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Kappa Magazine (12-1996).png
Published December 1996
👀 Hirohiko Araki


A Stand For A Friend - Interview with Hirohiko Araki

(Edited by Andrea Baricordi with special thanks to Naomi Okita and Tiziano Capelli)

Before we start the interview – can you tell us a bit about yourself?

My name is Hirohiko Araki. I was born on June 7, 1960, in Sendai, Miyagi Prefecture.

Very good. Let’s start with JoJo, then. I think it’s safe to say that this series is the only “generational saga” to come from Japan. Was that your plan from the start?

Only partially. Let me explain: I originally only planned for the series to be three parts, ending with the final confrontation against Dio Brando. This meant that I was already aware of the fact that I would need to make three different JoJo’s, who would – in some sort of way – all be descendants of each other, and that their lives would be linked by a common curse.

Anyway, I have to say that the editors at the time weren’t keen on the idea of switching protagonists, especially for a popular series. If readers took the news badly, it could’ve ended in a total disaster. But I kept on insisting that we do it this way, mostly because I didn’t want to get bogged down drawing the same character for years, and because I wanted to progress the story through specific historical periods without resorting to gimmicks like time travel. Fortunately, I was right, and JoJo’s Bizarre Adventure has been continuing its success since 1987
 Next year, we’ll be celebrating our 10th anniversary!

In addition to this revolutionary idea, other elements also proved key for JoJo’s success. Of course, we’re talking about the way characters fight, first using the Ripple and then Stands

These elements were, however, only added later. I have to say that introducing two completely brand new fighting techniques has given the manga quite a particular twist: initially, it had been based almost exclusively on horror, mystery, and archeological investigations.

Fights always liven up a manga series, but I didn’t want to employ the same standards that everyone else was using. I was too engaged trying to make something completely new and unique. Someone suggested the idea of giving the protagonists ESP powers, but that didn’t sit well with me, and it had already been overused a dozen times. Readers might’ve got bored of it, and I didn’t want that. So I came up with a fighting style based on rhythmic breathing and Ripple Waves that, in an almost scientific way, gives the characters specific powers.

As for Stands, I wanted to put various concepts together, including the idea that an aura surrounds every living being, and Tarot card readings.

But there were only 22 Tarots, and at some point, the Stands started taking on inspirations from something else

Exactly. I liked the idea a lot, so much so that I didn’t realize that the enemies
were coming to an end!

Each Tarot card gave a unique ability and character trait to each Stand, and it wasn’t like I could just make up new Major Arcana: so I had to resort to using the Egyptian gods. Suffice to say that initially only fifteen Stands were planned, while now we’re well past a hundred.

I’ve always tried to instill the characteristics of which country the user originated from into the visual design of every Stand, drawing inspiration from certain objects like books, dolls, and so on, without ever doing the obvious. Stands are always created in stages: first the abilities, then the shapes; subsequently, I throw all those parts together in order to create a Stand that has balanced aspects to its powers.

However, although the Stands are the main focal point, I have to say that I try to put a lot of care and effort into the creation and characterization of the human characters.

The third part of the series is currently being finalized in Italy. Without going into too much depth about the fifth part, which has just started in Japan, can you tell our readers what they can expect from the fourth part?

Josuke Higashikata's part is set in 1999, a very mysterious year because, besides it being the end of the century, it also marks the end of the second millennium. Mankind has always been afraid of certain dates, and to think that we’re so close to this transitional period was really quite astonishing to me: it’s a future not too distant, one that’s considered in the “present” and realistic
 Something imminent and inevitable that’s about to happen to everyone.

In the JoJo saga, time plays a crucial role. Both as a leitmotif and as a conclusion to the first trilogy, time is the very framework within which the characters move. There are other topics I would’ve also liked to cover – one of them being the afterlife – but I fear that it’s too early for that right now.

Unlike the previous parts, where characters traveled around the world, the setting for the fourth part is a city. In fact, the city is hypothetical, not making it too ideal or completely unliveable. Morioh becomes more and more defined and real as the story progresses: it has the same problems a regular city would have, such as traffic, politics, waste disposal, and health care. Basically, a very complex setting helps to make the story more compelling and credible.

Jotaro Kujo and his group embarked on a long journey with a specific destination in mind, and at each turn their enemies continually attacked them in order to stop them. In this case, the enemies are all waiting to be discovered around a single urban location: if you think about it, this makes it a lot much harder to fight them

In JoJo, there are various musical references, especially among the names of the opponents and Stands. But who do we owe the protagonist’s names to?

JoJo? To various foreign musicians who very few people know, but who I really like! The name of Kakyoin, on the other hand, is not a musical reference, but instead a reference to the place where I was born, Sendai.

Music has always accompanied me during the creation of my manga: I owe a lot to Chicago, Yes, Led Zeppelin, Jackson Browne, Bob Dylan and, almost all the musicians from the '60s and '70s. I also really like Prince and I still follow him.

I’ve always been short on money, and in order to listen to music, I had to “grab” the songs using an old and battered cassette recorder, by putting the microphone close to the radio speaker. I didn’t have a stereo, and since records were too expensive for my pocket change, I had to make do with it

As for Japanese music, to tell the truth: I’ve hardly ever followed any Japanese musicians in my life.

Going back to the names of the protagonists, everything matches up to the third part: Jonathan Joestar, Joseph Joestar, Jotaro Kujo... But in the fourth part, we have Josuke Higashikata, who only has one "Jo". What's up with that?

With the fourth part I wanted to experiment with the narrative, and so I tried to make the names more “playful”. Of course, in the West, it is almost impossible to understand why Josuke’s nickname is JoJo and not – for example – JoHi, but it’s actually very simple: both ideograms that makeup Josuke’s name can be read as “Jo”. I chose the name on purpose because once it was written in kanji, any Japanese reader would be able to understand the play on words.

I’m sorry to my Italian readers, but at least I fixed that with the fifth part.

All right, so let's talk briefly about the fifth part. It's set in Italy and the main protagonist is Giorno Giovanna...

Right. And since the short-form “GioGio” is pronounced exactly like JoJo, it all comes together: I asked Shueisha to change the cover too, and now in the bottom strip it shows GIOGIO instead of JOJO like it did previously.

Anyway, it’d be better to call him Giorno Giovanna, since he’s not a

Woah! Let’s not reveal too much information to our Italian readers! They’ll be able to read it for themselves in due time, so generally, we don’t want to give anything away in advance.

Sounds good to me. I didn’t take into account the fact that the series is being published ahead in Japan, so some of the secrets that have already been revealed to us aren’t for Italy

Let's talk about you as an author. When and how was your passion for manga brought about?

Well, as a boy, I was literally devouring films and manga, which became part of my worldview.

