JoJo's Bizarre Adventure
JoJo's Bizarre Adventure (ジョジョの奇妙な冒険, JoJo no Kimyō na Bōken), meist abgekürzt als JoJo, ist ein fortlaufender shonen und seinen Manga, geschrieben und illustriert von Hirohiko Araki seit Dezember 1986. Die Geschichte erstreckt sich über neun Teile, die jeweils einem anderen Protagonisten aus der Joestar-Blutlinie folgen, wobei in jedem Teil neue Orte und Epochen eingeführt werden.
JoJo's Bizarre Adventure wurde ursprünglich im Weekly Shonen Jump von 1986[a] bis 2004 serialisiert. Kurz nach Beginn des siebten Teils wurde die Serie 2005 in das monatliche Magazin Ultra Jump übernommen, wo die Serie seitdem bis zum neunten Teil fortgesetzt wird. JoJo's Bizarre Adventure wird in einer Vielzahl von Formaten gesammelt, die von normalen tankōbon und Paperback-Bänden bis hin zu Sonderausgaben wie den Hardcover-Editionen „JoJonium“ und „Omnibus“, die alle den Manga enthalten, wie er im Weekly Shonen Jump und Ultra Jump fortlaufend veröffentlicht wurde, wenn auch mit Unterschieden in den Kapitelnamen und leichten Anpassungen der Dialoge.
Die Serie ist mit über 120 Millionen verkauften Exemplaren [3] eine der meistverkauften Manga-Serien der Geschichte. Mit 136 Bänden ist sie auch die am längsten laufende Manga-Serie von Shueisha seit Dezember 2024.
Zusammenfassung
JoJo's Bizarre Adventure umfasst verschiedene Genres wie Action, Abenteuer, Übernatürliches, Thriller, Komödie, Tragödie, Mystery, Slice of Life und Horror. Die Serie ist vor allem bekannt für ihr Stand-Phänomen, den Stardust Crusaders Handlungsbogen mit Jotaro Kujo und DIO, die ausdrucksstarke Darstellung charismatischer und exzentrischer Charaktere, bizarre Posen, ikonische Dialoge, einzigartige Lautmalerei und zahlreiche Anspielungen auf die westliche Popkultur.
Araki hat das JoJo-Universum durch verschiedene One-Shots und Artbooks erweitert. Auch mehrere Spin-Offs und Light Novels von anderen Autoren wurden veröffentlicht, viele davon mit Originalillustrationen von Araki.
Jahrelang war JoJo der am längsten laufende Manga von Shueisha ohne eine Anime-Fernsehadaption. Während Stardust Crusaders eine OVA-Adaptation erhielt und der Phantom Blood Handlungsbogen zu einem Kinofilm verfilmt wurde, debütierte anschließend eine offizielle Anime-Fernsehserie von David Production am 6. Oktober, 2012, 25 Jahre nach Beginn der Manga-Serialisierung. Eine Live-Action-Verfilmung von Diamond is Unbreakable wurde ebenfalls 2017 veröffentlicht.
Die Serie hat sich auch auf verschiedene Formen von Merchandising ausgebreitet, darunter Sammelfiguren, Mobilanwendungen und Videospiele, von denen mehrere Kampfspiele international veröffentlicht wurden. Das zuletzt erschienene All-Star Battle R wurde von Bandai Namco in 2022 für die PlayStation 4, PlayStation 5, Nintendo Switch, Xbox One, Xbox Series X & S, und Steam veröffentlicht.
Die Geschichte von JoJo entwickelt sich in zwei Kontinuitäten. Die erste Kontinuität umfasst die Teile 1 bis 6, serialisiert im Weekly Shonen Jump von 1986 bis 2003, während die zweite Kontinuität aus den Teilen 7 bis 9 besteht, serialisiert im Ultra Jump von 2005 bis heute.[b] Die Erzählung ist in mehrere mehrkapitelige Handlungsbögen aufgeteilt, welche prekäre, melodramatische Konflikte zwischen gegnerischen Seiten darstellen, die jeweils durch ihre einzigartigen übernatürlichen Fähigkeiten - vor allem das vielseitige Stand-Phänomen - sowie ihre unterschiedlichen Ziele, Ideologien oder Moralvorstellungen definiert werden. Diese Handlungsbögen variieren im Ton und mischen Abenteuer, Spannung, Mystery und Horror mit Action, oft auch mit komödiantischen Elementen.
