front, I instead deliberately had given him the duty of handling the most important spot on the edge.

Interviewer: There's a lot of characters who are grouped up in pairs, like Sandman with Pocoloco, and Prosciutoo with Risotto, right?

Araki: It wouldn't be interesting anymore if all the characters were scattered about, so instead I laid it out so several of them get grouped together. For this official visual, the gaps are extremely important. For example, from the right edge, there's Giorno, then a few characters, then a line break with the president, then after the gap, there's a small space before Sandman... and that's how I designed it. That gap is actually an important thing called the "rhythm". It's like you can't settle down without it. People who've drawn still-lifes might understand, but there's a balance to the weight of an artwork.

To tell the truth, this official visual is based off a famous piece called the Irises screen by an Edo-period artist named Kourin Ogata. One of my themes is using old art as a theme to draw JoJo illustrations. Th Irises Screen is also a pattern, and it is also a joint. It gives the sensation of being 3-D, and it gives the sensation of having space. What makes the Irises Screen great is its sense of rhythm, its layout, and its felling of life. Placing JoJo characters into that was a good fit. There's the combination of purple and green colors, of course, but the sharp, bouncy grass fit well too. The parts I absorbed from the Irises Screen was the color combination, and the rhythm created by the layout. It's not an imitation so I don't think you would notice Kakisubata-su was the motif if nobody told you.

(The Irises Screen is an art piece that has been designated as a national treasure. It consists of a right side and a left side, and uses green and ultramarine to depict a group of irises in full bloom. This piece could be said to be a representative of not just the Edo period, but all of Japanese art history. It was made by the Edio period artist and craftsman Korin Ogata (1658-1716). His works have been appraised for the strong design sense, and include many paintings, as well as large folding screens, and smaller items, like handheld fans.)

Interviewer: Lately, you original artworks have been ones that bring images of Japanese art to mind. Does that have anything to do with why JoJolion is set in Japan?

Araki: No I don't think so. I've always thought artists like Hokusai Katsushika were really good. There's a part of me that thinks that way because I'm Japanese, but his most famous works really are good. When I draw, I use a flat ukiyo-e style background and my humans have a Renaissance-style 3-dimensional feel to them. It's a fusion of the two, you see?

Interviewer: A combination of Japanese and European?

Araki: Hm, not quite. It's an otherwordly space. What my art does is create a fantasy world.

Interviewer: This time, you official key visuals also have a very 2-dimensional background, right?

Araki: The color of the background is based off the bricks used in European buildings. I could also have made the background bright red, for instance, but I ventured to go with the brick color this time. This brick color was made by mixing 5 colors together. It's a color used in buildings, so it's calming, isn't it?

Luxurious and showy colors are nice too, but i want this art to have a low-key attitude. I don't like to overwhelm the people who come to see it. It's important to be able to relax the atmosphere. So, I'd like people to fell the atmosphere of the place it's displayed in. I also, I hope that they'll display it in a restaurant.

Interviewer: Your last large original art used 12 sheets and had 24 characters. Does the pattern of 12 continue with this one?

Araki: I was a little bit particular with the number 12 on this one, too. That's to align with how there are 24 hours in a day, and so on, that sort of formula of the natural world. I draw my art as a lucky talisman. A guardian deity is another way to put it. I think it's the same with emblems. That's how I draw my art. That's why I use celebratory colors. When I draw, I'm thinking, "I hope good fortune will befall the people who come see this."

Interviewer: Going to the basics, what made you want to hold an art exhibition?

Araki: Manga is something that is printed onto paper and then read, but Weekly Shonen Jump's print quality has always been bad (laughs). I used to think that when there were things that couldn't be expressed through print, that was inevitable, but my desire for people to see the things that couldn't be expressed in print was my motivation for holding art exhibitions. There have been times people would tell me, "it's meaningless to color things in a way that's unprintable", but when I colored, I would think, that's not really true, is it? You might believe that the parts that don't show up in print are wasted, but maybe there's something" that seeps through. Perhaps it's lingering sentiment. I believe that's something that's contained in the originals. My colored style has changed from before, too. In the past, I would only color the parts of the original that would show up in print.

Interviewer: Up until the middle of Part 4, you would draw a rectangle with blue pen to trin out the part you didn't want printed, right?

Araki: That's right. But, somewhere along the line, I decided I'd color in the whole thing.

Interviewer: Around the beginning of Part 5, you started drawing everything, backgrounds and all.

Araki: When you color everything in, you get a sense of satisfaction when the drawing is finished.

Interviewer: And I believe your first art exhibition was around that time too, right? You just suddenly had an individual exhibit in Paris (laughs).

Araki: If I wanted to hold it in Japan, I'd have to work things out with my publisher, and it seemed there would be a lot of work, so I thought, I might as well do it overseas, and had it in Paris.

Interviewer: It was an unusual thing at the time, wasn't it? A manga exhibition is rare enough in itself, and this one was even overseas.

Araki: I've always been fond of Paris, but another factor was I knew someone there. I don't think people put much importance on manga art exhibitions at the time. I think both creators and editing departments went in the direction of wanting to become an anime. But, in my case, I knew someone in Paris. Call it fate or whatever, but everything in Paris just naturally came together, and I got to hold an exhibition in an independent art gallery in one of Paris' finest regions. So it's not like I had to push hard to have it in Paris.

Interviewer: And starting with Paris, you've held exhibitions in your hometown of Sendai, and Tokyo, the Italian city of Florence, Osaka, and now in Nagasaki and Kanazawa.

Araki: I'm pleased and honored to have my exhibitions in such storied cities as Nagasaki and Kanazawa. The exhibition halls, Nagasaki Art Museum and Kanazawa 21st Century Art Musuem, are both amazing buildings. I'm grateful and honored to have my art displayed in such buildings. How will JoJo interact with such spaces? I'm very curious to know myself.


[Translated by Daxing Dan]

Nagasaki Newspaper logo.jpg
Missing translation
Published February 6, 2020

-同時開催の「椛島勝一展」の展示作を選んだ。  (椛島勝一の絵から)僕が勉強させてもらったのは、ペン画の線。本質は、冒険に出ていくロマンを描いている。シルエットや、見えていない風の描き方に影響を受けたので、そうしたことを中心に選んだ。

 -30年以上描き続けている。作者の側に変化は。  若い頃は迫力を追求して、力業で描いたりしている。でも、年齢を重ねると余裕が出てきた。若い頃はビートが激しいけど、今はゆったりした、夜のジャズのような絵を描いてみたいとか、そういうのはある。

 -これからもシリーズを描いていくのか。  「ジョジョ」的な発想で描く。読者もそれを期待しているだろうし、ここで作風を変えることはない。何を描いても、おそらくジョジョになってしまう。ぶれないのが荒木飛呂彦かな。

 -シリーズが終わるときの構想はあるのか。  「ジョジョ」はキャラクターを決めて、そこにストーリーがついていくような作り方をしている。今回は今回、来月は来月っていう作り方で、キャラクターだけが動いていく。そのシリーズのラスト(の構想)はおぼろげにあるが「ジョジョ」のラストは考えたことはない。


Incomplete translation
Published March 25, 2020


Shunichi Ishimoto is the Character Designer and Chief Animation Director for the Thus Spoke Kishibe Rohan (OVA) series. Check his page for more information on him.

- For the drawings, did you feel it was easy to draw JoJo?

Ishimoto No, unfortunately (lol). I was still a newcomer as a key animator when I worked on the 1st season, and there were times back then when I was learning about the basics of animation, so I didn't have a sense that I had any leeway.

The designs in "JoJo" are of such a unique type that I had never come across anything like them up to that point, and I remember the struggle I went through wondering if I could draw this art. So my first impression of it in terms of drawing the animation was that "JoJo" is really difficult.

- By the way, do you remember which was the first scene you drew?

Ishimoto That was in "Youth with Dio," episode 3 of the 1st season. I think it was the scene where the house was on fire, and the main character Jonathan (voiced by: Kazuyuki Okitsu) and Dio (voiced by: Takehito Koyasu) are fighting as they drop down into it. Jonathan removes his belt, and throws it towards Dio.

Looking at the drawings I did back then now, there are places where I say "oh no" at how crude it looks, but it was the best work I could do at the time.

- So in the eight years since then, it wouldn't be an exaggeration to say that you've grown alongside "JoJo."

Ishimoto That's exactly right, and I think that "JoJo" completely allowed me to train myself in basic art skills. In particular with the drawings I did up to "Stardust Crusaders," those were realistic muscular lines, so it was very enlightening as an animator in terms of how to do the bone structure and muscles.

- The character designs and patterns change with each of JoJo's parts, so even though they are all part of a series, this is still quite a difficult title.

Ishimoto That was the one thing that bothered me the most. It's common for techniques used up to a certain point to no longer be usable once the new part starts, so we put it all together while testing out various things every time.




おふたりはともに2012年放送の1st Seasonから制作に参加されていますが、『ジョジョ』の原作を本格的に読んだのは、参加が決まってからだそうですね。どんな感想を抱きましたか?

加藤 「めちゃくちゃよくできているな」が最初の感想でした。それまでメディアで取り上げられる『ジョジョ』って、独特な擬音やポーズ、強烈なセリフなど、型破りなところばかりが注目されていたじゃないですか。それもあって、まさかこんなに丁寧にドラマが作られているとは思っていなかったんですよね。


石本 そうですね。絵柄のクセがかなり強いので、「これは人を選ぶかな」と思いつつ、でもいざ読んでみたら面白くてビックリ

加藤 後で知ったんですが、荒木先生ってすごく映画がお好きなんですよね。それを聞いたときに合点がいったんですが、『ジョジョ』は一見すると荒唐無稽な展開のようにも思えるんですが、じつは情報がかなり整理整頓されていて、マンガっぽい飛躍がほとんどない


加藤 マンガって基本的には“決めゴマ”ありきの媒体ですよね。なので、そこを印象的に見せるために、動きや芝居を大胆に省略することも多い。キャラの立ち位置が一瞬で変化していたりとか、アクションにつながりがなかったりとか。




石本 いえ、残念ながら(笑)。1st Seasonに参加した当時は原画マンとしては新人で、アニメの基礎を勉強している時期だったこともあり、まったくそんな余裕はなかったですね。



石本 1st Seasonの第3話『ディオとの青春』ですね。館が火事になり、主人公のジョナサン(CV:興津和幸)とディオ(CV:子安武人)がもつれあって落下していくなかで、ジョナサンが腰のベルトを抜いてディオを目がけて投げ付けるカットだったと思います。



石本 まさにその通りで、基礎的な画力を鍛えてもらったのは完全に『ジョジョ』だったと思います。とくに『スターダストクルセイダース』までの作画はリアルなマッチョ路線だったので、骨格や筋肉のつき方など、アニメーターとしてすごく勉強になりました。


石本 そこはいちばん頭を悩ますところです。新しい部になるとそれまで使っていた技法が使えなくなることはザラなので、毎回いろいろと研究しながら構築していますね。



加藤 1st Seasonを作り上げたメインスタッフのおかげだと思います。初代監督の津田(尚克)くんやシリーズディレクターの鈴木(健一)さんが中心となり、シリーズの根幹となるコンセプトをしっかりと示してくれたので、ここまでブレずにやってこられました。


加藤 最初に提示されたのが「『ジョジョ』であること」でした。「『ジョジョ』っぽさ」ではなく、「『ジョジョ』であること」が大切だから、擬音を画面に文字で出す手法やジョジョ立ちなど、アニメでは普通やらない表現もすべて原作に寄せていこうと。


加藤 ファンにとって原作を追体験できるようなアニメを作るというのは、このシリーズの命題でしたね。たとえば原作では、不気味さを演出するために霧や煙のような、名状しがたい気体が漂ってとぐろを巻いているコマがよく出てくるんです。


石本 僕もそれは新人の頃から刷り込まれてきました。ただ作画班としては、原作に描き込まれている線の量を完全に再現すると現場が崩壊するのもまた事実なんですよ(笑)。描き込むほどに見栄えがよくなっていくことは念頭に置きつつも、それ以外の手法で「『ジョジョ』であること」を成立させる方法論を模索し続けているんです。



石本 それが、なかなかこればっかりは口では説明できないんですよね。すごく感覚的なものですし、いまだに見失いそうになることもあるので(笑)。


加藤さんは1st Seasonでは演出として参加し、その後チーフ演出やシリーズディレクターも務められましたが、仕事としてはそれぞれどんな違いがあるんですか?

加藤 1st Seasonでは絵コンテと演出をやりました。第2話『過去からの手紙』から始まり、7、14、20、最終話(26話)と担当しましたね。


加藤 当時周りのスタッフから言われていたのは、「人を殺して泣かせるのが上手いね」だったんですよ(笑)。

石本 僕もそう聞いていましたし、実際にそういう印象を持っています。 加藤 あはは。まあ要するに、ドラマチックなパートをしっかり情緒感を持って演出することを期待されての起用だと思い、そこは意識していました。


加藤 最初に担当した1st Seasonの第2話です。ラグビーのシーンで、ジョナサンが相手選手3人を引きずりながらも前進をやめないというシーンがあって、それがすごく印象に残っていますね。




そして続く2nd Season『スターダストクルセイダース』では、チーフ演出を担当されました。どのようなお仕事内容だったのでしょう?

加藤 基本的には1st Seasonと同じなんですが、津田くん(ディレクター)や鈴木さん(シリーズディレクター)がチェックしきれないところをバックアップしたり、ラッシュチェック(各カットを断片的につないだ映像の確認作業)に行ったりと、補佐的な役割もしました。

そして、3rd Season『ダイヤモンドは砕けない』でシリーズディレクターとなります。こちらの具体的な仕事内容は?

加藤 鈴木さんが別作品に入っていたので、その代わりですね。シナリオ会議に参加し、津田くんが行けない場合は僕が代わりにアフレコやダビングなどの外仕事を担当していました。改めて振り返ると、『ジョジョ』シリーズではいろいろなことを経験させてもらって、すごく新鮮な日々でしたね。


石本 たとえば第1話『空条承太郎!東方仗助に会う』だと、冒頭で仗助(CV:小野友樹)に絡むヤンキーたちとかですね。それ以外にも画面に映る通行人やモブ(キャラクター名がないような端役)など、メインキャラ以外のほぼすべてという感じです。


おふたりは1st Seasonから長年お仕事をされてきていると思いますが、それぞれの仕事ぶりにはどんな印象を持たれていますか?