I started drawing at the age of seven, copying the works of Tetsuya Chiba (Ashita no Joe) and Sanpei Shirato (Ninja Kamui). More than anything I was a fan of samurai manga, and I loved Kazuo Umezu's horror. Oh yeah, I was also a huge Tiger Mask fan! When I started drawing manga as an amateur, I used Mitsuteru Yokoyama, author of Tetsujin 28, and Babel II, as a basis, along with Ikki Kajiwara, author Tiger Mask.

I was, by all means, a very calm child, and while my peers were busy with their passion for RC model planes, I took refuge in films and manga. To think that when the first issue of Weekly Shonen Jump magazine came out, I was right there to buy and read it.

Who would have thought that my manga would be published in the same magazine, and for decades consecutively?

You said that cinema is also one of your sources of inspiration

Especially cinema. To be honest, I owe everything to the great Italian director Sergio Leone and his "spaghetti westerns" with Clint Eastwood. My father had an inordinate passion for those films and characters, and I watched them with him. Too bad my dad can’t understand my manga!

I was also a huge Godzilla fan and went crazy for The Poseidon Adventure, although unfortunately, I couldn't go to the movies too often due to very low 'funds'.

Another thing that interested me a lot was the illusionists and magicians. I practice with cards like them, and I became quite good at it. Sports, on the other hand, didn’t have much influence: I wasn’t too fond of team sports, so I went to a kendo gym for a while.

What about your characters’ iconic clothing?

The clothes and many of the objects used by my characters are copied directly from the French and Italian fashion catalogs, especially those of Versace and Moschino. They’re very imaginative, of course, but for this reason, after a while, I get tired of drawing them on them, and I try to make some changes. Then again, that’s fashion.

For Jotaro's school uniform, however, it’s a different matter. As I said earlier, one of my favorite characters has always been the protagonist of "Babel II", who, as many will remember, wandered around the desert dressed just like that. Very bizarre. And very JoJo-esque, if I must say.

Are there any of the characters you created that you prefer?

At the top of the ranking, I would put Josuke, Jotaro, Dio, D'Arby, and N'Doul on an equal footing; However, the worst, I think is Vanilla Ice: I couldn't stand the idea of having to draw him!

I tried to keep it all under wraps because – unlike what people in the West think – even in Japan, comics/manga aren’t that respectable, despite the very high sales. I’ve always avoided drawing doujins, but on the other hand, I attended a drawing school.

What did you do when you decided to draw manga not just for fun?

During the course, I drew two western stories and two science fiction stories, which I entered into the Tezuka Awards without the slightest chance of winning. In fact, I was still very immature, but my enthusiasm (as happens to many young people today) prevented me from realizing it. And so it happened again: I left for Tokyo all proud of the new manga I had drawn, but as soon as I submitted it to an editor, he found a mistake on the first page and refused to even read the rest.

At that moment, I realized that the road to becoming a manga artist wasn’t an easy path, and I made my first serious commitment. In four months, I completed a thirty-page story (Poker Under Arms) that I submitted to the subsequent Tezuka Awards, which finally made it into the charts and was published in “Shonen Jump”.

And from that moment, everything changed

That’s right. Then began a period of hard work, but I was very motivated. I went back to Sendai to work on the western Outlaw Man, and the sci-fi Say Hi to Virginia. My first real series, however, was Cool Shock B.T., and it was thanks to it that I began to understand what it meant to work with fixed deadlines and schedules.

I used to send my manuscripts by courier and talk on the phone with the publisher, who often asked me to come to Tokyo the next day to make corrections in the Shueisha graphics studio without sleeping until the next morning.

With the beginning of Baoh the Visitor I had moved to Tokyo. It was the summer of 1984, and the term ‘biotechnology’ had just begun to appear frequently in the papers and in people’s vernacular; on this wave I created ‘Baoh’, which phonetically is very similar to the English pronunciation of ‘bio’, to which I combined elements referencing the growing success of hypermuscular characters like Rambo. This series was quite successful, and so I could afford my first trip abroad, to England. Unfortunately, not knowing English and being of purely Japanese culinary tastes, it all proved a bit difficult.

Then it was turn for Gorgeous Irene, which didn’t go on very long because female main characters never work out well for me. That’s also why not many girls appear in JoJo, and to my readers: I swear I’m still working on it, and I can’t promise that the next new main character of mine (in a new series) will be a woman in the future.

Next, I was struck by Nikola Tesla, a man who really existed, thanks to a book I had read about him. Such a strange yet brilliant character, on which I immediately decided to work on.

Tell us about the steps you take to create a manga chapter.

It all starts with a twelve-hour session dedicated to making storyboards to show to the editor. After it’s approved, I move on to penciling the manuscript. To effectively distribute the workload of my five assistants:

  • On Sunday I create the storyboards and framing;
  • From Monday to Wednesday, from 11am to midnight we work hard, with an hour and a half break for lunch;
  • By 6pm on Thursday, if there are no hiccups, the chapter is complete, including inking, and until midnight I think about ideas for the following week;
  • Friday and Saturday are usually dedicated to coloring illustrations or information gathering. During these days I spend a lot of my time giving out tasks to my assistants, so I can concentrate and keep working after 8pm by myself.

With a schedule like that, order is vital, or there’s a risk of missing the deadline
 And then there’s trouble!

One last thing, before we say goodbye. Many of our readers are clamoring for the return of “retired” characters, such as Santana or (especially) Kars. Will we ever see them again?

No, for the simple reason that I consider their chapters closed. Their story ended with the last panel in which they appeared. I know that Kars was sent into space like a meteorite, and could return, but – as the caption told – his mind was reduced to the stage where it ceased to think. And I’m not going to resurrect a dead character. I was also asked to make a follow-up to Baoh, but the ending is final and will always remain the same. I’m sorry

Do you have a farewell message for your readers?

Right now I consider my Italian audience very important for judging my work, precisely because the fifth series of JoJo is set (at least for now) in your country. Keep reading, and I promise I’ll make your beautiful land shine!


[Translated by Morganstedmanms (JoJo's Bizarre Encyclopedia)][1]


Uno Stand Per Amico - Intervista a Hirohiko Araki

a cura di Andrea Baricordi si ringraziano Naomi Okita e Tiziano Capelli

KM - Prima dell'inizio dell'intervista, ci può dire telegraficamente le sue generalità?

HA - Il mio nome Ú Hirohiko Araki e sono nato a Sendai, in provincia di Miyagi, il 7 giugno 1960.

KM - Molto bene. Partiamo da JoJo, allora. Possiamo tranquillamente dire che questa serie sia l'unica 'saga generazionale' nata in Giappone. Questo rientrava nei suoi progetti sin dall'inizio?