Zahlreiche Anspielungen auf moderne Filme, Fernsehen, Mode, bildende Kunst und populäre Musik tauchen an verschiedenen Stellen in "JoJo" auf und beeinflussen sowohl das Charakterdesign als auch die Nomenklatur. Darüber hinaus integriert die Serie Konzepte aus Physik, Mathematik, Psychologie, Biologie, Technologie, Mythologie, Naturphänomenen, historischen Ereignissen und anderen künstlerischen Werken in das Design und die Mechanik der vielen einzigartigen Stands. Gelegentlich greift die Geschichte auf moderne wissenschaftliche Theorien zurück, um phantasievolle Interpretationen der Interaktionen bestimmter Stands und anderer Kräfte mit der Natur zu präsentieren.
Morioh, die fiktive japanische Stadt, die als Handlungsort von Diamond is Unbreakable dient, und ihr Gegenstück in JoJolion, ist im Gegensatz zu den anderen Handlungsorten der Serie geografisch mit Arakis Heimatstadt Sendai verbunden.[4] Dieser Handlungsort ist reich an kulturellen Details und aktuelleren Themen wie dem 2011 Tohoku-Erdbeben. Darüber hinaus kehrt der Mangazeichner Rohan Kishibe, ein Bewohner von Morioh, der in Diamond is Unbreakableeingeführt wurde, als Protagonist und Erzähler der Spin-off-Serie Thus Spoke Rohan Kishibe zurück.
Als Hirohiko Araki 2006 nach dem zentralen Thema von JoJo gefragt wurde, beschrieb er es als „das Rätsel des Menschen“ und „eine Ode an die Menschlichkeit“, während er seine Herangehensweise an Mangas als „die Rettung des Herzens“ bezeichnete.[5] Thematisch beschäftigt sich die Serie mit Mut, Gerechtigkeit und Schicksal.
Handlungszusammenfassung
In der ersten Folge der Serie geht es um einen Konflikt zwischen den Generationen der Familie Joestar und verschiedenen bösartigen Kräften, insbesondere Dio Brando und seine Anhängern.
Die Teile 7-9 spielen in einer alternativen Kontinuität zu den Ereignissen der Teile 1-6. In dieser zweiten Kontinuität tauchen Charaktere, Orte und Konzepte auf, die denen des Originaluniversums ähneln, jedoch sind die Standfähigkeiten und die Ereignisse, die sie umgeben, äußerst unterschiedlich. Diese Kontinuität folgt der Geschichte von Johnny Joestar und seinen Nachkommen, sowie dem Geheimnis vom Leichnam des Heiligen.
Zwar hat Araki die Kontinuität der Teile 7-9 als eine Fortsetzung des Universums am Ende von Teil 6 bezeichnet,[6][7] jedoch hat er auch erklärt, dass die Handlungsorte von Diamond is Unbreakable und JoJolion weder räumlich noch zeitlich miteinander verbunden sind.[8] Auch die Beziehung zwischen den beiden Kontinuitäten bleibt unklar, wie in JOJOVELLER geschildert.[9]
Der erste Teil, Phantom Blood, spielt in England zwischen 1880 und 1889 und begleitet Jonathan Joestar wie er an der Seite seines Adoptivbruders, des gerissenen und skrupellosen Dio Brando aufwächst und schließlich gegen ihn kämpft. Nach dem Erlangen einer uralten Steinmaske verwandelt sich Dio in einen Vampir, und zwingt Jonathan, unter der Anleitung von Will Anthonio Zeppeli die Kampfkunst des Hamons zu erlernen. Die Wellenenergie, eine Lebensenergietechnik, die im Nahkampf übertragen wird, ist neben dem Sonnenlicht eines der einzigen Mittel, Vampire und ihre Zombie-Untergebenen zu vernichten.