加藤 石本さんは、僕が想像しているよりも30~40%くらい濃い絵に仕上げてくれるアニメーターさんです(笑)。作業的にはかなり大変なので、珍しいタイプなんですよ。アニメーターであれば、基本的になるべく少ない線で描きたいじゃないですか。体力的にもキツいですし、そのほうが枚数も稼げますから。

でも石本くんはとくに指示を入れていなくても、ここぞというカットは率先してガンガン濃い目に描いてくるんですよね。 石本 『ジョジョ』シリーズは基本的に濃い作画が特徴ですし、何より作画班のあいだでは当時「濃さ合戦」みたいになっていたので(笑)。


石本 純粋にスゴい方だなというのが率直な印象です。原画の修正指示が明確で、なぜこういう芝居にしたいのか、その意図がバシッと伝わってくるんですね。それと、何気に絵も上手いんですよ。むしろ僕より上手いんじゃないですか? 加藤 そんなわけないでしょう(笑)。


石本 そうですね。普通の演出家さんは文字やごく簡素な絵で修正指示を入れるんですが、加藤さんは原画の線を直接修正されることも多いんです。それで、その絵がまた上手いんですよね。


加藤 違います。『ジョジョ』シリーズに参加する前からそうなんですが、文字だけだと自分の意図が伝わらない経験を重ねてきたもので、いつしかレイアウトの修正指示を絵で描くようになり、さらにはラフ原画のようなものを描いて渡すようになってしまって(笑)。




加藤 プロデューサーから直接オファーをいただいたと思います。 石本 僕も同じですね。メインキャラのキャラクターデザインは初めてだったのでプレッシャーは大きかったんですが、こういう怪奇モノは個人的にも好きなジャンルですので、ぜひやってみたいなと。 加藤 ちょうど『ダイヤモンドは砕けない』の終盤、仗助たちと吉良吉影(CV:森川智之)との最終決戦を制作中だったので、とりあえずこれが終わってから考えようと(笑)。


石本 まあでも、『ジョジョ』はすべてがそうですから(笑)。間違いなく大変ではあるけれど、その反面チャレンジのしがいもあるので、いつものようにリサーチと実験を繰り返しながら作り上げていった感じですね。 加藤 このシリーズでの岸辺露伴(CV:櫻井孝宏)って、自分自身が事件に巻き込まれることも多いんですけど、オムニバスドラマ『世にも奇妙な物語』におけるタモリさんのような、ストーリーテラーの立ち位置なんですよね。冒頭は必ず日常から入り、そこから非日常となり、最後にはまた日常に戻ってくるのがお約束。



石本 いえ、むしろものすごく難しいキャラクターです。言葉にするのは難しいんですけど、目の描き方とか、顔全体のバランスとか、シルエットとか、少し崩れるだけで露伴っぽくならなくて。




加藤 最初に悩んだのはまさにそこですね。当時の絵柄に合わせるのか、それとも最近の絵柄に合わせるのか。 石本 2本のエピソードで絵柄がまったく違うのも違和感があるので、ビジュアル的には統一しようということになったんです。集英社さんやワーナーさん、荒木先生とも相談して、結果的に最近の絵柄にアップデートしました。


石本 そうです。最新となる『黄金の風』で使った技法もフィードバックさせて、新たにキャラクターデザインを起こし直しています。


加藤 もちろんファンサービスの一環ではありつつ、でも演出上の必然性もあったので、これは自分でも上手く取り込めたなと思います。くわしくはご覧になってのお楽しみですが、『ジョジョ』本編のファンの方にとっては楽しんでいただけるのではないかと思います。


石本 作画的には、いつもの『ジョジョ』らしく、楽しんで描くことができましたね。 加藤 太陽と空とポップコーンという、シンプルなアイテムをじつに荒木先生らしいレンズと構図で捉えている作品で、演出的には新鮮さも感じました。これまでにないダイナミックさを、アニメでもしっかりと再現できたと思います。



加藤 このエピソードに関しては、陽馬の異常性をどうやって見せるかというところがポイントでした。


石本 露伴と陽馬のプッシュアップ対決のシーンは、オリジナルですよね。 加藤 そうです。最後のトレッドミルでの走行対決に説得力を持たせるために、露伴と陽馬の因縁をより明確にしておきたかったんです。


石本 このエピソードに関してはアニメーターの津曲大介さんのアイデアが素晴らしくて、たとえば冒頭の露伴先生はしょんぼりした感じを強調するために、いつもはピンと張っている前髪をちょっと垂れ気味にしていたり(笑)。


加藤 あのトレッドミル対決は、冷静に考えると2台のトレッドミルでふたりが並走しているだけなので、そのままだとビジュアル的にはかなり地味になってしまうんですね。だから絵も音も演技も思いっきり誇張したものにして、可能な限り緊迫感を出すように工夫しました。


加藤 陽馬役の内山昂輝さんは初参加なのでキツかったと思いますね。おそらく『ジョジョ』の現場の過酷さに驚かれたでしょう(笑)。ですが、お芝居はすごくよかったです。



加藤 1st Seasonから、『ジョジョ』のアフレコはとにかく大変なんです。つねに最大級の熱量と声量を要求せざるを得ず、この後にもう1本収録があったらどうするんだろうと、勝手ながらこちらが心配になるレベルなんです。いつもキャストの皆さんには「ごめんなさい」って思っていますね。



加藤 4本ともまったく違うフィルムになったと思います。『富豪村』は丁寧でオーソドックスな表現路線だし、『六壁坂』は副監督を担当したソエジマヤスフミさんの個性が爆発していて、新作2本とはまた違うテイストなんです。

原作ファンはもちろん、アニメ版のファンにとっても本編とはまた違った楽しみ方ができる作品だと思います。 石本 作画的にもいろいろな挑戦をした作品ですし、アニメオリジナルのシーンや要素もけっこう盛り込んであるので、ぜひ楽しんでいただきたいなと思います。 [23]


Incomplete translation
Missing translation
Published March 25, 2020


Kato: He did want a number of changes made to certain characters from "The Run", such as Yoma. The initial character designs emphasized their physical builds because the story was about weight training, but he said to make them "even more muscular".

Ishimoto: He said to make them about as buff as they were between Part 1 and Part 3. The bald-headed gym patron in particular was the character that required the most revising. During the design process, Mr. Araki said to make him "about as buff as Dwayne 'The Rock' Johnson", and we thought he was kidding because that would be deviating a bit from the original work, but it turns out he was serious (laughs).


Cyber Festival poster.jpg
Published July 19, 2020


- Up the volume ! - JO ☆ STARS 〜TOMMY, CODA, JIN〜 feat.DAISUKE HASEGAWA in interview 07/19/2020

As part of the Cyber ​​Animation Festival organized by ADN, the artists Hiroaki "TOMMY" Tominaga (HT), Coda, Jin Hashimoto (JH), members of the group JO ☆ STARS, as well as Daisuke Hasagawa (DH) were interviewed and revealed a little more about them.

For today's interview, I have the artists Tominaga "TOMMY" Hiroaki, Jin Hashimoto and Coda. Together they form the JO ☆ STARS group. Finally, Daisuke Hasegawa (DH waves at the audience). To begin with, I present their profiles to you.

- Tominaga "TOMMY" Hiroaki: he sings the 1st opening of the "JoJo's Bizarre Adventure" anime, which is called "Sono chi no Sadame". He also sings the opening of the anime "Yu-Gi-Oh VRAINS", commercial songs, he sings a lot of songs. He is also a member of the group "Betchin '".

- Jin Hashimoto: He is a singer and vocal trainer. He sings the opening of the "JoJo's Bizarre Adventure" anime in season 3, "Stand Proud". And also, he sings the opening of the anime "Megaman NT Warrior" "Rockman no theme ~ Kaze wo Tsukinuke te ~". We can also hear you on endings of the Tokusatsu series, you are also active in the "Earth, Wind & Fire" cover group named"Earth, Wind & Fighters" or in the group "Betchin '". You are also a vocal trainer for famous singers.

- Coda: You are singer, songwriter and guitarist, interpreter of the opening of season 2 of "JoJo's Bizarre Adventure" which is called "Bloody Stream" as well as that of season 5 "Fighting Gold". You are known for the 9th ending of the anime "Naruto" which is called "No Regret Life".

- Finally the guitarist, singer and composer Daisuke Hasegawa. You sing the opening of season 4 of "JoJo's Bizarre Adventure" which is called "Great Days". You also sang the ending of the anime "Gundam G no reconquista". You have participated in drama and film soundtracks in many styles.

The animated "JoJo's Bizarre Adventure" brings together a lot of fans, not only in Japan but also in other countries. Openings music is part of this fan craze. Did you feel that there are a lot of foreign fans?

HT: I am present on social networks. On Twitter for example, I have foreign followers, some are Asian, others come from America. I feel there are people all over the world who love JoJo and encourage me.

Jin, what about you?

JH: JO ☆ STARS does live streams on the internet and we often see comments from foreigners. It gives the feeling of being really followed.

What does Coda think?

Coda: Yes I share that feeling. When we look at Twitter in particular, the reactions are enormous, I think. Especially since season 5 began. For example, in Italy there was a lot of enthusiasm among fans from Southern Europe.

Among Italian fans in particular?

Coda: In Italy and France too. In Portugal, Spain ... This is the case across different countries.

It really is. I have a friend who has a tattoo from JoJo's Bizarre Adventure that says "Ora ora ora ora!" (laughs) JoJo fans stretch beyond borders. Finally, Daisuke Hasewaga, how are you feeling?

DH: Once I did a live with JO ☆ STARS in Phoenix in the United States. This time, fans from all over the world were waiting for us. It was on this occasion that I felt the presence of the international fans the most. 10 minutes before we went on stage, they started shouting "Jojo! JoJo!", That communicated their emotion to us.

Coda: I told myself that they were going to eat us! (laughs)

Have you ever been to France? Are there any places you would like to see? Things you would like to do? First, Tommy?

HT: I went to France about 8 years ago. It was a private trip. I went to Paris.

So what did you think of Paris?

HT: Obviously, there were beautiful landscapes and good food. It really is Paris. Around the Eiffel Tower or the Arc de Triomphe, there are no tall buildings. I think it's a pretty, well-appointed city.

I hope you will still have a great time in France.

HT: Yes!

Jin Hashimoto?

JH: Yeah, I have a salsa band called "Orquesta de la Luz". We had a European tour. It was on this occasion that I came to France. The tour schedule was busy, we were often in a hurry. In the car, I was woken up by my companions and they told me "It's the Arc de Triomphe!", "It's the Eiffel Tower!". I especially remember rubbing my sleepy eyes. It was really like that. I could not take the time to visit this beautiful city.

I hope that next time you will have time ... And you Coda?

Coda: As far as I'm concerned, I've never been to France before. I would like to go there eh ... It's a great classic. I saw France mostly through photos and videos, but I would really like to see these landscapes with my own eyes.

How about you Daisuke Hasegawa?

DH: I love the U2 group. There is a song called "Beautiful Days" and in the music video there are scenes shot in Charles de Gaulle airport. So I would like to go there once.

Hope you get the chance to go. JO ☆ STARS and Daisuke Hasegawa, how did you start to do concerts together?

DH: To follow up on what I was telling you about just before, we started by doing concerts in the United States. It was our debut together.

Was it the first all together?

DH: Yes, absolutely. In fact, did we do live in Japan?

Coda: We don't just do music events so I don't remember doing a long concert there all together.

DH: I did a live duet with Coda.

Coda: It was an event for season 5 of JoJo's Bizarre Adventure.

DH: With JO ☆ STARS, my first concert was in the United States.

JH: Indeed.

Coda: Actually it's quite rare.

DH: We mostly meet abroad. (laughs) I watched them on television, those three. I was watching the JoJo's Bizarre Adventure anime and there was an advertisement for the JO ☆ STARS concerts. When I saw that I was like "Wow, they're so cool!" And now we do shows together abroad.

Is this training mainly done abroad?

Coda: If there weren't any overseas invitations, we wouldn't all get together ...

HT: So I think tonight is a rare opportunity.

I think the French fans will be super happy to see you all. Then I have a few individual questions. TOMMY, the opening "Sono chi no Sadame" made an impression. Everyone remembers the passage "JoooooooooooooooooooooooooooJo". It's a song that sounds very powerful with your voice. How was the recording done?

HT: There was an audition for the main song of the new project. I was invited and I went to Master Tanaka. I received a CD and tried to sing over it. So the master said to me "Ah, can you sing like that?". He continued with: "From there, we will try together". It happened quickly. I was led by Master Tanaka but it was really hot.

That is to say?

HT: For example, once, I sang with all my strength but he said "Tommy! Hotter !! You can do more energetic !! It's not the right note! You didn't reach it! ! " That’s why it was hot.

TOMMY, you have an aura close to the universe of JoJo's Bizarre Adventure. If you were a character in the anime, what genre would you choose? How would you like to try some extravagant dress style?

HT: While I'm already wearing this! (shows his coat) I did the design myself.

Did you do this yourself?

HT: I had an image in mind. As I'm singing the opening for season 1, I wanted something reminiscent of the end of the 19th century. And something a little gothic.

Indeed, you do stand out. It's quite different from what other members wear! It's awesome, I love it!

HT: I kind of wanted to express my respect for this work. It's an excellent work and I wanted to get closer to his universe. If I had to try on a character's outfit, I like red and it's my favorite color, so I would come close to Mohammed Abdul's style in season 3.

Thank you so much. Jin Hashimoto, you sing the opening of season 3 of JoJo's Bizarre Adventure called "Stand Proud". In what state of mind did you approach the song?

JH: When I sang this song, I had an image of power. I thought about how to express this "power"; I tried to sing in several ways. It was at the end that I managed to place my voice. We had to try several versions.

So you didn't have that image in mind at the start?

JH: I searched all along. "Could it be that? Or that?" In the end, I said to myself, it was a journey.

Thank you for these explanations. Coda, you sing the opening of season 2 of JoJo, "Bloody Stream" as well as the opening of season 5 of JoJo, "Fighting Gold". You also wrote songs for season 4 like "Crazy Noisy Bizarre Town". Do you have a different approach to singing and songwriting?

Coda: First, I start by singing without thinking. I ask myself: "Why do they choose me?". Of course they often ask me for a singing style. When I sang "Bloody Stream" for the first time, I was asked to be more provocative. I was starting to wonder in this anime kitchen. ??? I started in season 4 by composing the track "Crazy Noisy Bizarre Town". The setting of season 4 becomes more ordinary than so far in season 3. It is the story of a high school student in a city in Japan. I was asked not to use a minor scale, they wanted a major scale to give a bright side. While composing this song, I was wondering "How can I put my own color in it?" I was necessarily thinking of a melody that was easy to remember. I realized that's what was needed and the lyrics came after. After that, the melody really came out of my body naturally.

Let's move on to Daisuke Hasegawa. How did you get started working on an opening for JoJo's Bizarre Adventure.

DH: I started by singing one of the soundtracks for season 4. In the story, you hear the song through the radio. It was the opportunity to be heard by the producer. This is how I started.

You composed the opening "Uragirimono no Requiem". How did you feel when you heard this song for the first time?

DH: When I composed it for the first time .. in fact I had first listened to two other songs before for the opening of season 5. At the beginning there were two mockups during the development of the song. BO. It was me who sang on their demos. The first was very cool and the second just as cool. The third became "Uragirimono no Requiem". And when I heard for the first time, it struck me as really difficult. I wondered if I was up to it.

Did this difficulty worry you?