HA - Solo in parte. Mi spiego meglio: l'idea base contava solo le prime tre serie, che avrebbero avuto il loro epilogo nel combattimento finale contro Dio Brando. Questo significa che ero già conscio del fatto che avrei creato tre diversi 'JoJo', i quali sarebbero stati - in qualche modo - l'uno discendente dell'altro, e che le loro vite sarebbero state legate da un'unica comune maledizione. Comunque, devo dire che ai redattori non aggradava molto l'idea di cambiare il personaggio principale di una serie che funzionava bene: se i lettori non avessero accettato la novità, avrebbe potuto risolversi tutto in un clamoroso fiasco. Ma io insistetti per adottare questa soluzione, sia perché non desideravo fossilizzarmi per anni sullo stesso personaggio, sia perché volevo che la storia si evolvesse attraverso alcuni periodi storici ben precisi senza usare espedienti come la macchina del tempo. Fortunatamente ho avuto ragione io, e Le bizzarre avventure di JoJo sta continuando con successo dal 1987... L'anno prossimo festeggeremo il decennale!

KM - Oltre a questa idea rivoluzionaria, altri elementi sono risultati vincenti per il successo di JoJo. Stiamo naturalmente parlando del modo in cui i personaggi combattono, facendo uso delle Onde Concentriche prima e degli Stand poi...

HA - Questi elementi si sono aggiunti però solo in seguito. Devo dire che l'introduzione di due nuove tecniche di combattimento completamente inventate ha dato una piega molto particolare al fumetto: inizialmente doveva essere basato quasi esclusivamente su orrore, mistero e indagini archeologiche. Il combattimento ravviva sempre un manga seriale, ma non volevo impiegare gli standard usati da tutti. Mi ero impegnato per creare qualcosa di nuovo, e volevo che lo fosse completamente. Mi suggerirono di dotare i protagonisti di poteri ESP, ma la cosa non mi soddisfaceva, oltre a essere già stata abbondantemente sfruttata in decine di casi. I lettori avrebbero potuto annoiarsi, e io non lo volevo. Così ho inventato il combattimento basato sul ritmo di respirazione e sulle Onde Concentriche che, in maniera quasi scientifica, dotavano i personaggi di poteri ben precisi. Per quanto riguarda gli Stand, ho voluto mettere insieme varie teorie, fra cui quella dell'aura che circonda ogni essere vivente e la lettura dei tarocchi.

KM - Ma i tarocchi sono solo 22, mentre gli Stand, a un certo punto, hanno iniziato a prendere spunto da altro

HA - Esattamente. L'idea era piaciuta molto, e io mi ero entusiasmato a tal punto da non rendermi conto che i nemici
 stavano per finire! Ogni carta dei tarocchi donava un superpotere e un carattere ben preciso a ogni Stand, per cui non potevo inventarmi nuovi Arcani Maggiori: ho dovuto così ricorrere alle divinità egiziane. Basti pensare che inizialmente erano previsti solo 15 Stand, mentre ora siamo oltre il centinaio (Ndr: l'autore si riferisce all'edizione giapponese, non a quella italiana). Ho sempre cercato di infondere nell'aspetto grafico di ogni Stand un po' delle caratteristiche del paese da cui proveniva, ispirandomi a oggetti particolari come libri, bambole e così via, senza scadere nello scontato. La creazione dello Stand avviene sempre per gradi: prima le capacità, poi la forma; successivamente, doso le parti in modo da creare uno Stand che abbia un aspetto equilibrato ai propri poteri. Comunque, nonostante gli Stand siano la cosa più appariscente, devo dire che cerco di mettere molta più cura nella creazione e nella caratterizzazione dei personaggi umani.

KM - In Italia si sta attualmente concludendo la terza serie. Senza sbilanciarsi troppo sulla quinta, appena iniziata in Giappone, può spiegare ai nostri lettori cosa aspettarsi dalla quarta?

HA - La serie di Josuke Higashikata Ú ambientata nel 1999, un anno molto misterioso perché, oltre a chiudere un secolo, conclude anche il secondo millennio. L'uomo ha sempre avuto paura di certe date, e pensare che anche noi siamo vicini a quel momento di passaggio mi ha stuzzicato: Ú un futuro non troppo lontano, tale da essere considerato 'presente', realistico
 Qualcosa di imminente e inevitabile che sta per accadere a tutti. Nella saga di JoJo il tempo ha una parte determinante. sia come filo conduttore, sia come conclusione della prima trilogia Ora il tempo Ú la cornice stessa entro cui si muovono i personaggi. Avrei voluto lanciarmi anche su altri argomenti - uno fra tutti, l'Aldilà - ma temo che per il momento sia prematuro. A differenza delle precedenti, in cui i personaggi viaggiavano per mezzo mondo, lo scenario della quarta serie Ú una città. Anzi, la città uno città ipotetica, senza per questo volerla rendere ideale o invivibile. Morio-cho diventa sempre più definita e reale man mano che la storia procede: ha i problemi di una città vera, come il traffico, la politica, lo smaltimento dei rifiuti, la sanità, Uno scenario molto complesso per rendere più avvincente e credibile la storia, in pratica. Jotaro Kujo e la sua compagnia hanno intrapreso un lungo viaggio con una meta specifica, e a ogni tappa i nemici li attaccano continuamente per fermarli. In questo caso, i nemici aspettano di essere scoperti in giro per u unico centro urbano: se ci pensate bene, in questo modo Ú molto più difficile combatterli

KM - In tutte le serie di JoJo si riscontrano numerose citazioni musicali, soprattutto fra i nomi degli avversari e degli Stand. Ma il nome del protagonista a chi lo dobbiamo?

HA - JoJo? A un musicista straniero che conoscono veramente in pochi, ma che a me piace molto! II nome di Kakyoin, invece, non Ú una citazione musicale, ma si riferisce al luogo in cui sono nato, a Sendai. La musica mi accompagna sempre durante la creazione dei miei fumetti: devo molto ai Chicago, agli Yes, ai Led Zeppelin, a Jackson Browne, a Bob Dylan e a quasi tutta la musico anni Sessanta e Settanta. Mi piace molto anche Prince, e lo seguo tuttora. Sono sempre stato squattrinato, e per poter sentire un po' di musica dovevo 'appropriarmi' delle canzoni con un vecchio e scassatissimo registratore a cassette, avvicinando il microfono all'altoparlante della radio. Non avendo uno stereo, e dato che i dischi costavano troppo per le mie tasche, dovevo arrangiarmi cosi
 Per quanto riguarda la musica giapponese, invece, devo dire la verità: non l'ho praticamente mai seguita in vita mia.

KM - Tornando al nome dei protagonisti, tutto quadra fino alla terza serie: Jonathan Joestar, Joseph Joestar, Jotaro Kujo... Ma nella quarta troviamo un Josuke Higashikata, che di 'jo' ne ha solo uno. Come la mettiamo?