Der zweite Teil, Battle Tendency, folgt Jonathan Joestars Enkel, Joseph Joestar, und spielt zwischen 1938 und 1939 in New York. Joseph reist nach Mexiko, Italien und in die Schweiz, um gegen die Pillar Men zu kämpfen - eine uralte Rasse mächtiger Wesen, die für die Erschaffung der Steinmaske verantwortlich sind. Wie sein Großvater unterzieht sich Joseph einem intensiven Wellenenergietraining, gemeinsam mit Caesar Anthonio Zeppeli, dem Enkel von Will, unter der Anleitung der rätselhaften Lisa Lisa. rätselhaften Lisa Lisa. Gemeinsam kämpfen sie, um zu verhindern, dass die Pillar Men den Red Stone of Aja in ihre Hände bekommen – ein Edelstein, der es ihnen ermöglichen würde, die Steinmaske zu perfektionieren, wodurch sie immun gegen Sonnenlicht würden und ultimative Kontrolle über das Leben selbst erlangen könnten.
Der dritte Teil, Stardust Crusaders, spielt zwischen 1988 und 1989.[c] Josephs Enkel, Jotaro Kujo, Enkel, Jotaro Kujo, begibt sich auf eine Reise von Tokio, Japan, nach Kairo, Ägypten, zusammen mit Joseph, Muhammad Avdol und Noriaki Kakyoin. Ihr Ziel ist es, Jotaros Mutter, Holy Kujo, vor einer lebensbedrohlichen Krankheit zu retten, die durch die übernatürliche Verbindung der Joestar-Familie zu DIO verursacht wurde. DIO ist nach einem Jahrhundert aus den Tiefen des Ozeans zurückgekehrt. Auf ihrem Weg schließen sich ihnen der französische Schwertkämpfer Jean Pierre Polnareff und der Hund Iggy an, während sie in Hongkong, Singapur, Indien, Pakistan und Ägypten gegen zahlreiche von DIO entsandte Gegner kämpfen.
Ab diesem Punkt setzen sowohl Protagonisten als auch Antagonisten hauptsächlich Stands ein – Manifestationen ihrer kämpferischen Entschlossenheit –, was zu einem der markantesten Merkmale der Serie wird. Ursprünglich hatte Araki JoJo’s Bizarre Adventure als Trilogie geplant, doch die Serie setzte sich über das Ende von Stardust Crusaders hinaus fort.[10][6]
Der vierte Teil, Diamond is Unbreakable, spielt 1999 in der fiktiven Stadt Morioh, Japan. Die Geschichte folgt Josuke Higashikata, Josephs unehelichem Sohn, während er sich mit der wachsenden Zahl von Stand-Nutzern in der Stadt auseinandersetzt. Viele dieser Nutzer wurden durch den Bow and Arrow erschaffen – dasselbe Artefakt, das DIOs Stand erweckte. Gemeinsam mit Okuyasu Nijimura, Koichi Hirose, Jotaro Kujo und Rohan Kishibe begibt sich Josuke auf die Jagd nach dem schwer fassbaren Serienmörder Yoshikage Kira, der seit Jahren Moriohs Bewohner ermordet.
Der fünfte Teil, Vento Aureo, is set in Italy in 2001 and follows DIO's son, Giorno Giovanna, as he infiltrates Passione, Italy's most powerful gang. With aspirations of reforming the organization to rid it of its corrupt drug trade, Giorno allies with Bruno Bucciarati and his team, consisting of Leone Abbacchio, Guido Mista, Narancia Ghirga, and Pannacotta Fugo. Initially tasked with protecting the daughter of the gang's Boss, Trish Una, from the traitorous La Squadra Esecuzioni, they eventually betray the gang as well upon discovering that the Boss intends to kill Trish to protect his identity.