DH: They actually asked me, "Don't take a nice voice." But that's what I like to do. They wanted me to force my voice, to push my limits, even if some notes were not perfect.

You are able to sing many styles. What kind of song would you like to develop in the future?

DH: What kind of song would I like to develop? There are plenty of them I think. At JO ☆ STARS there are also many different voices. I would like to try metal. A Metal voice, type "Death". This is something that I have no control over. They are the ones who have many voices.

Coda: Me, I only have one type of voice.

JH: Really?

Coda: Yeah, a style. It is Jin who has a wide range of voices.

JO ☆ STARS, are there types of songs you want to try?

HT: Me, I sing violent and sharp songs. I would like to open up to more derisory things. Sing songs just for fun, where you move your hands. That sounds good to me!

I would love to see that with Tommy! (laughs)

JH: For my part, I would like to sing with a high pitch in the style of "False" / falsetto. In my cover band Earth Wind & Fire, there are this type of songs but outside of this project, I rarely sing with my voice in the falsetto style.

Thank you for the clarification. What about you Coda?

Coda: Thinking of France, I say to myself “Maybe Bossa Nova?” or in the French pop genre? I tell myself that I have never done this kind of song. So why not give it a try? But it will surely be with the same voice / (laughs)

DH: I will want to hear Coda's voice on Bossa Nova!

Right after you are going to do a concert for us, but this time it's exclusively on the web. It must be quite different from your live shows on tour, how do you feel? Tommy?

HT: When there are spectators in the room, it really excites me, but there are surely more people behind the camera than I think. To these people, I would like to pass on, eye to eye, the "Jo" of "JoJo"! I would really like to create this closeness. It is with this state of mind that I will sing.

I have goose bumps. What about you Jin Hashimoto?

JH: Indeed, we always sing in front of our audience. It's worrying not to have this direct exchange, this feedback from the room. For me, the cameras will sort of become a part of the audience.

And how does Coda feel?

Coda: I think that thanks to this livestream we can establish a link between France and Japan. It's obviously better to do it live on site and play in front of our French fans. The current context being what it is, I immediately think of the positive of the situation. If it was not in this form, conversely there would be people who would not see the concert. In this sense the situation allows that. The more people we can reach, the happier it makes us. It is also a way to reach a new audience.

What about Daisuke Hasegawa?

DH: Personally, I like to watch concert videos. How to say ? For example, when you go to see Radiohead from afar, the stage seems small, right? In a way, home is bigger. So it will give greater proximity than in a normal concert. It's difficult at the moment with the coronavirus, but we keep the spirit positive. Like magic, we hope you have a good time and I think that's a good thing. So prepare your seats, and heat the place! Even via the internet, we will sing with all our strength!

For this festival organized by ADN, I think it's a joy for the French fans. Do you have a message for them?

HT: In France or around the world, we have comrades who adore JoJo's Bizarre Adventure. I want us all to have a good time together.

JH: Maybe you are all ready already? So, let's have fun now!

Coda: I thought it would be a good opportunity. I would really like to come and sing in France afterwards. I hope to meet you directly in the near future. Today I'm going to sing, hoping for that.

I think that's what the fans are waiting for. We would really like it to happen. Finally, Daisuke Hasegawa?

DH: Japan and France are quite far apart, but with the internet you can see us and listen to us in an instant. It's a great time. If we call back, shout in front of your screen! Sing with us! If we hear you, we can better assure. Let's sing together!

Thank you ! I let you prepare for the concert which is about to begin, I make a point of attending it. Thank you all for this interview, thank you!

Translated by Nabu.


– Monte le son ! – JO☆STARS 〜TOMMY,CODA,JIN〜 feat.DAISUKE HASEGAWA en interview 19/07/2020

Dans le cadre du Cyber Festival de l'Animation organisé par ADN, les artistes Hiroaki "TOMMY" Tominaga (H.T.), Coda, Jin Hashimoto (J.H), membres du groupe JO☆STARS, ainsi que Daisuke Hasagawa (D.H.) ont été interviewés et en ont révélé un peu plus sur eux.

Pour l'interview d'aujourd'hui, je reçois les artistes Tominaga "TOMMY" Hiroaki, Jin Hashimoto et Coda. Ensemble ils forment le groupe JO☆STARS. Enfin, Daisuke Hasegawa (D.H. salut l'audience). Pour commencer, je vous présente leurs profils.

- Tominaga "TOMMY" Hiroaki : il chante le 1er opening de l'animĂŠ "JoJo's Bizarre Adventure" qui s'appelle "Sono chi no Sadame". Il chante aussi l'opening de l'animĂŠ "Yu-Gi-Oh VRAINS", des chansons de publicitĂŠ, il chante beaucoup de chansons. Il est ĂŠgalement membre du groupe "Betchin'".

- Jin Hashimoto : Il est chanteur et entraĂŽneur de vocal. Il interprète l'opening de l'animĂŠ "JoJo's Bizarre Adventure" de la saison 3, "Stand Proud". Et aussi, il chante l'opening de l'anime "Megaman NT Warrior" "Rockman no theme ~ Kaze wo Tsukinuke te ~". On peut aussi vous entendre sur des endings de la sĂŠrie Tokusatsu, vous ĂŞtes aussi actif dans le groupe de reprise "Earth, Wind & Fire" intitulĂŠ "Earth, Wind & Fighters" ou encore dans le groupe "Betchin'". Vous ĂŞtes aussi entraĂŽneur vocal pour de cĂŠlèbres chanteurs.

- Coda : Vous ĂŞtes chanteur, compositeur et guitariste, interprète de l'opening de la saison 2 de "JoJo's Bizarre Adventure" qui s'appelle "Bloody Stream" ainsi que celui de la saison 5 "Fighting Gold". Vous ĂŞtes connu pour le 9e ending de l'animĂŠ "Naruto" qui s'intitule "No Regret Life".

- Enfin le guitariste chanteur et compositeur Daisuke Hasegawa. Vous chantez l'opening de la saison 4 de "JoJo's Bizarre Adventure" qui s'intitule "Great Days". Vous avez aussi chantĂŠ l'ending de l'animĂŠ "Gundam G no reconquista". Vous avez participĂŠ aux BO de dramas et de films dans bien des styles.

L'animĂŠ "JoJo's Bizarre Adventure" rassemble beaucoup de fans, que ce soit au Japon mais aussi dans d'autres pays. Les musiques d'openings participent Ă  cet engouement des fans. Est-ce que vous avez ressenti qu'il y a beaucoup de fans ĂŠtrangers ?

HT : Je suis prĂŠsent sur les rĂŠseaux sociaux. Sur Twitter par exemple, j'ai des followers ĂŠtrangers, certains sont asiatiques, d'autres viennent d'AmĂŠrique. Je sens qu'il y a des gens dans le monde entier qui aiment JoJo et qui m'encouragent.

Jin, qu'en est-il pour vous ?

JH : JO☆STARS fait des live sur internet et on voit souvent des commentaires d'ĂŠtrangers. Ca donne le sentiment d'ĂŞtre vraiment suivi.

Qu'en pense Coda ?

Coda : Oui je partage cette sensation. Quand on regarde Twitter notamment, les rĂŠactions sont ĂŠnormes, je trouve. Surtout depuis que la saison 5 a commencĂŠ. Par exemple, en Italie, il y avait beaucoup d'enthousiasme chez les fans d'Europe du Sud.

Chez les fans italiens notamment ?

Coda : En Italie et en France aussi. Au Portugal, en Espagne... C'est le cas Ă  travers diffĂŠrents pays.

C'est vraiment çà. J'ai un ami qui a un tatouage issu de JoJo's Bizarre Adventure oĂš est ĂŠcrit "Ora ora ora ora !" (rires) Les fans de JoJo s'ĂŠtendent au-delĂ  des frontières. Enfin, Daisuke Hasewaga, quel est votre sentiment ?

DH : Une fois j'ai fait un live avec JO☆STARS Ă  Phoenix aux Etas-Unis. Cette fois-lĂ , des fans du monde entier nous attendaient. C'est Ă  cette occasion que j'ai le plus ressenti la prĂŠsence des fans internationaux. 10 minutes avant qu'on monte sur scène, il ont commencĂŠ Ă  crier "Jojo ! JoJo !", çà nous a communiquĂŠ leur ĂŠmotion.

Coda : Moi je me suis dit qu'ils allaient nous manger ! (rires)

Etes-vous dĂŠjĂ  venu en France ? Y-a-t'il des endroits que vous voudriez voir ? Des choses que vous souhaiteriez faire ? D'abord, Tommy ?

HT : Je suis allĂŠ en France il y a 8 ans environ. C'ĂŠtait un voyage privĂŠ. Je suis allĂŠ Ă  Paris.

Alors, qu'avez-vous pensĂŠ de Paris ?

HT : Evidemment, il y avait de beaux paysages et des bons plats. C'est vraiment Paris. Autour de la Tour Eiffel ou de l'Arc de Triomphe, il n'y a pas de grands immeubles. Je pense que c'est une jolie ville bien agencĂŠe.

J'espère que vous passerez encore de beaux moments en France.

HT : Oui !

Jin Hashimoto ?

JH : Oui, j'ai un groupe de salsa qui s'appelle "Orquesta de la Luz". Nous avions une tournĂŠe europĂŠenne. C'est Ă  cette occasion que je suis venu en France. Le programme de la tournĂŠe ĂŠtait chargĂŠ, nous ĂŠtions souvent pressĂŠs. Dans la voiture, j'ai ĂŠtĂŠ rĂŠveillĂŠ par mes compagnons et ils m'ont dit "C'est l'Arc de Triomphe!", "C'est la tour Eiffel!". Je me souviens surtout d'avoir frottĂŠ mes yeux endormis. C'ĂŠtait vraiment comme ça. Je ne pouvais prendre le temps de visiter cette jolie ville.

J'espère que la prochaine fois vous aurez le temps... Et vous Coda ?

Coda : En ce qui me concerne, je ne suis encore jamais allĂŠ en France. J'aimerais bien y aller hein ... C'est un grand classique. J'ai vu la France surtout Ă  travers des photos et vidĂŠos, mais j'aimerai vraiment voir ces paysages de me propres yeux.

Et vous Daisuke Hasegawa ?

DH : J'adore le groupe U2. Il y a une chanson qui s'appelle "Beautiful Days" et dans le clip vidĂŠo, il y a des scènes tournĂŠes dans l'aĂŠroport Charles de Gaulle. Donc j'aimerais bien y aller une fois.

J'espère que vous aurez l'occasion d'y aller. JO☆STARS et Daisuke Hasegawa, comment avez-vous commencĂŠ Ă  faire des concerts ensemble ?

DH : Pour faire suite Ă  ce dont je vous parlais juste avant, nous avons commencĂŠ par faire des concerts aux Etats-Unis. C'ĂŠtait nos dĂŠbuts ensemble.

C'ĂŠtait la première tous ensemble ?

DH : Oui, tout Ă  fait. En fait, on a fait des live au Japon ?

Coda : On ne fait pas seulement des ĂŠvènements de musique donc je ne me souviens pas y avoir fait un long concert tous ensemble.

DH : J'ai fait un live en duo avec Coda.

Coda : C'ĂŠtait un ĂŠvènement pour la saison 5 de JoJo's Bizarre Adventure.

DH : Avec JO☆STARS, mon premier concert ĂŠtait aux Etats-Unis.

JH : Effectivement.

Coda : En fait c'est assez rare.

DH : On se rĂŠunit surtout Ă  l'ĂŠtranger. (rires) Moi, je les regardais Ă  la tĂŠlĂŠvision, ces 3 lĂ . Je regardais l'animĂŠ de JoJo's Bizarre Adventure et il y avait une publicitĂŠ des concerts de JO☆STARS. Quand j'ai vu ça, je me suis dit "Ouah, ils sont trop cool !" Et maintenant, on fait des shows ensemble Ă  l'ĂŠtranger.

Cette formation se fait surtout Ă  l'ĂŠtranger ?

Coda : S'il n'y avait pas d'invitations Ă  l'ĂŠtranger, on ne se rĂŠunirait pas tous...

HT : Donc je pense que ce soir, c'est une opportunitĂŠ rare.

Je pense que les fans français seront super contents de vous voir au complet. Ensuite, j'ai quelques questions individuelles. TOMMY, l'opening "Sono chi no Sadame" a marquĂŠ les esprits. Tout le monde se rappelle du passage "JoooooooooooooooooooooooooJo". C'est une chanson qui semble très puissant avec votre voix. Comment s'est fait l'enregistrement ?

HT : Il y avait une audition pour la chanson principale du nouveau projet. On m'a invitĂŠ et je suis allĂŠ chez maĂŽtre Tanaka. J'ai reçu un CD et j'ai essayĂŠ de chanter par dessus. Alors le maĂŽtre m'a dit "Ah, tu peux chanter comme ça?". Il a enchainĂŠ par : "A partir de lĂ , on va essayer ensemble". Ca s'est fait rapidement. J'ĂŠtais dirigĂŠ par maĂŽtre Tanaka mais c'ĂŠtait vraiment chaud.

C'est Ă  dire?

HT : Une fois par exemple, j'avais chantĂŠ de toutes mes forces mais il m'a dit "Tommy! Plus chaud !! Tu peux faire plus ĂŠnergique !! C'est pas la bonne note ! Tu ne l'as pas atteinte !" Voila pourquoi c'ĂŠtait chaud.

TOMMY, vous avez une aura proche de l'univers de JoJo's Bizarre Adventure. Si vous ĂŠtiez un personnage dans l'animĂŠ, quel genre choisiriez-vous? Aimeriez-vous tenter un style vestimentaire extravagant?

HT : Alors que je porte dĂŠjĂ  ça! (montre son manteau) J'ai fait moi-mĂŞme le design.

Vous avez fait ça vous-mĂŞme ?

HT : J'avais une image en tĂŞte. Comme je chante l'opening de la saison 1, je voulais quelque chose qui rappelle la fin du XIXe siècle. Et un peu gothique.

Effectivement, vous vous dĂŠmarquez. C'est assez diffĂŠrent de ce que portent les autres membres ! C'est gĂŠnial, j'adore !

HT : Je voulais en quelque sorte exprimer mon respect pour cette oeuvre. C'est une oeuvre excellente et je voulais me rapprocher de son univers. Si je devais essayer la tenue d'un personnage, j'aime le rouge et c'est ma couleur prĂŠfĂŠrĂŠe, donc je me rapprocherais du style de Mohammed Abdul dans la saison 3.

Merci beaucoup. Jin Hashimoto, vous chantez l'opening de la saison 3 de JoJo's Bizarre Adventure qui s'appelle "Stand Proud". Dans quel ĂŠtat d'esprit avez-vous abordĂŠ la chanson ?

JH : Quand j'ai chantĂŠ ce morceau, j'ai eu une image de puissance. J'ai rĂŠflĂŠchi Ă  comment exprimer cette "puissance"; j'ai essayĂŠ de chanter de plusieurs façons. C'est Ă  la fin que j'ai rĂŠussi Ă  placer ma voix. Il a fallu essayer plusieurs versions.