AH - Con la quarta serie ho voluto iniziare alcuni di esperimenti narrativi, e così ho cercato di rendere più 'giocosa' la scelta dei nomi. Naturalmente, in Occidente Ú quasi impossibile comprendere perché anche il soprannome di Josuke sia JoJo e non - per esempio - JoHi, ma in realtà Ú molto semplice: entrambi gli ideogrammi che formano il nome Josuke possono essere letti 'jo'. Ho scelto apposta questo nome perché una volta scritto in kanji, qualsiasi lettore giapponese avrebbe potuto capire il gioco di parole. Mi dispiace per i lettori italiani, ma almeno ho riparato con la quinta serie.

KM - Perfetto, parliamo allora brevemente della quinta serie. E' ambientata in Italia e il protagonista Ú Giovanna Giorno

HA - Già. E dato che il suo diminutivo 'GioGio’ si pronuncia esattamente come JoJo, i conti tornano: ho` richiesto alla Shueisha di cambiare anche la copertina, e ora nella fascetta in basso appare una sfilza di GIOGIO al posto del precedente JOJO. Comunque, sarebbe meglio chiamarlo Giorno Giovanna, dato che non Ú una

KM - Non sveliamo troppo ai lettori italiani! Fra qualche tempo potranno leggerlo da soli, e in genere preferiamo non dare anticipazioni di questo tipo.

HA - Mi sembra giusto. Non tenevo conto del fatto che in Giappone la serie Ú in corso di pubblicazione, perciò alcuni 'segreti che sono già stati svelati da noi non lo sono in Italia

KM - Parliamo di lei come autore. Quando e come Ú nata la passione per il fumetto?

HA - Be', da ragazzo divoravo letteralmente manga e film, che sono entrati a far parte del mio modo di vedere il mondo. Ho iniziato a disegnare a sette anni, copiando i fumetti di Tetsuya "Rocky Joe" Chiba e Sanpei "Ninja Kamui" Shirato. Più che altro ero un vero appassionato di manga sui samurai, e mì piacevano moltissimo gli horror di Kazuo Umezu. Oh, si, ero anche un grande fan dell'Uomo Tigre! Quando ho iniziato a disegnare fumetti.come dilettante, avevo preso come modello Mitsuteru Yokoyama, autore di Tetsujin 28 e Babil Nisei, ma anche Ikki Kajiwara, l'autore di Tiger Mask. A detta di tutti ero un bambino molto calmo, e mentre i miei coetanei si lasciavano trasportare dalla passione per l'aeromodellismo a radiocomando, io mi rifugiavo nei fumetti e nei film. Pensate che quando usci il primo numero della rivista "Shonen Jump", io ero già li a comprarlo ea leggerlo. Chi l'avrebbe mai detto che i miei fumetti sarebbero stati pubblicati proprio li, e per decine di anni consecutivamente?

KM - Ha detto che anche il cinema ê una delle sue fonti d'ispirazione

HA - Soprattutto il cinema. A essere sincero, devo tutto al grande regista italiano Sergio Leone e ai suoi 'spaghetti western' con Clint Eastwood. Mio padre nutriva una passione smodata per quei film e quei personaggi, e io li guardavo assieme a lui. Peccato che mio padre non riesca a capire i miei fumetti! Ero anche un grandissimo fan di Godzilla e sono impazzito per L'avventura del Poseidon, anche se purtroppo non potevo andare al cinema troppo spesso a causa dei 'fondi' molto ridotti. Un'altra cosa che mi attraeva parecchio erano gli illusionisti, i prestigiatori. Mi esercitavo con le carte come loro, ed ero diventato anche piuttosto bravo. Gli sport, invece, non hanno influito molto: non amavo troppo quelli da fare in squadra, cosi frequentai per un po' una palestra di kendo.

KM - E per quanto riguarda il singolare abbigliamento dei personaggi?

HA - I vestiti e molti degli oggetti usati dai miei personaggi sono copiati direttamente dai cataloghi di moda francese e italiana, soprattutto da quelli di Versace e Moschino. Sono molto fantasiosi, certo, ma proprio per questo dopo un po' mi stanco di disegnarglieli addosso, e cerco di fare qualche cambiamento. D’altra parte, cosi Ú la moda. Per l'uniforme scolastica di Jotaro, invece, la questione Ú diversa. Come ho detto poco fa, uno dei miei personaggi preferiti Ú sempre stato Babil Nisei, che, come molti ricorderanno, se ne andava in giro per il deserto vestito proprio così. Molto bizzarro. E molto JoJesco, quindi.

KM - C'Ú qualcuno dei personaggi che ha creato che preferisce?

HA - In cima alla classifica metterei, a pari merito, Josuke, Jotaro, Dio, D'Arby e Nduul; il peggiore, invece, credo che sia Vanilla Ice: non sopportavo nemmeno l'idea di doverlo disegnare!

KM - Cos'ha fatto quando ha deciso di disegnare fumetti non solo per gioco?

HA - Ho cercato di tenere nascosto il tutto perché - a differenza di ciò che si pensa in Occidente - anche in Giappone i fumetti non sono considerati un granché, nonostante le altissime vendite. Ho sempre evitato le fanzine, ma in compenso ho frequentato una scuola di disegno. Durante il corso realizzai due storie western e due fantascientifiche, che feci partecipare al Premio Tezuka senza ottenere il minimo successo: In effetti ero ancora molto immaturo, ma il mio entusiasmo (come capita a molti ragazzi oggi) mi impediva di rendermene conto. E così la cosa si ripeté di nuovo: partii per Tokyo tutto orgoglioso per il nuovo fumetto che avevo disegnato, ma come lo sottoposi al giudizio di un editore, questi trovò un errore alla prima pagina, e si rifiutò di esaminare il resto. In quel momento capii che il fumetto non era una strada facile, e mi impegnai per la prima volta seriamente, completando in quattro mesi (Buso Poker, una storia di trenta pagine che, presentata a un successivo Premio Tezuka, riuscì finalmente a entrare in classifica e a essere pubblicata su "Shonen Jump".

KM - E da quel momento, cambiò tutto

HA - Proprio cosi. Iniziò un periodo di duro lavoro, ma ero molto motivato. Tornai a Sendai per lavorare al western Outlawman e al fantascientifico Virginia ni Yoroshiku. La mia prima vera serie, pero, fu Mashonen Beetee, grazie alla quale iniziai a comprendere cosa significasse lavorare con scadenze e consegne fisse Spedivo le tavole tramite un corriere e mi confrontavo al telefono con l'editore, che molto spesso mi chiedeva di raggiungerlo Il giorno seguente a Tokyo dove, nello studio grafico della Shueisha, facevo le debite correzioni senza dormire fino al mattino successivo. Con l'inizio di Baoh Raiosha mi trasferii a Tokyo. Era l'estate del 1984, e il termine 'biotecnologia' aveva iniziato ad apparire di frequente sui giornali e nei discorsi della gente; su quest'onda creai il 'baoh', che foneticamente assomiglia molto alla pronuncia anglofona di 'bio' (bàioo), a cui abbinai elementi riferiti al crescente successo di personaggi ipermuscolosi come Rambo. Questa serie ebbe un discreto successo, e cosi potei permettermi il mio primo viaggio all'estero, in Inghilterra. Purtroppo, non conoscendo l'inglese ed essendo di gusti culinari prettamente nipponici, il tutto si rivelò un po' difficoltoso. Poi fu la volta di Gorgeous Irene, che non andò avanti molto a lungo perché i personaggi femminili non mi sono mai riusciti molto bene. E anche per questo che in JoJo non appaiono molte ragazze, e me ne scuso molto con i lettori: giuro che mi sto allenando, e non Ú detto che un mio nuovo personaggio in futuro (sto parlando di una nuova serie) non sia proprio una donna. Poi fui folgorato da Nikola Tesla, un uomo realmente esistito, grazie a un libro su di lui che avevo letto: un personaggio decisamente strano e geniale, su cui decisi subito di lavorare.