The sixth part, Stone Ocean, takes place in 2011, centering on Jotaro's estranged daughter, Jolyne Cujoh, who is framed for murder and incarcerated in Green Dolphin Street Prison. When Jotaro attempts to rescue her, he falls victim to Whitesnake, a Stand that steals both his Stand and memories. Determined to uncover the identity of Whitesnake's user, save her father's life, and thwart the greater conspiracy at play, Jolyne allies with fellow inmates Ermes Costello, Foo Fighters, Narciso Anasui, and Weather Report, under the guidance of the young but resourceful Emporio Alnino. As they delve deeper into the prison's mysteries, they uncover Enrico Pucci's grand scheme to achieve "Heaven", a plan influenced by the late DIO.
The seventh part, Steel Ball Run, is set in 1890, following a transcontinental horse race across the United States known as the Steel Ball Run, organized by Steven Steel. Gyro Zeppeli, a master of the mysterious Spin technique, enters the race to win the cash prize of $50,000,000, hoping to convince the king of Naples to grant amnesty to a boy sentenced to death. Johnny Joestar, a paraplegic former jockey, hopes to regain the use of his legs through mastering the Spin. The two soon discover that the race serves as a cover for President Funny Valentine's secret mission to gather the holy Corpse Parts of Jesus Christ, leading them into a conflict against Valentine and his government agents in pursuit of these sacred relics.
The eighth part, JoJolion, jumps forward to 2011, following university student Yasuho Hirose as she discovers an amnesiac man, later named "Josuke," buried in the rubble of Morioh after the Great East Japan Earthquake. As Yasuho and Josuke investigate his past, they initially suspect he may be the ship doctor Yoshikage Kira. Josuke is taken in by the affluent Higashikata Family, but his search for the truth soon leads him to uncover the family's hidden past, their connection to the enigmatic Rock Humans, and a mysterious "Locacaca" fruit with the power to break their generational curse. As their investigation deepens, Josuke and Yasuho join forces with the skilled horticulturist Rai Mamezuku, who possesses crucial knowledge about the Locacaca. However, their pursuit of the fruit entangles them in a deadly struggle against the Rock Humans, culminating in a battle against calamity itself.
The ninth part, The JOJOLands, is set in the volcanic islands of Hawaii in the 2020s. It follows Jodio Joestar, a high school student with antisocial personality disorder, who dreams of becoming rich. Jodio works as a gofer for a small gang run by his principal, Meryl Mei Qi, alongside his older brother Dragona Joestar and schoolmates Paco Laburantes and Usagi Alohaoe. After joining forces with Hawaii Island native Charming Man, the group embarks on a heist to steal a plot of private land owned by an infrastructure development company named HOWLER. The land is linked to the disappearance of Charming Man's brother, and the team relies on the power of a mysterious Lava Rock pilfered from Rohan Kishibe to achieve their goals.
Publication
Chapters are serialized in Weekly Shonen Jump and Ultra Jump, under Shueisha. While in Weekly Shonen Jump, the series was published under the tagline "Romance Horror! -A Crimson Tale-" (ロマンホラー!—深紅の秘伝説—, Roman Horā! -Shinku no Hi Densetsu-). The tagline was created by the editorial department at Shueisha and was included in every chapter up until Stone Ocean.
International Publication
In North America and the United Kingdom, Stardust Crusaders was translated into English and published in 16 volumes by VIZ Media from November 8, 2005 to December 7, 2010 under the title of JoJo's Bizarre Adventure, skipping both Phantom Blood and Battle Tendency. On June 9, 2014, VIZ Media published the first three parts of JoJo's Bizarre Adventure from the JoJonium line of manga, from February 24, 2015 to February 5, 2019, marking the first English publications of Phantom Blood and Battle Tendency. On July 6, 2018, VIZ Media announced they would be releasing an English publication of Diamond is Unbreakable. The first volume of Diamond is Unbreakable was released on May 7, 2019, and finished on May 4, 2021. On August 3, 2021, VIZ Media released the first volume of Vento Aureo in English. On February 3, 2023, VIZ Media announced they would be releasing an English publication of Stone Ocean in fall of that year.