Donc vous n'aviez pas cette image en tĂŞte au dĂŠpart ?

JH : J'ai cherchĂŠ tout du long. "C'est peut-ĂŞtre ça? ou ça?" Au final, je me suis dit, ça a ĂŠtĂŠ un cheminement.

Merci pour ces explications. Coda, vous chantez l'opening de la saison 2 de JoJo, "Bloody Stream" ainsi que l'opening de la saison 5 de JoJo, "Fighting Gold". Vous avez aussi composĂŠ des titres de la saison 4 comme "Crazy Noisy Bizarre Town". Avez-vous une approche diffĂŠrente pour le chant et la composition ?

Coda : D'abord, je commence par chanter sans rĂŠflĂŠchir. Je me demande : "Pourquoi ils me choississent ?". Bien sĂťr ils me demandent souvent un style de chant. Quand j'ai chantĂŠ pour la première fois "Bloody Stream", on m'a demandĂŠ d'ĂŞtre plus provocant. Je commençais Ă  me demander dans cette cuisine d'animĂŠs. ??? J'ai commencĂŠ dans la saison 4 en composant le titre "Crazy Noisy Bizarre Town". Le cadre de la saison 4 devient plus ordinaire que jusqu'Ă  prĂŠsent dans la saison 3. C'est l'histoire d'un lycĂŠen dans une ville au Japon. On m'a demandĂŠ de ne pas utiliser de gamme mineure, ils voulaient une gamme majeure pour donner un cĂ´te lumineux. En composant cette chanson, je me demandais "Comment est ce que je peux y mettre ma propre couleur ?" Je pensais forcĂŠment Ă  une mĂŠlodie facile Ă  retenir. J'ai rĂŠalisĂŠ que c'est ce qu'il fallait et les paroles sont venues après. Après, la mĂŠlodie est vraiment sortie naturellement de mon corps.

Passons Ă  Daisuke Hasegawa. Comment avez-vous commencĂŠ Ă  travailler sur un opening de JoJo's Bizarre Adventure.

DH : J'ai commencĂŠ par chanter l'une des BO de la saison 4. Dans l'histoire, on entend la chanson Ă  travers la radio. Ca a ĂŠtĂŠ l'occasion d'ĂŞtre entendu par le producteur. VoilĂ  comment j'ai commencĂŠ.

Vous avez composĂŠ l'opening "Uragirimono no Requiem". Qu'avez-vous ressenti lorsque vous avez entendu cette chanson pour la première fois ?

DH : Quand je l'ai composĂŠ pour la première fois.. en fait j'avais d'abord ĂŠcoutĂŠ deux autres chansons avant pour l'opening de la saison 5. Au dĂŠbut, il y avait deux maquettes pendant l'ĂŠloboration de la BO. C'ĂŠtait moi qui chantait sur leurs dĂŠmos. La première ĂŠtait très cool et la deuxième tout autant. La troisième est devenue "Uragirimono no Requiem". Et quand j'ai entendu pour la première fois, elle m'a parue vraiment difficile. Je me demandais si j'ĂŠtais Ă  la hauteur.

Cette difficultĂŠ vous inquiĂŠtait ?

DH : En fait, ils m'ont demandĂŠ : "Ne prend pas une belle voix" C'est pourtant ce que j'aime faire. Ils voulaient que je force ma voix, que je repousse mes limites, quitte Ă  ce que certaines notes ne soient pas parfaites.

Vous ĂŞtes capable de chanter de nombreux styles. Quel type de chanson auriez-vous envie de dĂŠvelopper Ă  l'avenir ?

DH : Le type de chanson que j'aimerais dĂŠvelopper ? Il y en a pleins je pense. Chez JO☆STARS aussi il y a beaucoup de voix diffĂŠrentes. J'aimerais essayer le mĂŠtal. Une voix MĂŠtal, type "Death". C'est quelque chose que je ne maĂŽtrise pas. C'est eux qui ont plein de voix.

Coda : Moi, je n'ai qu'une type de voix.

JH : Vraiment ?

Coda : Oui, un style. C'est Jin qui a une grande palette de voix.

JO☆STARS, y a-t'il des types de chansons que vous voulez essayer ?

HT : Moi, je chante des chansons violentes et pointues. J'aimerais bien m'ouvrir Ă  des choses plus dĂŠrisoires. Chanter des chansons justes pour m'amuser, oĂš on bouge les mains. Ca me dirait bien !

J'aimerais voir ça chez Tommy ! (rires)

JH : Pour ma part, j'aimerais chanter avec un ton aigĂźe dans le style de "False"/falsetto. Dans mon groupe de reprise Earth Wind & Fire, il y a ce type de morceaux mais en dehors de ce projet, je chante rarement avec ma voix dans le style falsetto

Merci pour ces prĂŠcisions. Et vous Coda ? n Coda : En pensant Ă  la France, je me dis "Peut-ĂŞtre de la Bossa Nova ? " ou dans le genre pop française ? Je me dis que je n'ai jamais fait ce genre de chansons. Alors pourquoi pas essayer ? Mais ce sera sĂťrement avec la mĂŞme voix/ (rires)

DH : J'aurai envie d'entendre la voix de Coda sur de la Bossa Nova !

Juste après vous allez nous faire un concert mais cette fois c'est exclusivement sur le web. Ca doit ĂŞtre assez diffĂŠrent de vos lives en tournĂŠe, comment le sentez-vous ? Tommy ?

HT : Quand il y a des spectateurs dans la salle, ça m'ĂŠmoustille vraiment, mais il y a sĂťrement plus de monde que je ne pense derrière la camĂŠra. A ces gens, je voudrais transmettre, les yeux dans les yeux, le "Jo" de "JoJo" ! J'aimerais vraiment crĂŠer cette proximitĂŠ. C'est avec cet ĂŠtat d'esprit que je chanterai.

J'en ai la chair de poule. Et vous Jin Hashimoto ?

JH : Effectivement, nous chantons toujours devant notre public. C'est inquiĂŠtant de ne pas avoir cet ĂŠchange direct, ce retour de la salle. Pour moi, les camĂŠras deviendront en quelque sorte une partie du public.

Et comment le ressent Coda ?

Coda : Moi je pense que grâce Ă  ce livestream on peut ĂŠtablir un lien entre la France et le Japon. C'est forcĂŠment mieux de faire un live sur place et de jouer devant nos fans français. Le contexte actuel ĂŠtant ce qu'il est, je pense tout de suite au positif de la situation. Si ce n'ĂŠtait pas sous cette forme, Ă  l'inverse il y aurait des gens qui ne verraient pas le concert. En ce sens la situation permet çà. Plus on peut toucher de personnes, plus ça nous rend heureux. C'est aussi une façon de toucher une nouvelle audience.

Et pour Daisuke Hasegawa ?

DH : Personnellement, j'aime voir des vidĂŠos de concerts. Comment dire ? Par exemple, quand on va voir Radiohead de loin, la scène parait petite, non ? D'une certaine façon, de chez soi c'est plus grand. Donc ca donnera une plus grande proximitĂŠ que dans un concert normal. C'est difficile en ce moment avec le coronavirus, mais on garde l'esprit positif. Comme par magie, on espère vous faire passer un bon moment et je pense que c'est une bonne chose. Alors prĂŠparez vos sièges, et chauffez la place ! MĂŞme via internet, on va chanter de toutes nos forces !

Pour ce festival organisĂŠ par ADN, je pense que c'est une joie pour les fans français. Est-ce que vous auriez un message pour eux ?

HT : En France ou dans le monde entier, nous avons des camarades qui adorent JoJo's Bizarre Adventure. J'ai envie qu'on passe tous un bon moment ensemble.

JH : Vous ĂŞtes peut-ĂŞtre dĂŠjĂ  tous prĂŞts ? Alors, on va s'amuser maintenant !

Coda : Je me suis dis que ça ferait une bonne occasion. J'aimerais vraiment venir chanter en France par la suite. J'espère vous rencontrer directement dans un futur proche. Aujourd'hui je vais chanter en espĂŠrant ça.

Je pense que c'est ce que les fans attendent. On aimerait vraiment que ça se fasse. Enfin, Daisuke Hasegawa ?

DH : Le Japon et la France sont assez ĂŠloignĂŠs, mais avec Internet, vous pouvez nous voir et nous ĂŠcouter en un instant. C'est une ĂŠpoque formidable. Si on fait un rappel, criez devant votre ĂŠcran ! Chantez avec nous ! Si on vous entend, on pourra mieux assurer. Chantons ensemble !

Merci Ă  vous ! Je vous laisse vous prĂŠparer pour le concert qui va commencer, je me fais une foie d'y assister. Merci Ă  tous pour cette interview, merci Ă  vous !


Published October 25, 2020

Vizmedia interviews with Araki.[24]


JoJo's Bizarre Adventure and Fashion (10/07/2017)

Q: Do you watch fashion shows for inspiration? Were there any fashion campaigns that inspired JoJo's?

A: I look at fashion magazines, go to fashion shows at times, check out clothing on display at the mall. I try to examine and study various fashion designs.

Q: Do you have a favorite designer of all time?

A: My favorite designer of all time, since I debuted in the 80's, is Moschino. He has since then passed away. He blends humor with beauty. He also used symbols in his designs and various techniques and I really liked all of that. As for others, I like Italian brands such as Gucci or Versace. I think they're wonderful.

Q: How do you think the fashion of JoJo's fit into today's world of fashion?

A: There's what's known as the "JoJo pose", a fashion pose. It's heavily influenced by Rome, Roman sculptures and their poses. The modern day fashion industry can also trace its roots back to the Romans. It's really a universal thing. I believe that makes the JoJo fashion perfect for the modern fashion world.

Q: Are there any designers working today you enjoy? Throughts on any current fashion trends?

A: Designers today? They're all so great. Each and every one of them is truly impressive.

Q: Did you ever dream of becoming a fashion designer?

A: No! I'm a mangaka. Mangaka are mangaka. I'll stick to designing within the world of JoJo's Bizarre Adventure. I appreciate your continued support for JoJo's Bizarre Adventure!

Araki Sensei Talks Diamond is Unbreakable. (01/27/2020)

Q: Where did the inspiration for Part 4 come from?

A: Diamond is Unbreakable is set in Japan, in a town called Morioh. It's a fictitious town, but I modeled it after an area of Sendai City in Miyagi Prefecture, where I was born and raised. The unusual people who live there... The mysterious people next door... The suspense and fear they engender - they became my inspiration. The idea was to create a closed city. So the Stands weren't the type that were actively moving ready to attack. There are also Stands that lurk and wait for you at home.

Q: Who is your favorite character in Part 4?

A: That would be Josuke... Up through Stardust Crusaders, the main character was like a mythical person... If the main character of Stardust Crusaders is like the hero in Greek myth, then the main character in "Diamond is Unbreakable" is the friend next door.

Q: Like your average Joe ?

A: Yes, an everyday likable character next door that possesses a Stand.

Q: What is your favorite Stand from Part 4?

A: For me, it's Shigechi's. His flaws and trashiness are adorable. He picks up stuff off the ground - I mean, who does that? But that's pretty scary.

Q: I know what you mean.

A: That's the appeal of Diamond is Unbreakable.

Q: Did you base the antagonist Rohan Kishibe off yourself?

A: He's not modeled after me, but I'm fascinated by him.

Q: Many people say he was.

A: I get that a lot, but that's not true. To him, life is art. Art is more important than human life.

Q: Right, that's the only thing he's interested in.

A: That's right.

Q: So that character isn't like you?

A: No, I value human life more.

Q: What do you remember most about writing JoJo's Bizarre Adventure?

A: I'd have to say Morioh Town - whether it's in Diamond is Unbreakable or later arcs. I enjoyed drawing the feeling of everyday life. I wanted to do a "mythical" manga involving superpowers and the like, but Diamond is Unbreakable gets closer to everyday life and that makes it feel more real. I had fun doing it.

Q: In America, many fans dress up as JoJo characters. What are your thoughts on that?

A: They look great. Their cosplay looks like CG, and they're totally in character. They do JoJo poses that, back when I drew them, I thought couldn't be done. I'm amazed. The level is great. The cosplay is so much better than back when I first wrote JoJo.

Q: They do it in groups.

A: It's beautiful.

Q: Do you ever see a possibility of making a visit to America?

A: Definitely, if the opportunity presents itself. If I can eat delicious food and meet movie star Benicio del Toro, I want to go.

Q: Maybe someone here has connections.

A: I'd like to go at least once so I can attend Comic Con.

Q: Do you have a message for American fans?

A: I'd like fans in America to be well and enjoy JoJo's Bizarre Adventure. JoJo's Bizarre Adventure will be introducing many new characters in both manga and anime. Please, look forward to it! Take care, everyone!

Araki Sensei Talks Golden Wind (10/24/2020)

Q: What is unique about Golden Wind?

A: Golden Wind deals with the sorrow of being born - about having no choice in life or only one place where one belongs. The sadness of a character that exists only in the dark underbelly of society. Human relationships, friends versus enemies, the beauty of betrayal... Those are the themes. It deals with the mafia... Can I use that term? Those are the motifs for the Stand battles. The men are important. Beautiful men.

Q: Beautiful men? There are women, too, right?

A: Yes, there are but drawing beautiful men was the main focus. The beauty in meeting one's doom... Men who can only exist in that world.

Q: How did you approach the character designs in Golden Wind?

A: I patterned Giorno's hair curls after Michelango's David. I got the idea from the curls around the forehead. Even the feathers. The curls came from sculptures and Italian motifs.

Q: Did you go to art museums and stuff?

A: Yes, of course. I wanted the characters, sculptures and fashion to be in the style of Rome. The fashionable people of Italy who bear the sadness of history.

Q: Who is your favorite character from Golden Wind?

A: There are many, but the one I enjoyed drawing was Mista. I love how his Stand fires from pistols. Mista is a positive fellow. He accepts himself, and is true to himself without doubts. I like that. On the Hitman team, it'd have to be Prosciutto - his brotherly relationship with his junior.

Q: Pesci?

A: Yes, Pesci. I like that. Their brotherly banter is great... The way his Stand accelerated aging seemed fun, even for me as the artist. There isn't a character I don't like. I even like all the antagonists.

Q: The ending of the Golden Wind anime uses R&B group Jodeci's "Freek'N You". Was this your choice?

A: I wanted to use gangster rap, but we went with a slower-pace song by Jodeci, who are great singers. There's a JoJo's in Jodeci.

Q: Yes, there is.

A: Maybe that wasn't a coincidence either. But they were selected.

Q: Do you have a message for American Fans?

A: I'd like fans in America to be well and enjoy JoJo's Bizarre Adventure. JoJo's Bizarre Adventure will be introducing many new characters in both manga and anime. Please, look forward to it! Take care, everyone!