KM - Ci parli delle procedure da lei utilizzate per la nascita di un episodio a fumetti.

HA - Il tutto inizia con una seduta di dodici ore dedicata allo storyboard da mostrare all'editore. Dopo l'approvazione, passo al disegno a matita. Per distribuire efficacemente il lavoro ai miei cinque assistenti, la domenica realizzo lo storyboard e la squadratura; dal lunedì al mercoledì, dalle 11 di mattina a mezzanotte lavoriamo alacremente, con un'ora e mezza di intervallo per il pranzo. Alle 18 di giovedì, se non ci sono stati intoppi, l'episodio Ú completo, chine comprese, e fino a mezzanotte penso all'idea per la settimana successiva, venerdì e sabato sono in genere dedicati alle illustrazioni a colori oppure alla raccolta di informazioni. Durante queste giornate passo molto del mio tempo a dare istruzioni agli assistenti, e cosi riesco a concentrarmi e lavorare bene solo dopo le otto, quando resto solo. Con un ritmo del genere Ú di vitale importanza l'ordine, o c'Ú il rischio di non rispettare una scadenza
 E allora si che sono guai!

KM - Un'ultima cosa, prima dei saluti. Molti lettori stanno chiedendo a gran voce il ritorno di personaggi 'sospesi', come Å antana o (soprattutto) Kars. Li rivedremo mai?

HA - No, per il semplice motivo che li considero veri e propri capitoli chiusi. La loro storia si Ú conclusa nell'ultima vignetta in cui sono apparsi. che stato Capisco Kars sia proiettato nello spazio come un meteorite, e quindi disperso, ma - come narrava la didascalia - ridotto in quello stato la sua mente ha cessato di funzionare. E io non ho intenzione di resuscitare personaggi morti. Mi era stato anche richiesto di creare una seconda serie di Baoh, ma il finale Ú e resterà sempre quello. Mi dispiace...

KM - Un saluto ai suoi lettori?

HA - In questo momento considero il pubblico italiano molto importante per un giudizio sui miei lavori, proprio perché la quinta serie di JoJo Ú ambientata (almeno per ora) nel vostro paese. Seguitemi, e vi prometto che farò fare faville alla vostra bellissima terra!



The ever evolving Jojo

Saitou: As a psychiatrist I have noticed in recent years a trend of manga and the like focusing on the characters’ pathological problems, like Evangelion or Yoshida Sensha’s work. On the other hand, I feel like your manga stands out thanks to a special kind of “healthiness”. Normal healthy comics are taken for granted and seen as completely dull and insignificant, but your writing portrays impulses with a unique balance of healthiness and peculiarity. Today, I would like to uncover this mystery as a simple fan. Well, this will come later, so please tell me about your debut first.

Araki: I come from Sendai and made my debut at around 20. I drew a serial named Cool Shock B.T. while I was in Sendai, and by the time I started my following series, Baoh the Visitor, I moved to Tokyo. This was during the 1984 Los Angeles Olympics. Jojo’s Bizarre Adventure started its serialisation in Shounen Jump in 1987.

Saitou: You debuted 16 years ago and we are now celebrating the tenth anniversary of Jojo. Your main work, the Jojo saga, is more than just one story – it would be better described as one big varied setting, or a succession of stories, each featuring a new generation. At this point, the only character the currently serialised part five has in common with the rest of the series is Hirose Koichi or so.

Araki: Yes, exactly. If the readers didn’t like the story, I would be able to stop anytime. Still, I did have something resembling a theme for the first three parts, up until the story reached the present. I also decided to have the protagonist evolve, even though that hadn’t really happened until then. These were the elements I more or less had in mind.

Saitou: Having the stories revolve around a lineage of protagonists named Jojo felt incredibly fresh. Giorno Giovana, protagonist of the fifth part, is the son of Dio, the enemy of the Jojos, and rounds up very nicely the friend and foe sides of the lineage.

Araki: The saga’s original theme is a praise to humanity, with both its good and its bad sides, as food for thought for the readers. This emphasies both blood ties and the characters’ way of life. When I write my protagonists, I always make sure to establish their lineage, the childhood environment that turned them into who they are now, and develop them from there. I kept that in mind and started building based on it.

Saitou: You originally only thought up the setting and story until the third generation, Kujou Jotarou.

Araki: I really sped up the story development at that point, since I knew I would get to a third part. On the other hand, I wrote the third part thinking I might end it there
 But, how do I put it, the ideas kept flowing

Saitou: You do not really have slumps, do you?

Araki: I believe it’s different for everyone, but in my case it is for rather short periods of time.

Saitou: There is this general image of manga artists having all nighters and stuffing themselves with health drinks before their deadlines, but you look like the type of craftsman who plans their working hours during daytime and keeps a light schedule.

Araki: You truly are perceptive. That’s exactly what I do.

Saitou: You have mentioned this before in an interview (Jojo6251, “The World of Araki Hirohiko”). You work out the plot on Sundays, Mondays, Tuesdays and Wednesdays are for drawing, while Fridays and Saturdays are spent gathering information. You have been doing this for a decade, yet, strangely enough, you are still not stuck in a rut. How come your art style keeps evolving?

Araki: Probably because I reflect on my past works and think about things I would have done a bit differently or what other artists do. That is when I decide to make some changes. I don’t truly do it on purpose though.

Saitou: Do you ever feel jealous of other artists? Are there other styles you admire?

Araki: I do. However, due to my own quirks, things don’t really go the way I want them to.

Saitou: Your quirks, or, better yet, particularities are strong indeed. It is interesting that I haven’t really seen artists who copy your style. There were, for example, a lot of Ootomo Katsuhiro imitators a while ago, but none for you.

Araki: My art style keeps changing, so it may be difficult to imitate me.

Saitou: Not just the art style, but also the lines, the hectic changes in points of view, the extreme composition and perspective, all are Araki style. Perhaps the lack of imitators also reflects a matter of technique.

Araki: I have this tendency of changing not just my art style, but also story development and character points of view, otherwise I probably wouldn’t be able to advance the story. I may also be that everything ends up looking hectic because of the 19-page limit.