In Italy, Star Comics began publishing the series in a monthly format under the title Le bizzarre avventure di JoJo from November 1993 to April 2004.[11] These monthly releases contained around five chapters in each trade paperback, with 126 paperback volumes released for the first six parts. Starting with Steel Ball Run, published from March 2006 to February 2012, new volumes are published in the Japanese (tankōbon) format. In 2010 Star Comics began publishing the Bunko Edition, completely replacing the original releases of the first 7 parts. Having completely released JoJolion (February 2014-July 2022) and the JoJonium release of Parts 1-3 (October 2019-May 2022), they are up to date with the series as of December 2022.
In France, the first four parts were published by J'ai lu[12] from January 2002 to December 2005. In 2007, publisher Tonkam (now a subsidiary of Delcourt) resumed the publication of the following parts starting with a publication of Vento Aureo. The previous parts would later see revised releases under Tonkam's publication, starting with Stardust Crusaders before going back to Phantom Blood and continuing from there. Currently, they are publishing JoJolion.[13]
In Taiwan, JoJo was illegally distributed under the title Strongman Front (強人陣線) by Tong Li Comics for many years until Daran Comics obtained the official publishing license for JoJo, renaming the comic to JoJo Adventure Wild (JoJo冒險野郎). On March 31, 2003 Daran Comics shut down their offices and the license for JoJo was officially obtained by Tong Li Comics, who now officially distributes the series under the original title of JoJo's Bizarre Adventure (JoJo的奇妙冒險). In Hong Kong, the publisher of the series is World Publishing Limited under the label Comics World, who have published all of JoJolion.[14][15] In China, the series is distributed digitally by Bilibili Comics, who have published the entire series; they are currently publishing The JOJOLands in simultaneous release with the Japanese edition.[16]
Creation and Development
When he first conceived JoJo's Bizarre Adventure, Araki was throwing around several core ideas he wanted to portray such as an idea of succession between generations, but also to show traveling heroes. From there he began to set up his ideas for Phantom Blood. Araki notes that the process of creating JoJo went from fighting to a more spiritual aspect, and that concepts like friendships took a greater place over time.[17] Araki had several themes in mind too, such as the idea of "mystery",[18] and notably the mystery coming from bloodlines. He also asked himself "Who is the strongest person in the world?" and derived from this question themes such as immortality, seeking life, or justice.[18] More importantly, Araki felt that he could create something unique among the current series at Weekly Shonen Jump with these ideas. Araki had initially only planned for three parts,[19] but decided to continue with his series.