Good Life with Books logo.jpg
Missing translation
Published December 24, 2020




本当に喜びでした。まさか10代の頃から好きだったキャラクターを、自分が演じさせていただけるとは思っていなかったので。実は「いつか岸辺露伴がやれたらいいね」というのは、僕とマネージャーさんだけの秘密だったんです(笑)。しかも以前に大河ドラマ「おんな城主 直虎」でご一緒した演出の渡辺一貴さんからお話をいただけるなんて想像していなかったので、こんなことがあるんだと感動しました。







 また、露伴を知っている人も知らない人も、多くの人たちが納得してくださるようなキャラクターを作っていくことが自分にとって大事なことだと思ったので、俳優として自分の台詞や動きで「どれだけ説得力を持たせられるか? どれだけ腑に落とせるか?」ということに注力していました。















――ジョジョファンも高橋さんファンも気になるところだと思うのですが、今後、露伴以外でやりたいキャラは? また今回は4部のスピンオフですが、高橋さんは何部派ですか?



基本的に生活のなかに音楽がないと無理なタイプなので、タワーレコードのスローガン(NO MUSIC, NO LIFE.)と同じです(笑)。最近はXTCなど、昔から好きだったものを聴き直しています。


 小学生の時にMTVでXTCの「Dear God」のPVが流れていたのを見て、めちゃめちゃかっこいいと思ったんです。当時仕事でアメリカにいたので、ダッシュでニューヨークのタワーレコードに買いに行きました。フロントマンのアンディ・パートリッジが牧師の格好をしていて、たくさんの人がまたがっている木をトンカチで叩いて揺さぶって、彼らを落としていくという印象的なPVなんですが、そのなかでアンディが丸メガネのサングラスをしていたので、僕もいまだに丸メガネのサングラスをかけています(笑)。












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Vol. 1

Confronting the talent of Hirohiko Araki as a team! The creators who ran through the JoJo anime

The anime adaptation started with “This is a difficult task”

When he was approached by an anime-related company about making a TV anime, Hiroyuki Omori, a producer at Warner Brothers Japan, was worried for a while that, “This is a difficult task.” Although JoJo is one of the biggest series in Japan, the original manga started in 1987. In the early days, Hirohiko Araki drew characters in a gekiga style that was full of machismo. It was very different from modern trends in character design. Omori wondered if people who weren’t familiar with JoJo would be able to accept these designs. However, he decided to go ahead with the anime adaptation. He says, “There was the problem of what to do with the design, but the power of the work itself has not faded, and above all, I am a big JoJo fan myself, so I decided to take on the challenge despite the difficulties.” After getting Shueisha’s consent, he immediately started to choose a studio.

Naturally, a studio that could draw JoJo would have to be one that “could draw powerful muscle movements.” Therefore, Omori turned his attention to David Production, which was descended from Gonzo, a studio that had created numerous works in the past. At the time, David Production was still a newly established studio, but their work on the anime for the “Tatakau Shisho” series, which is also a JUMP property like JoJo, showed powerful linework and careful animation. Omori was convinced, “I can let them handle this,” and approached them.

Challenging Hirohiko Araki’s talent as a production team

When David Production’s producer Hisataka Kasama received news of the anime adaptation, he came up with the secret plan of having multiple directors. “To be honest, I thought it would be difficult for a single director to take on Araki’s extraordinary talent, so I decided to have more than one director, which is unusual for a TV animation project, and challenge him as a team.”(Kasama) The task fell to Naokatsu Tsuda and Kenichi Suzuki. Although there is a slight difference in the way they are credited, with Tsuda serving as “director” and Suzuki as “series director,” they essentially collaborated on all aspects of the production.

Kasama explained why he chose Tsuda and Suzuki: “Tsuda is a good comedic director, and Suzuki is a good action director. I thought that by working together, we would be able to capture both the strength and the fun of the original manga.” In fact, Tsuda also said, “I’m a JoJo fan myself, but if I had been asked to make the anime by myself, I might have refused. But since I was working with Mr. Suzuki, I thought we might be able to do it. When I think about it now, it’s more like the folly of youthful passion. I wasn’t afraid of anything (laughs).” On the other hand, Suzuki said, “I didn’t feel any particular pressure, and the joy of being involved with JoJo, which I love, was greater than anything else. It’s a big title, but rather than be controlled by the opinions of the people around us, we were going to make our own JoJo.”

The core members of the team were Omori and Kasama, the producers, and Tsuda and Suzuki, the directors. Coincidentally, all four were huge JoJo fans. The respect for the original manga that can be felt from every corner of the film is perhaps a natural result of this lineup. Yasuko Kobayashi joined as series composer at the recommendation of the editorial department, and then, with the further addition of Yasufumi Soejima as visual director, the JoJo anime was finally ready to get going.

Make it “JoJo” not “JoJo-like”

From the 1st episode of the 1st season, “Dio the Destroyer” The distinctive feature of the JoJo anime is the way that it completely reproduces the composition and dialogues of the original manga.

The first aim that Producer Omori discussed with the production team was to “make JoJo.” Not something “JoJo-like” or “JoJo-style,” but JoJo itself. Tsuda and his team read the original manga again and again until their copies were worn out, writing as many elements and characteristics of JoJo as they could think of on the whiteboard. They came up with everything from easy to understand things like “onomatopoeia” and “unique posing” to impressions like “I feel refreshed after reading” and “the battles are difficult.” At the end of the process, they sorted through all of it, and Kasama concluded, “If we follow the usual methods of creating animation, we’ll end up with ‘JoJo’s Ordinary Adventure.’ JoJo has to be a ‘bizarre adventure.’ If you think about it, the answer was in the title from the very beginning.”

In this way, everyone agreed to pursue the complete reproduction of all elements, including the onomatopoeia. The rules established through this meeting were later distributed to all the staff involved in the JoJo anime, and became a sort of “bible” for the rest of the series.

Hook the viewers in the first three episodes!

From the 3rd episode of the 1st season, “Youth with Dio” The fierce battle between Jonathan and Dio as the Joestar mansion is engulfed in flames is depicted with quality befitting the beginning of the long JoJo battle.

When the JoJo anime first began, there was no guarantee that it would have four seasons produced. If the first season did not achieve a certain level of success, there would be no second season, so the producer Omori focused especially hard on the first three episodes.

JoJo has a strong image of “stand battles,” and the third part of the original manga, “Stardust Crusaders,” in which stands were introduced, won many fans. For this reason, the question of how to deal with the first part of the original manga, “Phantom Blood,” which tends to be considered simple, was a major issue. Because of this, Omori tried to immerse the viewers in the world of JoJo, and so the animation staff depicted everything up to the first climax in chapter 17 in those first three episodes. Usually, one episode of an anime is equivalent to three or four chapters of a manga, so you can see how drastic the structure was. According to Omori, “I wanted to get the audience hooked on the story by making it a roller coaster ride.”

This strategy proved successful, and it was received favorably by many fans. Omori, who had been following the reactions on social media in real time, recalls, “I was really relieved, thinking we might be okay for a while.”

Raising the quality with the strongest team for the popular “Stardust Crusaders”!

From the 3rd episode of the 2nd season, “The Curse of DIO” The 2nd season was developed with the designs that were closest to the original manga.

With the popularity of the first season, the production team moved on to producing the second season, “Stardust Crusaders,” (Part 3 of the original manga) as soon as the broadcast ended. The biggest draw of the second season is the depiction of fierce battles between the stands, and it is one of the most popular and vital parts of the series. For this reason, the number of drawings was increased compared to the first season, and a new action director was brought in to improve the animation. In terms of direction, Toshiyuki Kato, who played a central role in the first season, was appointed as the new chief director, establishing a more stable direction system.

The 48 episodes, the longest of the four seasons, were completed with consistent quality from start to finish, and the “dynamic beauty of muscles” that the team had been seeking since the first season matured into a completed form.

These silhouettes are familiar to many JoJo fans.

From the 2nd episode of the 3rd season: “Josuke Higashikata! Meets Angelo” The “town” itself plays a leading role in the 3rd season, and particular attention was paid to the recreation of Morioh Town.

The third season “Diamond is Unbreakable” (Part 4 of the original manga) is a unique work and a complete change of direction In a change from the second season, which was a road movie, travelling all the way to Egypt from Japan, the third season is set in a small town called Morioh. Kato, who replaced Suzuki after he left JoJo to direct another film, held another brainstorming session with the team in order to accurately understand the style, which was different from anything else in the series up to this point.

“Up until the third part, the purpose of the story was clear, but in the fourth part, it was difficult to know where the goal was. In that sense, it’s quite unique, so we had a thorough discussion about the direction we would go with it.”(Kato)

As a result, they took various creative measures, such as inserting a bizarre scene of the last boss, Kira Yoshikage, at the beginning of the season, and they boldly reconstructed the original manga without losing the charm of the story.

With a new director, the series evolves even further in the fourth season, “Golden Wind” (Part 5 of the original manga)

From the 4th episode of the 4th season: “Joining the Gang” The 4th Season combines the beautiful scenery of Italy with well-designed patterns.

Kato, who directed the third season, left the JoJo anime to direct another project. With the loss of both Suzuki and Kato, who had been the core of the JoJo series since the first season, Tsuda used his connections to find new talent and persuaded Yasuhiro Kimura and Hideya Takahashi to become the new directors. Tsuda firmly stated, “My greatest achievement in Part 5 was bringing in Mr. Kimura and Mr. Takahashi as the directors and Takahiro Kishida as character designer.”

The two new directors had no experience with the JoJo anime, but they were each able to make full use of their talents. “At first I was worried about whether I could draw JoJo storyboards, but it turned out that I had more freedom than I thought, and I was able to work freely.” (Kimura) “Mr. Kimura and I have very different personalities, and I think we ended up with a series where our personalities really came out.” (Takahashi)

Tsuda’s theme for the fourth season was “Renaissance (Return to the Origin),” a reference to Italy where the story is set. His goal was successfully achieved as both directors went back to the roots of the JoJo anime, and the meticulous location scouting in Italy also brought a new wind to the series. This season is the culmination of Tsuda’s work on the JoJo anime, and currently its highest achievement.

What is the “inherited golden soul” of the JoJo anime?
The JoJo anime adapted an epic drama spanning 63 volumes of manga into a total of 152 episodes over a period of about 7 years. While some staff members have been involved in all parts of the series, including director Naokatsu Tsuda, series composer Yasuko Kobayashi, and sound director Miwa Iwanami, there are many staff members who have left the production or joined along the way. While the JoJo anime has a “bible” that it follows, the visual concept is renewed with every season. The production team that continues to renew itself and move forward is just like the “inherited golden soul.” We hope that it will continue to evolve and be passed on to new generations.

Interviewing and writing by Daisuke Okamoto

Vol.2 An in-depth analysis of “What is ‘JoJo’?” What are the thoughts behind the complete re-creation of the anime?

Recreating the original manga with the concept of “Study JoJo scientifically”

From the 4th episode of the 1st season: “Overdrive” An impressive shot of Dio’s eyes glowing mysteriously while half of his face is covered in shadow.

The request from producer Hiroyuki Omori of Warner Brothers Japan for the production of the JoJo anime was very simple: “Make JoJo.” In response, the director, Naokatsu Tsuda, came up with the slogan, “Study JoJo scientifically.”

He picked out all the elements that made the original JoJo manga unique and searched for ways to reproduce them in animation. He thoroughly recreated unique onomatopoeic sounds such as “Memetaa” and “Gogogogo,” as well as the unique poses, and theatrical dialogue such as “I’m impressed by that! I admire you!” On top of these, he also replicated the use of motion lines and frame layout direction in the animation.

Toshiyuki Kato, who has been directing since the first season, said, “In order to create an eerie atmosphere, there are many depictions of fog, smoke, and other unidentifiable gases swirling around in the original manga. Normally, this would have been done with CG, but we recreated it by hand, just like the original manga. In addition, when we wanted to express the disturbance of the characters, we used suspenseful techniques such as darkening the entire face with tones and illuminating only the eyes, just as in the original manga.” The staff’s attention to detail can be seen everywhere.

The “special scene coloring” is the best part of the anime

From the 2nd episode of the 2nd season: “Who Will Be the Judge!?” In “special color” scenes, the colors of things like uniforms and hair change. This is handled differently in each season.

One notable visual effect is a color expression called “special scene coloring” or “special cut coloring.” As JoJo fans know, there is no fixed color scheme for JoJo. It is quite common for the same character in a color manuscript drawn by Hirohiko Araki to change color drastically from one time to the next, and the fact that he is not bound by a set color scheme is one of the things that makes him unique.

However, unlike manga manuscripts, which are usually drawn in black and white, animation is always in full color. It is not possible to change the colors with every scene. Therefore, Tsuda and his team decided on a basic color scheme that would serve as the overall base, and then adopted “special scene coloring” and “special cut coloring” to change the colors based on developments in the story. These colors are used when the character’s emotions are greatly shaken, or when the story reaches a climax, and they function effectively as accents. It is a concept that takes full advantage of the characteristics of animation, and was retained as a major strength until the fourth season.

Character designs that seek the median of fan’s imagination

From the 6th episode of the 1st season: “The Courage of Tomorrow” The beauty of the muscles is emphasized, but the form is slightly slimmer.

The character design was a particular point of trial and error in the visual construction of the first season. The characters drawn by Hirohiko Araki in the early days were all muscular and had a drawing style similar to gekiga. It is hard to say that this is in line with modern trends, so the challenge was how to bridge this gap. The production team created character designs that were closer to the mental image of the fans by finding the median value of the character designs from the third to fifth parts of the original manga, since those are the character designs that most JoJo fans imagine, and then bringing that back to the first season. The characters created in this way are generally mild and casual, while retaining the strong atmosphere of the early Araki characters.

From the 19th century to the present day! Art in Transition

As the era and setting of the JoJo series changes drastically from one part to the next, the art and setting work took a lot of effort. The first season, “Phantom Blood,” is set in England at the end of the 19th century, and “Battle Tendency” is set in America and Europe before World War II. These were not depicted in a realistic way in the original manga, so in a sense they were depicted as fantasy in the anime as well. The second season, “Stardust Crusaders,” however, takes place in the 1980s in various countries and regions from Japan to Egypt. Not only the architecture, but also the ethnicity and clothing of the people who come and go are diverse, so the burden on the art team, as well as the sub-character designers, was considerable.

The team was also particular about props. For example, Suzuki, who was in charge of the script and storyboard for episodes 37-38 “The Guardian of Hell, Pet Shop,” speculated that the Porsche model in the original manga might be a limited production model commonly known as the Yellow Bird, and he incorporated that into the settings. “The enemy stand at this time was a bird, and a Porsche was running into it, so I thought that perhaps Mr. Araki had a Yellow Bird in mind at the time. Well, I’m completely imagining it (laughs).” (Suzuki) Honestly, there was no need to think so hard about a car that only appeared in a few panels in the original manga, but that is the attention to detail that love for JoJo can create.

From the 16th episode of the 2nd season: “The Lovers, Part 1” The 2nd season depicts various countries, ethnic groups, and cultures around the world.