Saitou: The passage of time in your stories is also unique. You do not show through just one line. You use numerous tricks, then go back in time and reveal what was actually going on. Well, you also introduced stands that could literally stop or rewind time too.

Araki: I put a lot of detail into every single second. Let’s take characters falling for example, I like showing how far they’re thinking while falling and that tends to last (laughs).

Saitou: The entire scene until Kira Yoshikage’s death in part 4 only lasts about 15 minutes, but you turned it into an entire volume: temporality, manga style.

Is it correct to say that your works feature a clear and logical entertainment value, especially if you take the existence of SF-like constant and precise explanations into account? I feel that you are not satisfied unless you reveal precise principles, either behind the existence of stands or simple tricks

Araki: That is true. I can’t be satisfied unless I write a proper explanation, be it based on scientific or manga logic, even when I draw invisible or unclear concepts, like ghosts or paranormal phenomena. That is how stands were born.

Saitou: They feel so fresh and innovative, unlike anything I have seen before. Did you get this idea from somewhere?

Araki: No, they were simply the result of a request. I was basically told to make super powers that were easy to understand for the readers, like breaking something with your mind powers; have something appear and actually break an object. But only that. Take Ushiro no Hyakutarou, for example: even if guardian spirits show up, they don’t actually do anything (laughs). I figured they should also punch or beat up evil spirits, and ended up with what we know as stands.

Saitou: I believe there was this Otomo Katsuhiro boom, a tendency in the beginning of the 80s when everyone wanted to write stories featuring invisibile supernatural phenomena, like Domu. Did you incorporate a sort of rebellion to that in your own work?

Araki: I did. I wanted to do something about the almost incomprehensible way psychic abilities were portrayed. I learnt a lot thanks to Otomo’s technique though, like the way cups break and so on. It’s easy to see how much attention he pays to such things and how much care he pours into drawing them, how bases his style on theory, how he draws each part properly, like the pieces of a puzzle. Take scattered water for example, the way he draws it makes you think he takes photos of water and watches it fall in slow motion. It’s that accurate. I loved reading it, but the psychic powers parts were a bit difficult to understand; I just couldn’t agree with the way they were presented. We then figured we should have our characters beat up others. I think this is where the request came from.

Saitou: I have seen many readers talk about that particular way your characters speak, that it feels more like reading translations. Is that on purpose?

Araki: Ah, no, I’d say this might be the result of the books I’ve read. I also talk like that sometimes. Those are totally me (laughs).

Saitou: King is your favorite foreign writer, right?

Araki: He is, but that is perhaps because I haven’t paid attention to too many other suspense writers.

Saitou: What about the sound effects? Like the famous “zugyuuun” during the kiss scene in Part 1 (laughs). Are these unique sounds, like “baaaam” or “dododo”, what you hear in your head while drawing?

Araki: They are like a rhythm I wanted to give to certain scenes. I guess it’s the movie influence, like the music that starts playing all of a sudden when the murderer shows up behind the characters. Like “beep beep beep” or “dun dun dun” (laughs). There’s something special about them that I can’t help adding in my manga as well.

Saitou: I believe you want your manga to have a movie-like development, right?

Araki: I do. When I draw, I “see” the characters through cameras, like capturing that eerie feeling you get when the camera approaches something. Seeing the camera come closer like that makes you think even an ordinary glass of water might actually be filled with poison. Of course, manga panelling also has its limitations.

Saitou: It seems you love movies quite a lot.

Araki: I mostly watch famous movies. My favorite directors are Clint Eastwood, Coppola, De Palma, Spielberg. I’m not too fond of Lynch or Kubrick. The definitely have their good points, but I don’t really draw any inspiration from them.

Saitou: Your character, but especially your stand designs are outstanding. Tohl Narita, Ultraman’s designer, said that drawing monsters properly is difficult, and even experienced artists tend to turn them into into deformities or chimera at best. The monsters you draw have a certain consistency to their designs, coupled with a healthy and autonomous life force. That is why they don’t feel grotesque at all.

Araki: I think this might also be because I can’t draw grotesque things. Well, I don’t think I draw particularly brutal scenes in my manga either. Let’s take scenes covered in blood for example: I prefer making the bleeding look more stylised than realistic. I don’t find designing stands too difficult though, since they have parts in common with folk craft creations or puppets. I also add these elements to somehow complement stand abilities.

Saitou: Did Echoes (Hirose Koichi’s stand) come out just as easily too? It feels like you spent quite a bit of time designing it.

Araki: I may have spent a bit more time thinking about Echoes, since it was the first time I tried to write character growth. This was also reflected in the stand coming out of an egg and changing several times.

Saitou: Hirose Koichi is one of your favorite characters, right?

Araki: Well, perhaps it is his destiny to show up again and again, but I don’t actually plan this kind of thing in advance, although it may look like it. I used to plan out the story in the beginning too, but at some point figured it would be more interesting if I wrote it like a sort of diary instead, like putting together the things that came to mind on that very day. Still, I will always think up a definite direction for my stories.

Saitou: Could it be you are not particularly attached to past characters?

Araki: I don’t think about them in particular, but more fondly, like friends I’ve said good bye to. I have my mind full of the things I have to do for the following week, so I forget about them. You might say you don’t have the time to look back in this world.

Saitou: Some time ago, Buichi Terasawa said you are the type of writer who thinks up the entire story from beginning to end first and then starts drawing.

Araki: I don’t do that anymore. I don’t know the following week’s story anymore. I did do this for Baoh and the first part of Jojo, but I think doing that is a waste now.

It is easy to follow a character’s destiny as long as you have a clear image of them in mind. They have to move, just like real humans. I will always have the protagonist act based on the feelings he derives from his motivation, as long as that motivation is clear itself.

Saitou: Ah, so this relates to your non-existent slumps.

Araki: No, no, I do have slumps (laughs).

Saitou: I would have started worrying if had you said 100% no, but still, this is quite something compared to others. There is a certain pattern of manga artists improving their art, sometimes at the expense of their storytelling skills. You don’t have this problem at all. Both your art and storytelling evolve simultaneously at a great speed. Has any other manga artist maintained this same constant tension for an entire decade? Let’s say Jump’s Kochikame for 20 years and Dragon Ball for ten years, but not even Dragon Ball could avoid repeating the same pattern – the tournament formula, with enemies that get stronger and stronger. I have a feeling you are not too fond of the tournament formula.

Araki: I think it was a Bubble-like thing, followed by a period of uncertainty; I wasn’t too sure what to do when asked to write something of the sort. I do reject tournaments on some level.

Saitou: There seems to be a surprisingly high number of people mistaking Jojo for a tournament manga, among them even critics who fail to read it properly. The story being divided into several parts that feature only one ability, stands, shows that differences are based on value rather than strength. Did you use this setting in order to limit the inflation of strong enemies?