Writing JoJo
Araki gives precedence to emotion and inner thought over plot structure, trying to portray the protagonists' destiny.[18] He follows a particular narrative style that he calls the "golden way" down the "royal road" of creating manga, characterized by strong and determined protagonists who constantly advance towards their objectives. This "royal road" is, according to him, the best way to draw in the audience. One example of his "royal road" is the plot of Stardust Crusaders during which the heroes always manage to defeat the enemies on their paths and inexorably approach Egypt. Araki is not averse to killing off his protagonists like Jonathan Joestar, feeling that if the death served a greater purpose then he still abides by the "royal road".[20] Araki thinks the basic plot of his parts center around a particular predicament and likes to throw his protagonist quickly into said predicament before continuing off his story from there (e.g. Johnny Joestar is paraplegic and wants to find a way to heal his legs).[20] Araki also use a rather original plot structure for the series. Instead of the classical "tournament" format of most other series at the time where the heroes fought enemies in a predictable increasing order of strength, Araki adopted a sugoroku style (sugoroku is a table-top game similar to snakes and ladders) where the heroes would travel and then meet enemies at particular points in said journey. The fights would be more varied due to a better variety of powers, and there would be an emphasis on wit rather than force.[21] Araki also denounces the long-term limitations of always increasing the strength of enemies in a serialized manga.[18][22]
Araki takes inspiration from a variety of sources to write his series. He has confirmed several times that he uses Western music to name his characters, but is also influenced by designs from varied sources such as artbooks, comic books, the news, or movies. Araki extensively uses books rather than online research.[23] One lesser known aspect of his research is that he often travels to the places he depicts in the series in order to have a better feeling of the place and gather details that an online research wouldn't give. His first editor, Ryosuke Kabashima, encouraged him to see movies for inspiration and also travel.[24] Kabashima notably coerced Araki into traveling to Egypt to later depict it in Stardust Crusaders.[25] Araki would later on keep this habit, traveling to Italy for Vento Aureo,[26] to a correctional facility in Florida to get inspiration for Green Dolphin Street Prison,[27][28], as well as to Orlando.[29] He also went on several long journeys in the USA and Japan to improve his writing for Steel Ball Run.[30] His habit of traveling to research places extended to individual buildings such as a hospital or a drug store.[31] Prior to writing The JOJOLands, he flew to Hawaii, particularly to Oahu Island and Hawaii Island, taking photos of specific locations like the school Jodio Joestar attends and the villa where Rohan Kishibe stays.[32]
Araki makes it a point to never rest on his laurels and always find new ideas. For instance, Araki was displeased to think he had reached a summit with Stone Ocean in terms of ideas, deciding to erase the original continuity and revisit his old ideas in a second continuity.[33] His will to always change is also noticeable in his art (though he explains it as avoiding drawing old art rather than deliberately change).[34] Araki's art style has changed considerably over the years, although he had always kept core ideas about his art such as his dramatic poses and representation of an ideal human body. For instance, muscle-bound heroes were popular in the 80s so Araki drew these types of characters (e.g. Jonathan), but as trends changed, Araki transitioned to more normal-looking characters like Giorno, a slimmer pretty boy character type.[17][35] The unusual sound effects Araki inserts in his pages are inspired from horror movies and rock music, akin to scare chords and other noises produced by synthesizers and mellotrons.[35] More specifically, the music which plays in a scene where a woman gets stabbed in Alfred Hitchcock's Psycho inspired Araki to try and express the same sense of "impending danger" using sound effects in his manga.[36]
During its publication in the Weekly Shonen Jump magazine, Araki continuously tried to push for unique ideas, often infringing on what was considered acceptable for the magazine. Araki notably decided to make his first protagonist a foreigner and then kill him off to replace him, which was a taboo. Araki also had tried to write female protagonists for the series, with notably Giorno Giovanna being initially thought of as a young woman. This would be eventually portrayed with Jolyne Cujoh, whose sex he insisted on despite his editor's requests. Araki notably thought that it was then acceptable to portray women being subjected to violence as intense as male characters were being exposed to.[35][37] However, the risks Araki took led to several conflicts with the editorial team who tried to tone down the violence and themes Araki wanted to write about.[38]
When Araki creates a character, he thoroughly completes a datasheet about said character, which includes their physical characteristics, their tastes, and background information like a potential family.[39] Araki notes that his habit of naming characters after bands and albums is a simple hobby, and a way to pay his respect to the musicians he likes.[18]
During his time at Weekly Shonen Jump, Araki had the following schedule: Sundays were spent finding ideas; Mondays were spent making the draft storyboard for the chapter, meeting with his editor, and drawing more elaborate sketches, one page at a time; Tuesdays, Wednesdays and Thursdays were spent finishing drawing the chapter for the publication in the magazine; and Fridays and Saturdays were spent resting.[40] This schedule that Araki followed strictly was also set up by his first editor, Kabashima.[24] This notably allowed Araki to keep in shape, and he was also noted as being always on time for his chapters.[41] His currently monthly schedule seems to have stayed the same as his weekly schedule, with Fridays and Saturdays off. Araki adds that he wakes up at 10 AM, begins working at 11 AM, takes a break at noon, and finishes his work day at Midnight.[42] He believes that his current schedule of creating 45 pages a month matches his natural pace better.[23] Thanks to his strict schedule, Araki has never missed a deadline in his career.[23][41]
Siehe auch
Notizen
- ↑ The official anniversary of the series is celebrated on January 1, 1987.