The third season, “Diamond is Unbreakable,” is a complete change from previous seasons, and is set in the fictional town of Morioh from start to finish. Kato, the director, created a precise map of the town based on the original manga, and calculated the route to each character’s house and school, as well as the time required to get there. “I think Morioh Town is the other main character of Part 4, so I wanted to make it feel as real as possible. I spent a lot of time creating the town in order to emphasize the contrast between the scenery of rural Japan that everyone is familiar with and the heinous murders that are happening behind the scenes.” (Kato)

The fourth season, “Golden Wind,” is set in Italy in 2001. General director Tsuda and directors Yasuhiro Kimura and Hideya Takahashi traveled to Italy in July 2017 for location scouting. Kimura said, “Our goal from the beginning was to make it easy for viewers to make a pilgrimage to the holy places,” and true to his word, the fans managed to find most of the places that appear in the series. The results of this meticulous location scouting work are captured in the film, giving viewers the feeling of having traveled all over Italy with Giorno and his friends.

The establishment of “JoJo-ism” in drawing

When producer Hisataka Kasama of David Production first heard about the JoJo anime project, he worried, “How many animators will be able to work with this design?” It was a big challenge for the studio. Although David Production is a studio that excels at creating strong images, they had never created a work with such a clear emphasis on muscles and skeletons. Kenichi Suzuki, who served as the series director for the first season, looking back on the situation at that time, said, “When it comes to the drawings, I had a clear image of the finished work from the beginning, but in reality, I had to get used to it as I drew it.”

From the 48th episode of the 2nd season: “Long Journey Farewell, My Friends” The final battle of the 2nd season has the highest level of “dense drawing” in the history of the JoJo anime.

Kato also said that he paid particular attention to the sense of weight in the drawing work in the beginning. “In the rugby scene in the second episode, there is a scene where Jonathan drags three players along but does not stop moving forward, which is intended to give the impression that Jonathan has grown into a powerful young man. However, Jonathan is only human and his physical strength is fundamentally different from that of Dio, who later becomes a vampire and transcends humanity. In other words, it is necessary to show the limits of humanity at the same time, and in order to do so, it had to express the weight of carrying three men on his back. The ‘swell’ created by the high load being applied to various parts of his body is very important, and I remember giving very detailed instructions on how to fix it.” (Kato)

In this way, by carefully communicating the concept for each shot, the know-how gradually accumulated, and the drawing gradually stabilized. Animator Shunichi Ishimoto has been in charge of drawing since the first season. “The JoJo series is basically characterized by dense drawings, so at first we were just drawing through trial and error, but soon there was a ‘battle of density’ among the drawing team,” he says of the drawing situation at the time.

Character acting is similar to “stage” acting?! The acting for the characters in JoJo is not necessarily bound by common sense. In our daily lives, we don’t have the chance to pose in a unique way, nor do we have the chance to say lines like, “Do you remember how much bread you have eaten in your life?”

From the 1st episode of the 4th season: “Gold Experience” The real pleasure of JoJo battles is that they create a sense of abnormality by the unthinkable behaviors.

So the character acting in JoJo is more like theater. Suzuki says, “While there are rules regarding the placement of characters on stage and light sources, we sometimes deviate from them in order to maximize the appeal of Mr. Araki’s best panels. Suddenly, the lighting is changed, or a character is put in the spotlight. It’s like ‘Mie’ in Kabuki.” Kato refers to this as “stage acting,” and it is clear that they share the same image, even if the words are different.

On the other hand, Tsuda describes the battles in JoJo as “professional wrestling.” “In fact, JoJo’s characters are rarely worried. When professional wrestlers get into the ring, they don’t worry about why they’re fighting. They just do their best to make it fun and easy to understand for the audience with their microphone performance and exaggerated gestures. It’s the same with JoJo’s battles. By presenting what you’re going to do and then how it turned out, it makes the battles more interesting. If we prioritize the anime’s sense of showiness and speed, we’ll lose the charm of JoJo’s battles. That’s why I compared it to professional wrestling.” (Tsuda)

In Tsuda’s analysis, the real pleasure of JoJo’s battles is the groove that is created when the tempo and rhythm of long spoken lines, as well as the action, and characterization all come together, and that is what the anime is based on.

Interviewing and writing by Daisuke Okamoto

Vol.3 Balancing a high level of both speed and emotion Demystifying the well-crafted composition and direction!

Clearly define the theme for each episode

The most important thing to keep in mind when working on the scenario was to make it clear what each story was about. Once the theme of each episode was clear, that would inevitably determine how it should be directed. The line producer, Hisataka Kasama, made the assignments according to the aim of each episode, keeping the individuality of the director in mind rather than just rotating through them. Naokatsu Tsuda was for comedy and daily life, Kenichi Suzuki for action, and Toshiyuki Kato for highly dramatic episodes. On the other hand, the directors had various thoughts and feelings about the masterpiece of JoJo.

“Since we were entrusted with the original manga, we couldn’t just twist it to suit our own needs, so we wanted to somehow re-experience Mr. Araki’s ideas. The book 'Hirohiko Araki’s Strange Theory of Horror Movies' (Shueisha Shinsho), which was published right around the time of pre-production, was very useful. I was able to understand that this episode was based on this movie, and that this is what he wanted to do, and I feel like I was able to better determine the direction of the animation.” (Naokatsu Tsuda)

“I tried to trace what Mr. Araki was thinking at the time of writing. Through the movies he was watching and the music he was listening to at the time, I was able to trace his thoughts in my own way. The finished product was already out in the world in the form of manga, but my biggest mission in expressing JoJo was to feel the feelings behind it.” (Kenichi Suzuki)

“The original manga is very powerful, so I wanted to make the most of that to the degree that I could. Personally, I was moved by the scene in Part 4 where Hayato Kawajiri wishes, ‘God, please let me kill people.’ I felt that there was no other shonen manga that could make an elementary school student say such a thing, and I definitely wanted to direct that scene myself.” (Toshiaki Kato)

“I joined the project starting with Part 5, and at first I was a bit confused about how much I should try to match the way things had been expressed before, but once I started working on it, I realized how free I was. It made me realize all over again that JoJo is a work with great capacity.” (Yasuhiro Kimura)

“The main theme of Part 5 is how young people living in despair should go on living, so I was always conscious of the keyword ‘sadness.’ I tried to bring out the mature side in my own way.” (Hideya Takahashi)

The first season is a roller coaster that turns into a water slide?!

From the 9th episode of the 1st season: “The Final Ripple!” The speedy pace of the 1st Season can be enjoyed just like an amusement park ride!

Initially, the production team wanted the first part of the original manga, “Phantom Blood,” to run for one season and the second part, “Battle Tendency,” to run for two seasons. However, the producer, Hiroyuki Omori, requested that the series be broadcasted in two seasons together. The final result was 26 episodes instead of 24, which was a rather drastic strategy. Omori said, “I thought that by seamlessly broadcasting the first and second parts all at once, people would feel the impact. They thought they were on a roller coaster, but before they knew it, they were on a water slide (laughs).” For “Phantom Blood,” in particular, the 44 chapters of the original manga were turned into 9 episodes of anime, which means that each episode of the anime contains almost 5 chapters of the original manga.

What is noteworthy is that despite running through the story at such speed, almost no stories were omitted. This can be said to be the result of the efforts of the writers, led by Yasuko Kobayashi, who worked on the series composition. In any case, it is this sense of speed that attracted many viewers and opened the door for the production of the next part.

The addition of original scenes increased the road movie feel in the second season, “Stardust Crusaders”

From the 18th episode of the 2nd season: “The Sun” A scene of a luxury car purchase is added at the beginning of the episode to complement the original manga.

In contrast to the first season, which emphasized speed, the second season, “Stardust Crusaders,” was able to have a much more relaxed structure, which allowed the audience to fully enjoy the powerful stand battles unique to the third part of the original manga. The scenario as a whole reproduces the original manga at a very high level, but there are also many scenes that are original to the anime, which increases the “road movie” feel of the journey to Egypt.

In particular, in episode 25, “Iggy the Fool and Geb’s N’Doul, Part 1,” a scene has been added where all six members of the Joestar group take a group photo. This photo was displayed on Jotaro’s desk in the fifth part of the original manga, but it was not clear when it was taken. Tsuda said, “This was the only timing I could think of, so I consulted with Mr. Suzuki, who was in charge of the storyboard and direction, and he put it in.”

Speaking of original scenes, episode 18, “The Sun,” is also impressive. In the original manga, it is a comedy episode that ends after only two chapters, but in the anime, it was composed as one episode. As a result, more than half of the scenes are original scenes, and Tsuda, who worked on the scenario and storyboard, was able to demonstrate his impressive sense for comedy in this episode.

The composition shines best in the third season, “Diamond is Unbreakable”

From the 39th episode of the 3rd season: “Goodbye, Morioh - The Heart of Gold” The distinctive feature of 3rd Season is that not only Josuke but all the characters hunt down the last boss.

The third season, “Diamond is Unbreakable,” (Part 4 of the original manga) has the most dynamic structure in the anime series, which is clearly shown from the beginning of the first episode, “Jotaro Kujo! Meets Josuke Higashikata.” The horror of a murderer’s crazy breakfast scene is shown against the background of the cheerful MC of Morioh Radio. It suggests the existence of the last boss, Yoshikage Kira, who only appears in the latter half of the story in the original manga, while also beautifully expressing the theme of the fourth part of the original manga, which is abnormal scenes hidden in the shadow of peaceful everyday life. It is an excellent restructuring of the original story.

Kato, who served as the series director for the third season, said, “Unlike the previous stories, the fourth part does not end with the main character directly defeating the last boss, but with all the characters working together to defeat him, or more specifically, the town of Morioh town itself is structured to bury the murderer, Yoshikage Kira. In order to achieve a suitable ending, we had to pay attention to the atmosphere of the town and the depiction of the residents.” Tsuda also said, “I think the fourth part of the series was the most successful in terms of composition. We knew from the beginning that Kira Yoshikage was the final boss, and the whole story takes place in one town, so we were able to use him to our advantage.” From the frequent use of Morioh Radio to the cameo appearances of characters who appear in the latter half of the season, this was a season in which the exquisite composition was on full display.

The fourth season, “Golden Wind,” is full of original scenes that tickle the fan mentality

From the 28th episode of the 4th season: “Beneath a Sky on the Verge of Falling” The direction and acting are impressive, but so are artistic shots like this one that resembles a ceiling painting from a church.

The most significant aspect of the fourth season, “Golden Wind,” (Part 5 of the original manga) is that it emphasizes the team battle more than the original manga. In the original manga, the names and appearances of the members of the assassin team are revealed in the order in which they appear as assassins, but in the anime, the faces of the entire assassin team are revealed in episode 10, “Hitman Team.” Furthermore, by depicting them eating at a restaurant, it is clear that they are also working as a team, just like Giorno and the others. As the assassin team is very popular among the fans of the original manga, the addition of many original scenes is a great service to the fans, and at the same time, it is effective in clearly showing the three-way battle of the fourth season. On the other side, moving up Mista and Abbacchio's past episodes and adding a past episode for Fugo allowed Giorno’s side to feel a sense of unity as a team early on.

Kimura, who served as the director of the 4th season, commented on this point: “The assassin team is very popular among the fans of the original manga, and they are very attractive because they are determined people. They are not attacking on their own, so I hoped that by portraying them as a team, I could convey their conviction.”

In episode 28 “Beneath a Sky on the Verge of Falling,” one of the most famous scenes in the series, Narancia is distraught over the death of Abbacchio, and the entire B part of the episode is used to recreate the scene in a way that greatly expands on the original manga. Director Takahashi, who was in charge of storyboarding and direction, said, “In the last shot of this part, there is a whole flower blooming on the ground where Abbacchio is lying. When Narancha died, Giorno hid his body with plants. But in the original manga, there’s no description of what he did to Abbacchio. I’ve wondered about that since I was in high school (laughs). I thought Giorno would have done the same thing for Abbacchio, so I added the final shot,” he said, sharing the story behind the famous scene.

Interviewing and writing by Daisuke Okamoto

Vol.4 The culmination of the staff and cast’s love for JoJo! From the hottest theme song to the harsh dubbing process

The first theme song chosen was “ROUNDABOUT”

Production note interview vol 4 image 1.jpg

The ED theme song for the first season, “ROUNDABOUT,” was decided upon as the result of an exchange the anime side had with Hirohiko Araki while they were working on creating a new theme song.

Producer Hiroyuki Omori of Warner Brothers Japan, who is in charge of the music, had this to say about that exchange: “At first, I wanted to decide on the OP theme, so I proposed some sample songs based on rock to Mr. Araki. But the direction was different from what he had imagined, so I asked him what songs were close to his image. He suggested ‘ROUNDABOUT.’ However, it was quite difficult to make an original progressive rock song like this, so we decided to ask for permission to use ‘ROUNDABOUT’ and use it as is.”

After that, Omori suggested that it would be more appropriate as an ED theme rather than an OP theme, and with that the basic direction that later ED themes would follow was established. The ED themes are chosen based on the concept of “songs that Hirohiko Araki was listening to a lot at the time of writing” or “songs that are close to the image of each part of the original manga.”

The sound director, Miwa Iwanami, who is a member of the generation that was listening to music when Yes became a hit, was surprised to hear that “ROUNDABOUT” had been chosen as the ED theme. At the same time, he wondered if it could be used as background music, and strongly suggested to the director, Naokatsu Tsuda, to make the ED video in such a way that the ED could be played from anywhere. As a result, in the first season, they adopted a special style where “ROUNDABOUT” would be played as background music, and then it led directly into the ED. According to Omori, “When the first season ended, Mr. Iwanami happily reported to me that he had included all the parts of the song. (laughs)” He had been able to use all eight and a half minutes of the original song without wasting any of it.

The OP theme is a 70’s style anime song

Production note interview vol 4 image 2.jpg

In contrast to the ED theme, which featured fashionable Western music, it was decided that the OP theme would be a masculine 70’s style anime song. The memorable first OP theme “JoJo ~That Blood’s Destiny~” was composed by Kohei Tanaka, a veteran anime song composer. “When I went to Mr. Tanaka to ask for the song, he said ‘Omori-kun, you made the right call, coming to me for this.’ (laughs)” Following the example of this song, each OP theme would be an original Japanese anime song that matched the taste of each part. In addition to the regular OP themes, a special OP theme related to Mondatta called “Evil Concerto” was created for the second season of “Stardust Crusaders,” and a variety of highly addictive and famous songs were born.

One of the most talked about aspects of the OPs is the way that the animation changes as the story progresses. In particular, in episode 47 of the 2nd season, “DIO’s World, Part 3,” Dio uses the power of “The World” to stop time, which must have shocked many fans. Regarding this trick, Omori said, “It was an idea from Kamikaze Douga, who handled the OP video. During the presentation, Junpei Mizusaki, the president of the company, suddenly said, “It’s DIO, so we just need to stop time for 9 seconds. (laughs)” He revealed that it was self-directed by Kamikaze Douga.