Araki: Sometimes the editor asks me to introduce a tournament arc because readers love that kind of thing, but I just reply with “Eh, ok. But what do I do when I’m done with this enemy?”. I originally wanted to end Jojo with part 4 and figured I would start drawing a different type of manga, but the editorial department told me I wasn’t allowed to take a break (laughs), so I forced myself to start a new part and make new characters. I did end up getting attached to them along the way though.

Saitou: It simply looked like Hirose Koichi passing the baton, so as a reader I didn’t feel any sort of discomfort, nothing felt contrived.

Araki: I felt I did a rather good job there, but I wonder if that feeling will last as I start introducing more characters.


The classic way of shounen manga

Saitou: I feel that you are following the classic way of shounen manga from several points of view.

Araki: Yet I am also misunderstood and wrongly perceived as a more obscure type of artist, even though I have always intended to inherit the spirit of certain shounen manga.

Saitou: True, true. Basically manga critics have nothing to say to you. I decided to talk to you today because I wanted to emphasize that. I believe you are being undeservedly underestimated. Small things, like your lines and sound effects, used to be praised in the beginning as “interesting”, but now they are criticised as repetitive, whereas to me they are constantly escalating the tension. Perhaps these persons either do not notice experimentation, or your way of experimenting is too difficult to understand for them. The only criticism I consider accurate at the moment is Taku Hachirou’s (included in “Ikasu! Otaku tengoku“) (laughs).

Araki: That is because he is a Jump reader and is perhaps used to this. But I think he might be overestimating me (laughs).

Saitou: Oh no, following this classical way while being experimental is actually a very rare occurence, and I came here today feeling it is my duty to turn around, even if a little, this unfair criticism.

Your works are like an ode to life, a bit different from the typical notion of “wholesome”, but with an extremely “healthy” feel to them. I have also talked about Yoshida Sensha’s manga, but his work has certain “pathological”, if I may say so, aspects, which conversely makes them easy to talk about. What do you think about that type of manga?

Araki: I love it. It’s interesting to see that abnormal part of humans brought to light. I do get some ideas while reading this type of manga, but my work is an ode to humanity, so I only touch on them a little. I do believe that if you turned my manga inside out you’d end up with the kind of work we were talking about .

My previous editor told me to write more about human sadness, but sometimes I feel that I am not really the type of person to write about something like this. It’s not really in my nature. These moments really give me a headache. But I do try my hand at it.

Speaking of novels, there is this “innate sadness” that permeates books like Stephen King’s, which for me is also an ode to humanity, although it is not a place I really want to go to. That is why I think that having your entire story focus on that will make you look like a poor writer. Too much focus on that one aspect. I don’t think ending a story in such a hellish point, like the movie Seven, is a good idea either. There needs to be some sort of salvation, somewhere, for me. But I’d say the other way is all right too. I’m thinking of challenging myself and trying it out one day, if it fits the theme.

Saitou: Your style changed a bit in part 4, which featured a psychopath, a character you would encounter in Silence of the Lambs or Seven.

Araki: That’s right. It was the times. Jojo’s third part leaned more towards the mythical angle, while part four, together with its protagonist, moved a little towards normal daily life.

Saitou: Was that kind of atmosphere an active choice? Or was it more of a necessity once you decided to draw about normal daily life?

Araki: I was inspired in part by the Tsutomu Miyazaki murders, among others. While thinking about something to represent the enemy, (as an aside, Dio also represented various things as well), I figured that the most frightening thing in your daily life would be not knowing what your next-door neighbor is doing. Now, the enemy of part five comes from your inner group, he’s your higher-up. He’s basically superimposed over the the people who are supposed to protect you, like statesmen or policemen.

Saitou: Are you thinking of creating an open world setting, with only part 4 as the exception? Having enemies that keep appearing in a closed setting does end up resembling a tournament.

Araki: I would do it if necessary. But while drawing week to week I can only think about the types of attack and defense that take place in a certain second, in a certain space, and this writing style of mine basically limits my options. Looking back though, the world does end up bigger than expected.

There’s also the fact that I only come up with one plot thread per week; if I introduce two, the readers won’t know what is going on anymore. This style of drawing manga one by one, according to editors. If you were to introduce two plot threads, they would say “Don’t think too much about that” or “Don’t introduce two plot threads, the readers won’t know what to focus on”. One is enough. Drawing one without feeling awkward is more than enough. There are also moments when I am told “These panels look awkward now” (laughs). If I am more daring I will receive encouragement, like being told everything will be ok when I feel a little anxious. These words coming from an editor mean a lot.

Saitou: This is a story about a lineage, so family is obviously involved, but fathers mostly die or end up frail and feeble. Many fights are motivated by the desire to protect or help a woman, mostly one’s mother, which to me is another brand of wholesome.

Araki: Well, I do my best to avoid having my readers think it a bit awkward, but it always ends up like this. It might feel a bit too noble for me if it were about protecting one’s lover
 Sure, I can also include the hero’s own desires or advantages and disadvantages, but for that you have to write the beginning of the love story properly. You don’t need an actual incentive to protect your mother or a relative, but the story changes greatly if it is about protecting a romantic interest. You have to write why that girl needs to be protected and the story itself will end up digressing. Well, there is also the fact that I can’t write girls too well, although I have tried too many times.

I may be drawing a fighting manga, but the readers still need to be patient. There might be enthusiastic readers who want to see fights too, but drawing those endlessly is rather
 That is why turning the mother into the hero’s purpose makes the story flow easily afterwards. I had some ideas that were considered too slow and sluggish and ended up rejected too. Sometimes I also write the story as a puzzle, taking into consideration what fits in where and what doesn’t, whether to save certain characters or what may feel too slow and irritating. Other times I go all out like James Cameron. I love how solid Cameron’s storytelling feels — he doesn’t introduce too many useless details, but will definitely have a background story.

Saitou: Have you thought about a live-action adaptation of your works?

Araki: I am not interested in directing my own live-action, but sometimes I think about movies and what an excellent communication method they are. I respect movies, but I have my doubts about manga becoming an art similar to movies. Not even going to talk about anime.

Saitou: A critic named Katou Mikirou identifies manga written by you or Terasawa Buichi by the general term of "mannerism", that is, manga drawn with incredibly high skill and peppered with brilliant references. Do you use this style on purpose?

Araki: I cannot help doing it.

Saitou: You include references, but not too many parodic moments. You have serious touches, but not silly anime-style moments. Am I right?

Araki: You see, my standard is that even though I find it a little silly myself, I will draw whatever it is without feeling embarrassed. I transcend that and use the technique of “I can do it!!!” (laughs). This is what I call determination.

Saitou: So you are tempted to joke around too.

Araki: Hahaha, I am. Sometimes I do think I may be crossing some lines, but if my readers saw through that, it would ruin the entire atmosphere. But this is also a Jump tradition. If you are wondering why artists like Masami Kurumada were able to get so far, well, it’s because they are great people.