- ↑ Part 7, Steel Ball Run wurde zunächst auch im Weekly Shonen Jump bis zum 23. Kapitel am 18. Oktober 2004 veröffentlicht.
- ↑ The timeframe of Stardust Crusaders was originally stated as 1987-1988 before later being revised to 1988-1989 in both the manga and anime.
Referenzen
- ↑ Baoh: The Visitor Issue #1 English Author's Note
- ↑ https://www.viz.com/jojo-s-bizarre-adventure Official Website for JoJo's Bizarre Adventure
- ↑ Vish (December 18, 2021), "My Rohan Kishibe Talk - JoJo's Bizarre Adventure Has Printed 120,000,000 Copies", JoJo's Bizarre Encyclopedia.
- ↑ Morioh-Karte (JoJolion)
- ↑ Tokai Lecture (June 2006)
- ↑ Jump up to: 6.0 6.1 Interview:JoJo Could Have Ended with Part 4 (October 2012)
- ↑ Interview:Aomaru Jump (February 2004)
- ↑ Interview:All-Star Battle Strategy Guide (August 2013)
- ↑ Interview:JOJO JOURNEY (September 2013)
- ↑ JoJonium Volume 8 (Jotaro Kujo) - Special Interview
- ↑ Le bizzarre avventure di JoJo First Italian release November 1993
- ↑ J'ai lu
- ↑ Hirohiko Araki - Delcourt
- ↑ Comic World's Facebook post on JoJolion 27
- ↑ JoJo的奇妙冒险 Chinese Wikipedia page for the JoJo series
- ↑ 乔乔的奇妙冒险 第9部 The JOJO Lands - 哔哩哔哩漫画
- ↑ Jump up to: 17.0 17.1 Animeland Interview 06/2003
- ↑ Jump up to: 18.0 18.1 18.2 18.3 18.4 Tokai Lecture 06/2006
- ↑ Weekly Shonen Bracket 100Q
- ↑ Jump up to: 20.0 20.1 Hirohiko Araki's Manga Techniques Chapter 4
- ↑ NYT Japan interview 11/2018
- ↑ Volume 45, Volume 46 - Author's Note
- ↑ Jump up to: 23.0 23.1 23.2 Dream Talk Sessions 2013
- ↑ Jump up to: 24.0 24.1 JOJOVELLER History 1979-2013
- ↑ Manga Heaven 06/2007
- ↑ Volume 48 Author's Note
- ↑ SO Volume 1 Special Thanks
- ↑ SO Volume 5 Author's Note
- ↑ SO Volume 12 Author's Note
- ↑ P7 Bunko 1 afterword
- ↑ Volume 41 Author's Note
- ↑ Hirohiko Araki's Research Techniques (December 2023)
- ↑ P6 Bunko Vol.11 Afterwords
- ↑ JOJOmenon interview
- ↑ Jump up to: 35.0 35.1 35.2 Phantom Blood PS2 Game interview
- ↑ Mainichi Shimbun interview
- ↑ P6 Bunko Vol.1 Afterwords
- ↑ P5 Bunko Vol.1
- ↑ Manga in Theory and Practice Chapter 3
- ↑ JoJo 6251 Araki interviews
- ↑ Jump up to: 41.0 41.1 JOJOVELLER 2013 Azuma interview
- ↑ Asahi Shimbun interview
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Warnung: Der Anzeigetitel „JoJo's Bizarre Adventure“ überschreibt den früheren Anzeigetitel „<i>JoJo's Bizarre Adventure/de</i>“.