This direction led to the creation of the “Bites the Dust Version OP” at the end of the third season, “Diamond is Unbreakable,” in which Kira Yoshikage’s Bites the Dust is activated and the OP video plays backwards. In the fourth season, “Golden Wind,” the “Diavolo Ver.” depicted Diavolo’s King Crimson ability, and the “Giorno Ver.” depicted Giorno’s Gold Experience Requiem ability. Tsuda smiles wryly about this series of special effects in the OP. “Thanks to the trick we used in Part 3, there’s no going back now. (laughs)”

Producer Omori’s support for background music

From the 7th episode of the 4th season: “Sex Pistols Appears, Part 1”

One feature of the JoJo anime is that it has had a lot of special background music produced for it. This was made possible by the fact that Omori, the production producer, also serves as the music producer. “Since I was involved from the scenario stage, I was able to prepare the music ahead of time. I was hoping that I could provide a little support for the production,” Omori said. For example, in the third episode of the first season, “Youth with Dio,” which Omori focused considerable effort on, he made long special background music tracks to match the storyboard that had been drawn ahead of time, making the film more exciting with a theatrical production style.

One of the most talked-about scenes was the 40-second dance scene in episode 7, “Sex Pistols Appears, Part 1,” of the fourth season, “Golden Wind.” During the location scouting in Italy, Kimura was so excited that he ordered Omori to do the scene, and Kimura was naturally in charge of storyboarding and directing the scene. “I forgot that I had even ordered it, and I thought, is the dance going to be this long? (laughs) In the original manga, there are only about four frames, so I had to fill in all the other frames myself, but since I’m not a dance expert, I asked a friend who is to look at the original frames. He said it looked like a Michael Jackson dance, so I spent about a month checking out videos of his live performances and music videos, and finally finished it.”(Kimura)

The harsh situation at the recording studio

From the 9th episode of the 2nd Season: “Yellow Temperance”

For the casting, auditions were conducted purely on the basis of whether or not the actor fit the character, ignoring factors such as name recognition and popularity. Tsuda said that the top priority for JoJo voice actors was that they had to have “sound pressure and be a good performer,” but he also took into account “having broad repertoire of skills,” and “being articulate.” There are many scenes in JoJo that stretch the actors’ voices to the limit. Looking back on the dubbing process, Toshiyuki Kato, who served as the series director for “Diamond is Unbreakable” said, “From the very first season, the dubbing of ‘JoJo’ has always been very difficult. We have to demand the maximum amount of passion and volume of voice at all times, and I end up selfishly worrying what they’ll do if they have to record another one after this. I always felt sorry for the cast members.”

However, despite the harsh conditions, many JoJo-loving cast members gathered at the auditions, and the number of JoJo-loving cast members in the booth inevitably increased. There were even some who took the initiative to lecture the confused cast members who were participating in the dubbing for the first time, saying things like, “JoJo’s lines are read with a small ‘tsu’ sound.” The producer, Hisataka Kasama, expressed his gratitude to the cast, saying, “The original theme was to do it without changing one word of the original lines, so it was very helpful for the staff side.”

In fact, Noriaki Kakyoin’s famous “Rero Rero” was recorded 17 times (episode 9, “Yellow Temperance”). Kenichi Suzuki, the series director of “Stardust Crusaders,” is said to have asked Daisuke Hirakawa, who played Kakyoin, to “practice Rero Rero from now on” when he came to the studio for the first recording. This attention to detail is incredible. Of course, it can also be said that the cast members who responded to these orders with perfect performances were full of love for JoJo.

Creating the best sense of rhythm with final adjustments made frame by frame

After “Stardust Crusaders,” there was an attempt to use the method of recutting. In this method, the first cut which will be taken to voice recording is done with a 30-second margin, and then the final adjustment is made by cutting only a few frames between the lines. This allows for a more pleasant sense of rhythm and a tempo that does not lag even in scenes with many long lines. The accumulation of such detailed creative measures may have led to the pleasant feeling that is typical of JoJo.

What was the JoJo anime?

What did you think of the four production notes? I hope I was able to convey the strong love and dedication to the original manga in all sections of planning, scenario, video, and sound. Finally, I’d like to talk about what the JoJo anime was.

In writing this article, I interviewed the producers and directors once again, and I was struck by how everyone’s face instantly turned back to a boyish expression when they talked about JoJo. The workplace environment for animation production is much harder and harsher than we can imagine. There must have been a lot of anguish and human drama behind the scenes of a project that has run for nearly 10 years. Even so, when it comes to JoJo, the JoJo team’s faces instantly revert to those of young boys. That is what makes them so amazing, and I felt that those faces tell the whole story of the JoJo anime.

Lastly, I asked the staff I interviewed, “What is the JoJo anime for you?” Their answers varied, but I would like to note that they were all filled with an indescribable “refreshing” feeling.

─ Naokatsu Tsuda “I was inexperienced, but this work taught me everything I needed to know as a director.”

─ Kenichi Suzuki “This is the film that helped me in my life. It was definitely a turning point in my career.”

─ Toshiyuki Kato “It broadened my view of directing. It made me realize that anything is possible as long as it’s interesting and powerful.”

─ Yasuhiro Kimura “It was painful when I was making it, and I was sad when it was over. It’s such a rare work.”

─ Hideya Takahashi “The three years I spent working on JoJo were a very special experience and have become a treasure in my life.”

─ Producer:Hiroyuki Omori “I knew it was going to be a long battle, so I promised myself that I would not give up, no matter what.”

─ Producer : Hisataka Kasama “I still remember vividly how when the second season ended, all the staff hugged each other’s shoulders and cried wildly.”

Interviewing and writing by Daisuke Okamoto



Vol. 1
荒木飛呂彦の才能にチーム戦で立ち向かう! 『ジョジョアニメ』を駆け抜けたクリエーターたち


ワーナー ブラザース ジャパンの大森啓幸プロデューサーは、とあるアニメ関連企業からTVアニメ化の話を持ちかけられた際、「これは難題だ」としばらく悩んだという。日本を代表するビッグコンテンツのひとつではあるが、なにしろ原作の発表は1987年である。とくに初期の荒木飛呂彦が描くキャラクターは劇画調でマッチョイズムに溢れており、少なくとも現代の流行の絵柄とはかけ離れていた。ジョジョを知らない層は、はたして受け入れられるのだろうかと。しかし大森は「絵柄をどうするかという問題はありましたが、作品そのものがもつパワーはけして色褪せてはいませんし、なにより僕自身が大のジョジョファンということもあって、困難を承知で挑戦させてもらうことにしました」と、アニメ化を決意。集英社からの快諾も得て、さっそくスタジオ選びに着手することになる。

ジョジョを描くことのできるスタジオとなると、当然「力強い筋肉の躍動が描けるスタジオ」ということになる。そこで大森は、かつて骨太な作品を数多く手がけていたGONZO(ゴンゾ)の流れを汲むdavid production(デイヴィッドプロダクション)に着目。当時のデイヴィッドはまだ設立したばかりの新興スタジオだったが、ジョジョと同じくジャンプ系列作品である『戦う司書』シリーズを力強い描線で丁寧にアニメ化していたことを受け、大森は「ここならば任せられるだろう」と確信し、打診に及んだという。






1st Season第1話「侵略者ディオ」より 原作の構図やセリフを完全に再現しているのが『ジョジョアニメ』の特徴




1st Season第3話「ディオとの青春」より 炎に包まれたジョースター邸でのジョナサンとディオの激闘は、長きに渡るジョジョバトルの幕開けにふさわしいクオリティ




人気の「スターダストクルセイダース」は 最強布陣でクオリティアップ!

2nd Season第3話「ディオの呪縛」よりもっとも原作に近い絵柄で展開された2nd Season。多くのジョジョファンにとっておなじみのシルエットと言える



3rdシーズン「ダイヤモンドは砕けない」(原作第4部)は 異色作ゆえ、ガラリと方向転換

3rd Season第2話「東方仗助! アンジェロに会う」より 「街」そのものが主役とも言える3rd Season。杜王町の再現にもこだわりが強い




新監督を迎え、さらに進化した 4thシーズン「黄金の風」(原作第5部)

4th Season第4話「ギャング入門」よりイタリアの美しい風景とデザイン性の高い絵柄が融合した4th Season






Vol. 2


1st Season第4話「波紋疾走(オーバードライブ)」より顔の半分が影で覆われるなか、妖しく光るディオの目が印象的なカット

ジョジョアニメを制作するにあたり、ワーナー ブラザース ジャパンの大森啓幸プロデューサーからの要求は「ジョジョを作る」というごくシンプルなもの。それを受け、監督の津田尚克が掲げたスローガンは「ジョジョを科学する」だった。

原作の特徴であり、ジョジョをジョジョたらしめる要素を全て拾い上げ、アニメーションで再現する方法を模索。「メメタァ」や「ゴゴゴゴゴ」といった独特な擬音、個性的なポージング、「そこにシビれる! あこがれるゥ!」といった舞台的な台詞回しなど、誰もがイメージするものはもちろんのこと、集中線の使用や画面内のコマ割り演出などもアニメで徹底的に再現した。



2nd Season第2話「裁くのは誰だ!?」より「特色」のシーンでは制服の色や髪の色などが変化。シーズンごとに表現の仕方は異なる




1st Season第6話「あしたの勇気」より筋肉美はしっかりと強調しつつも、フォルムはややスリムになっている


19世紀から現代まで! 美術の変遷

2nd Season第16話「恋人(ラバーズ)その1」より2ndシーズンでは世界中のさまざまな国や民族、文化が描かれた






2nd Season第48話「遥かなる旅路 さらば友よ」より2ndシーズンの最終決戦は、『ジョジョアニメ』史上最高峰の「濃い作画」





4th Season第1話「黄金体験(ゴールド・エクスペリエンス)」より ふつうならば考えられない言動によって異常性を演出するのもジョジョバトルの醍醐味





Vol. 3
疾走感と情緒感がハイレベルで両立 練りに練られた構成と演出の妙を解き明かす!

1話ごとにテーマを明確に シナリオ作業においてもっとも意識したのは、各話ごとに「何をする話」なのかを明確にしようというものだった。各話のテーマがはっきりすれば必然的に演出の方向性も決まってくる。ラインプロデューサーの笠間寿高は、そうして導き出した各話数の方向性に応じて、コメディや日常なら津田尚克、アクションは鈴木健一、ドラマ性の高い話数であれば加藤敏幸というように、ローテーションではなく演出家の個性を念頭に置きながら割り振りを実施した。その一方で、ディレクター陣はジョジョという名作を前にさまざまな思いを抱いていた。



「原作のパワーがすごく強いですから、そこはできる限り生かしたいという気持ちがベースにありました。個人的には第4部の川尻早人が「神様 どうかこのぼくに 人殺しをさせてください」と願うシーンにグッときて、小学生にこんなことを言わせる少年漫画はほかにないだろうと感じ、ここは絶対に自分で演出したいと申し出ました」(加藤敏幸)




1st Season第9話「最後の波紋!」より 1st Seasonのスピーディーな展開は、まさにアトラクション感覚で楽しめる




2nd Season第18話「太陽(サン)」より 冒頭に高級車購入のシーンが追加されるなど、原作を補完する形で整えられている


とくに第25話「「愚者(ザ・フール)」のイギーと「ゲブ神」のンドゥール その1」ではジョースター一行の6人全員で集合写真を撮るシーンが追加されている。この写真は原作第5部で承太郎が机の上に飾っていたものだが、原作中ではどのタイミングで撮影されたかは明らかになっていなかった。津田は「このタイミングしか考えられなかったので、コンテと演出を担当した鈴木さんに相談して、それで入れてもらいました」と話す。



3rd Season第39話「さよなら杜王町-黄金の心」より 仗助だけでなく、キャラクター全員でラスボスを追い詰めていくのが3rd Seasonの特徴

3rdシーズン「ダイヤモンドは砕けない」(原作第4部)はアニメシリーズを通じてもっとも大胆な構成で、それは第1話「空条承太郎! 東方仗助に会う」の冒頭からハッキリと示されている。杜王町RADIOの陽気なMCを背景に、殺人鬼による狂気の朝食シーンが映し出される恐怖。原作では物語の後半になってようやく登場するラスボス・吉良吉影の存在を示唆するとともに、平和な日常の影に潜む異常な光景という原作第4部のテーマまでを見事に表現しており、秀逸な原作の再構成と言える。



4th Season第28話「今にも落ちて来そうな空の下で」より 演出や芝居もさることながら、教会の天井画のような芸術的なカットも





Vol. 4

Production note interview vol 4 image 1.jpg



音楽を担当するワーナー ブラザース ジャパンの大森啓幸プロデューサーは、当時のやり取りについて「最初はOPテーマを決めようと思って、ロックをベースにいくつかのサンプル曲を荒木先生に提案してみたんです。でも先生のイメージとは方向性が違っていて、逆にイメージに近い曲はなんですか?と伺ったところ、提示されたのがこの「ROUNDABOUT」でした。でもこういったプログレ(プログレッシブ・ロック)をオリジナル曲で作るのはかなり難しいので、それならいっそのこと「ROUNDABOUT」の使用許諾を得てそのまま使おうとなったんです」と振り返る。




オシャレな洋楽が揃ったEDテーマとは打って変わり、OPテーマは男くさい70年代風アニソンに決定。記念すべき初代OPテーマ「ジョジョ 〜その血の運命〜」を作曲したのは、ベテランアニソン作曲家の田中公平。「田中さんに依頼にいった時は「大森君、僕のところにもって来たのはね、正解だよ」って言われました(笑)」(大森)。この楽曲をきっかけとして、OPテーマは各部のテイストにマッチしたオリジナルの邦楽アニソンに定着。また正規OPテーマのほかにも、2ndシーズン「スターダストクルセイダース」では「アク役◇協奏曲」というボインゴ絡みの特殊OPテーマが制作されるなど、中毒性の高いバラエティ豊かな名曲が数多く誕生した。

またOPで大きな話題となったのが、ストーリーの進行に合わせて変化していくアニメーション。なかでも2ndシーズン第47話「DIOの世界 その3」では、ディオが「ザ・ワールド」の能力で時を止める演出が取り入れられ、衝撃を受けたファンも多かったことだろう。この仕掛けについて大森は「OP映像を担当した神風動画さんからのアイデアです。社長の水崎淳平さんがプレゼン時に「DIOなんで、9秒間止めればいいんです」って突然言い出しまして(笑)」と、神風動画による自主演出であったことを打ち明けた。

この演出をきっかけに、3rdシーズン「ダイヤモンドは砕けない」終盤には吉良吉影のバイツァ・ダストが発動してOP映像が逆再生する演出を施した「バイツァ・ダスト版OP」が作られ、さらに4thシーズン「黄金の風」ではディアボロのキング・クリムゾンの能力を描いた「Diavolo Ver.」、ジョルノのゴールド・エクスペリエンス・レクイエムの能力が描かれた「Giorno Ver.」とへと受け継がれていった。この一連のOPの特殊演出について津田は「第3部の仕掛けのおかげで、もう後戻りができなくなったんです(笑)」と苦笑い。

Production note interview vol 4 image 2.jpg



なかでも話題となったのが、4thシーズン「黄金の風」第7話「セックス・ピストルズ登場 その1」で描かれた、およそ40秒にも及ぶダンスシーン。これはイタリアでのロケハン中、テンションが上がっていた木村がノリで大森に発注したもので、当然ながらこのダンスシーンの絵コンテと演出は木村が担当することとなった。「自分で発注したことすら忘れていて、こんなに長く踊るの?って(笑)。原作では4コマ程度しか描かれていないので、ほかはすべて自分で埋めないといけないんですが、僕がダンスに明るくないので、詳しい友人に原作のコマを見てもらって。どうもマイケル・ジャクソンのダンスに似ているということになり、それから1ヶ月くらい彼のライブ映像やMVなどをチェックしまくって、それでようやく出来上がりました」(木村)。

4th Season第7話「セックス・ピストルズ登場 その①」より





2nd Season第9話「黄の節制(イエローテンパランス)」より




計4回に及んだプロダクションノートはいかがだっただろうか? 企画、シナリオ、映像、音響のすべてのセクションにおいて、強い原作愛とこだわりに溢れた現場であったことがお伝えできたのではないかと思う。さて最後に、「ジョジョアニメ」とはなんだったのか? について触れてみたい。



─ 津田尚克 「未熟だった僕に、演出家として必要なもののすべてを教えてもらった作品です」

─ 鈴木健一 「僕の人生を助けてくれた作品。キャリアのうえでも確実にターニングポイントになりました」

─ 加藤敏幸 「演出の視野を広げてくれました。面白ければ、迫力があればなんでもアリなんだと吹っ切れました」

─ 木村泰大 「作っているときは辛くて、終わると寂しい。そんな珍しい作品ですね」

─ 髙橋秀弥 「ジョジョを作った3年間はとても得難い体験で、僕の人生の宝物になりました」

─ 大森啓幸プロデューサー 「長い戦いになると予感していたので、何があっても諦めないことだけは心に誓いました」

─ 笠間寿高プロデューサー 「2ndシーズンが終わった時、スタッフ全員で肩を抱き合いながらわんわん泣いたことを今でも鮮明に覚えています」

- 取材・文/岡本大介



Published August 25, 2021


—Congratulations on concluding JoJolion's serialization. How are you feeling right now?

Hirohiko Araki: Since I was able to properly conclude the story, instead of leaving it kind of vague, I'm feeling creatively satisfied. When you work like this every day, it takes a toll on you physically ... So right now I'm trying to "reset" that.

—This story arc was serialized over a period of 10 years, making it the longest in the series. Since it began in 2011, the story was deeply influenced by the Tohoku earthquake and tsunami, which you yourself commented on in the manga. And in terms of approaching the "Dilemma," there are depictions that bring to mind the coronavirus pandemic as well. It seems like it's been a rough 10 years.

Araki: These 10 years were rough, and it also felt like a decade of climbing upwards. As if I was headed toward a singular goal. The previous series (Part 7), "Steel Ball Run," was also a story about a hero who charged forward toward his goal. It feels like the end of an era, like I was able to bring the story to its proper conclusion.

- In addition to Prince, there are many other artists' works scattered throughout JoJo, such as Queen, the Rolling Stones, and the Beatles. Are there any artists that you currently love listening to?

Araki: I listen to just about everything, but not as much as I used to. That includes stuff like Aphex Twin and ambient music.

—They make an appearance in JoJolion as the "A. Phex Brothers", right?

Araki: I may not reference them in Stand names very often, but I do enjoy that type of music. I listen to Pharrell Williams' group as well.

—You mean N.E.R.D?

Araki: Yes. Bruno Mars and Mark Ronson's “Uptown Funk” is similar to Prince, too. It has a weird 80's beat, and it reminds me of Prince in that it's not together all the time, and has irregularity to it.

—Billie Eilish's second album "Happier Than Ever" came out the other day. Have you listened to it?

Araki: Not yet. I listened to her previous album, though. She also has some Prince-like vibes.

—She's kind of the leading star of today's youth.

Araki: She is. But I also feel like music these days has a “mentally unwell” aspect to some extent (laughs). Most of it comes from a place of pain, which is used to create sounds that strike a nerve in the listener. That's essentially what youth are like nowadays, right?

- Including Jotaro Kujo, the Joestar group in Part 3 is made up of people from various races, right?

Araki: That's right. But I wasn't able to include any women. It didn't feel right to have pretty girls in life-or-death fistfights or scenes where they would have to take a punch from an Ora Ora barrage. That wasn't an issue when it came to Jolyne Cujoh in Stone Ocean.

—Because the times changed?

Araki: It could have been the times. Shonen Jump readers stopped caring if we used female characters. Before, they would have outright rejected them and if a character got rejected, the series was basically over. That type of thing was still prevalent in 1980s Japan, but now Shonen manga is starting to reflect the current social climate and how we view gender. In Part 3, I really wanted to include a girl. And I did for a bit...

—You mean Anne, the runaway girl?

Araki: I included her, but then I retired her. At the time, I really liked the idea of having a girl around, but it simply wasn't meant to be. With the long and difficult journey ahead of them, I had to change it back to being all men.

—That kid wasn't a Stand User though.

Araki: I could have let her develop one. That's not really a problem at this point. Even the smallest person can have a powerful Stand.

—The Joestar group even recruited Iggy, a dog, into the group.

Araki: That's true. I really wanted there to be all sorts of people within the Joestar group. I constructed it with the time period and the film “Seven Samurai” in mind, and wanted to include members to reflect that.

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













荒木:プリンスは、だんだんと好きになってきたアーティストなんです。「Soft and Wet」(アルバム『For You』(1978)収録)やアルバム『Dirty Mind』(1980)を時々聞いていた程度だったんですけど、アルバムを重ねる毎にいいなと思いはじめて。『1999』(1982)までも全部いいアルバムで、『Purple Rain』(1984)で衝撃的な盛り上がりがありました。この人は急に売れた人じゃないんだっていうか。芸術的には裏切ってくるんですけど、ミュージシャンとかアーティストとしては確かなアーティストで、作品が出たら絶対に買うっていう、そういう人になったんです。「代表作は何?」って聞かれると困るくらい、どれもいいんです。


――「Soft and Wet」を聞いていたということは、デビューからチェックされていたということですか?

荒木:そうですね。R&Bのアーティストなのに音や楽器の使い方が奇妙な感じがありました。その時代を生きてるんだけど、新しい文化やファッションを見せてくれていたし、衝撃的なジャケットもあって、自分のヌードを使った『Lovesexy』(1988)は下手したら変態と紙一重だし、ビキニのパンツを履いた『Dirty Mind』も、普通の人だったら完全にアウトだけど、プリンスがすると、そうでもない気もして。「何を考えてるんだろう?」っていう謎めいた部分がプリンスですよね。  アルバムそのもので言うと、曲の順番があるんですよ。いろんなアーティストがいるけど、昔だとレッド・ツェッペリンの2枚目(『Led Zeppelin II』(1969))の「Heartbreaker」と「Livin' Lovin' Maid (She's Just A Woman)」の2曲はペアなんですよ。曲が終わって次の曲に入っていく感じが重要で、その位置にいなきゃダメなんですけど、プリンスもそういうのが多いんです。例えば『Purple Rain』だったら「Let's Go Crazy」からの「Take Me With U」。終盤だと「I Would Die 4 U」と「Baby I'm A Star」と「Purple Rain」。この3曲は絶対に切り離しちゃいけない、組曲的な曲で、繋ぎ目や入り方もすごくいいんですよ。動かせない運命の流れみたいなものがアルバムの中にあって、それがたまんないんですよね。圧倒的なんですよ。

――『The Gold Experience』(1995)も1枚で1曲の組曲のようなアルバムですよね。


――事前にお聞きしたアンケートでは、荒木先生がお好きなプリンスの作品は「強いて言わなければならないとすれば「Purple Rain」」でした。


――『Purple Rain』はアルバムとしてはもちろん、映画もあって、そこら辺も付随して一つのセットというか。





――『Purple Rain』のリリースが1984年で、荒木先生はその後の1987年に『ジョジョの奇妙な冒険』の連載を開始するわけですが、シリーズ全体でもプリンスからの影響、プリンス愛が多く見られます。先ほど「紫色のイメージ」とおっしゃっていましたけど、コミックスの背表紙やキャラクターのカラーリングが紫を基調としていて、『ジョジョ』のタイトルロゴも映画『Purple Rain』のロゴを彷彿とさせるデザインです。これらは意識されていたんですか?


――自分が『ジョジョ』の中でプリンス愛が溢れていると思う部分が第3部『スターダストクルセイダース』のある1話にあって。モハメド・アヴドゥルが餌をまくシーンに「マイケル」「プリンス」「ライオネル」と名前がつけられた鶏が登場し、さらにジャッジメントがジャン・ピエール・ポルナレフに「Hail 2 U!」とプリンスの暗号的な英語表記を使うんですよね。

荒木:懐かしいですね。「2 U」とか「4 U」とか、そういうのも衝撃的ですよね。こう書くんだと。シンボルマークとか、世界の暗号って感じがしますよね。









荒木:なるべく避けてたんですけど、『ジョジョの奇妙な冒険』ってダイヤモンドとか、ストーンだとか鉱物に凝っていて、「金だったら何かな?」って考えたら『The Gold Experience』があるなと。





――アルバム『The Gold Experience』自体は愛聴されている作品ですか?


――「P. Control」なんかは、もうヒップホップですよね。





――確かにそうですね。「Soft and Wet」という楽曲についてはいかがですか?

荒木:弾ける電子音楽というか、変なリズム感があるというか。後にM.C.ハマーがサンプリングした曲(「She's Soft and Wet」)も良くて、そこでまた好きになりました。『Dirty Mind』辺りまでは、ドラムも打ち込みじゃないですよね。プリンスってずっと生でやるから、それが不思議です。その辺りを実際に聞いてみたいというか、知りたいです。プリンスだったら全部打ち込んでいくだろうと予測するんだけど、彼はそうしないんですよね。

――「Paisley Park」はアルバム『Around the World in a Day』(1985)に収録された楽曲です。

荒木:『Purple Rain』と違う方向に行ったのでびっくりしました。そういうところもいいんだよね。雲のジャケットも衝撃だったんです。水色に雲の柄のジャケットを着て、演奏するんですよ。当時の80年代のぶっ飛んでるファッションというか。『Purple Rain』の首の辺りにひらひらが付いた王子様のようなのも良かったけど、「こんなの着るんだ!」って。









荒木:そうですね。ブルーノ・マーズとマーク・ロンソンの「Uptown Funk」も、プリンスっぽいよね。概念は80年代の変なビートで、ずっと一緒じゃなくて変則的に入ってくる辺りがプリンスを思わせるんだよね。

――先日、ビリー・アイリッシュの2ndアルバム『Happier Than Ever』が出ましたがお聞きになられましたか?

荒木:それはまだですけど、前作(『WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?』)は聞きました。ビリー・アイリッシュもプリンスっぽい部分はありますよね。



――『AERA』で掲載されたKing Gnuの井口理さんとの対談は大きな話題になりました。日本のアーティストで愛聴されている作品はありますか?

荒木:日本のアーティストはあんまり聞かないんですよ。King Gnuみたいに「この人たち、何だろう?」とか「違うな」とか、他とは違う感じの音楽に惹きつけられます。King Gnuはびっくりしました。あとは、ヒゲダン(Official髭男dism)。ちょっと付いていけないようなリズムとか、あり得ないようなメロディーを作られますよね。







荒木:人って生活を良くしようとか、上に行こうとするじゃないですか? ある程度偉くなりたいとか、お金持ちになりたいとか。僕はそうではない、破滅に向かっていたり、世間や家族に迷惑をかけたりする人に興味あるんです。






荒木:ダウンロードしてから聞くのもありますけど、基本CDで欲しいんですよね。いちいち買いに行きます。情報がちっちゃい文字で載っているのを読みたいんですよ。あと、ジャケットが欲しいんですね、何よりも。どんな変な絵のジャケットでも欲しいんですよ。家にCDの戸棚があるんですけど、そこを眺めているのもすごく好きです。曲の順番が重要なのに対して、アルバムの順番も重要で、僕は発売順に並べています。「『The Black Album』(1994)をどこに入れよう、ここだろうな」って考えたり。ずれると嫌なんですよね。


荒木:ネットじゃなくて買いに行きたいんですよね。ドサッと買いますよ。知らない情報を教えてくれるし。最初は「なんだこれ? 俺、ダメだ……」みたいな作品も、何か月か経って聞いてみるとよかったりして、違う感覚が得られるんですよね。


荒木:そうですね。あの当時は、ソフト・マシーンとかも僕にとってはワケの分からない音楽だったんですけど、20~30年してCANを聞いたら「え! あの時代にこんなのがあったんだ。しかも、日本人がバンドメンバーに入ってる」って。すごいなって思います。

――ダモ鈴木さんですよね。プリンスの話に戻しますが、『Welcome 2 America』を聞かれていかがでしたか?


――前半は少しジャジーでもありますし、「Hot Summer」はすごくポップに仕上がっています。

荒木:ヨーロッパの独特な空気感があって、ヨーロッパの人が作ったんじゃないかなって思ったくらいです。あとは、最初の4曲の並びがいいですし、タイトルの「2」がまたいいよね。これ、プリンスだよ。「Born 2 Die」とか、「1010 (Rin Tin Tin)」から「Yes」に続く感じがプリンスらしい。嬉しいですよ。

――表題曲の「Welcome 2 America」では、プリンスが初期から歌詞に綴ってきている社会情勢や人種間の対立、ジェンダーを歌っています。













荒木:実際に何本かブルーレイを持ってます。『Sign O' The Times』(1987)のライブが好きで、あれは何回観ても面白いですね。


荒木:パーティーみたいに盛り上げようっていうところですかね。惹きつけるアイデアがいっぱいあって、それに毎回新曲をやるんですよ。過去の作品にあんまりこだわってないんですよね。たまにドラムを叩いたりするところも好きです。僕は『Batman』(1989)の頃とか『Diamonds And Pearls』(1991)の時の来日コンサートを見に行きました。日本武道館とか東京ドームとか、3回ぐらい行きましたね。









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  5. ↑ Naokatsu Tsuda Q&A at Anime Boston
  6. ↑ Naokatsu Tsuda Anime Boston Interview
  7. ↑
  8. ↑
  9. ↑ 「みんな脱出すればいい(笑)」承太郎一行になりきって、運命を乗り越えろ!
  10. ↑
  11. ↑
  12. ↑
  13. ↑
  14. ↑
  15. ↑
  16. ↑
  17. ↑
  18. ↑
  19. ↑
  20. ↑
  21. ↑
  22. ↑
  23. ↑
  24. ↑ Transcripted from the following videos:
  25. ↑
  26. ↑
  27. ↑

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