Saitou: This is something unique to Jump.

Araki: Like one of those moments when you stop and think why a character jumps into space (laughs). However, that completely flies over the readers’ heads, so you just go “aaah”.

Saitou: Incidentally, the one shouting the name of the move is Kurumada Masami.

Araki: As expected (laughs).

Saitou: Kurumada’s punching panel composition is mainly the same, but you, on the other hand, draw them differently most of the time.

Araki: That is because the times advance as well. Yep. That is why, in the end, my manga follows conventions.

Saitou: Are there any manga artists that have caught your eye lately?

Araki: Hmmm. There are a lot, but there’s a part of me that does not want to admit it. I can’t really understand the otaku type of manga artists, but I won’t say they aren’t good; they simply have a particular charm, I guess. Everyone fervently endorses them and praises their style anyway. And yet, there are also parts I cannot understand, like why is it good to draw incessantly or if it’s all right to just draw the same face over and over again.

I love Minetarou Mochizuki. Currently reading Dragon Head. I didn’t really understand Batāshi Kingyo, but I started thinking he’s good around the time of Zashiki Onna. From Jump there’s Usuta Kyousuke’s Sexy Commando Gaiden. There’s also Fukumoto Nobuyuki’s Kaiji, serialised in Young Magazine. Don’t you feel that Kaiji is just my type of manga? The art style feels inspired by Chiba Tetsuya, but it’s not as good. But that’s a good thing. I was really into Kaiji last year. I hadn’t run to the bookstore like that in quite a while.

Saitou: Today’s conversation has convinced me that you come up very casually with the all the things we love so much. As expected (laughs). This, to me, is a sign of genius.

Araki: I am not a genius though (laughs). But it’s not that important anyway.

Saitou: Our points of view may differ, but there are certain aspects that pass unnoticed when it comes to other series, while attracting a lot of attention when featured in your manga. We may think you are doing this on purpose, but you truly aren’t. It’s something that comes to you naturally.

Araki: I cannot do it any other way.

Saitou: I hope you will keep doing it this way for ten, no, twenty more years.

Araki: Understood. I will do my best, even though it will be quite tough (laughs).

[Translated by Dijeh][2]



―― 私は本業は粟神科医なんですが、粟神病理的な芖点から語りうる挫画は、『゚ノァンゲリオン』や吉田戊車などを筆頭に近幎たいぞん倚いのです。これに察しお荒朚さんの䜜品は䞀皮「過剰な健康さ」が特城ず蚀えるのではないか。ふ぀う健党なコミックずいうのは、人畜無害の぀たらないものず盞堎が決たっおいるのに、荒朚さんのものは健党性ず個人的な衚珟衝動が他に䟋を芋ないバランスを維持しおいるように思いたす。今回は荒朚ファンの䞀人ずしお、そのあたりの謎に迫りたいず考えおいたす。たあそれは埌のお楜しみずいうこずで、たずはデビュヌ圓時のお話をお聞かせください。

荒朚 出身は仙台です。二〇歳の頃にデビュヌしたした。『魔少幎ビヌティヌ』ずいう連茉を仙台で描いおいお、次の『バオヌ来蚪者』の時、䞀九八四幎のロスアンれルスオリンピックの時に䞊京したした。ゞャンプの『ゞョゞョの奇劙な冒険』(以䞋『ゞョゞョ』)は䞀九八䞃幎から連茉がはじたったんです。

―― デビュヌされお䞀六幎、こずしは『ゞョゞョ』䞀〇呚幎ずいうこずになりたす。代衚䜜である『ゞョゞョ』サヌガは単䞀の䜜品ずいうよりは、いろんなものを詰め蟌むための物語装眮ずいうか、䞖代ごずに受け継がれお別の䜜品になっおゆきたすね。珟圚の第五郚に至っおは、シリヌズで共通する登堎人物は広瀬康䞀くらいですし。

荒朚 そうですね。読者が気に入らなければ、い぀でもやめなければいけないずいう宿呜がありたしお。それでも、䞉郚くらいたではある皋床テヌマみたいなものがあっお、珟代たで来ようず。䞻人公も、それはあたりなかったこずなんですが、倉えおゆこうず。そういうこずをおがろげには考えおいたんですよね。

―― 物語が「ゞョゞョ」ずいう血筋固有名の連鎖で繋がっおいく圢匏は、非垞に新鮮でした。第五郚の䞻人公「ゞョルノ・ゞョバァヌナ」が、「ゞョゞョ」䞀族の宿敵「ディオ」の息子であるずいう蚭定のように、血筋の流れの䞭で、敵味方が枟然ずしおたすね。

荒朚 人間ずいうのは良い人でも悪い人でも認め、賛矎しよう、読者に元気を䞎えよう、そういうテヌマから始たっおいるんです。そうするず血ずか、生き方ずかが重芁になっおくる。䞻人公を描く時に必ず、芪の代ずか、どういう境遇で育っおきおこの䞻人公が今あるかたちで存圚しおいるのかずいうこずを確立し、固めおいくんですよ。そういうずころからやっおいこうず思ったんです。

―― 最初の蚭定ずしおはだいたい䞉代目たで、぀たり「空条承倪郎」たでですか。

荒朚 あの蟺は結構ストヌリヌの進行を急いでいるんですよね。䞉郚たでいくこずはもうわかっおいるから。だけど、䞉郚は最埌だったし、これで終わりなのかなみたいな感じでやっおいたんですけれど・・・・・・。描くこずがガンガン出おくるずいうか・・・・・・。

―― 荒朚さんにはあんたりスランプっおないんじゃないですか。

荒朚 人によっお違うず思いたすが、僕は割合に波が短いんですね。

―― 挫画家ずいうず締め切り前にドリンク剀をガンガン飲んで培倜しお、みたいなむメヌゞがあるんですけれど、荒朚さんは割ずクヌルに昌間に仕事時間を決めお、淡々ず職人的にこなしおる感じがしたす。

荒朚 するどいですね。その通りです。

―― 以前むンタノュヌで話されおたすよね(JoJo6251「荒朚飛呂圊の䞖界」所収)。日曜日に構想を緎っお、月火氎ずかけお描いお金土が取材。それが䞀〇幎続いおいるわけで、なおか぀マンネリにならないずいうのがすごく䞍思議なんです。いただに絵柄たで進化し続けるずいうこずが、どうしお可胜なんでしょうか

荒朚 倚分、反省じゃないでしょうか。読み返した時にちょっず違うなずか、他の䜜家さんの方がいいなぁずか。そうするず、やはりその点をちょっず倉えおいこうかず思っおいる。特に意図はしおないんですが。

―― 荒朚さんでも他の䜜家の絵柄がいいずか、矚たしいずかあるんですか

荒朚 ありたすね。ですが、クセがあったりしお、なかなか自分の思う通りにはいかないんですけれど。

―― クセずいうか個性が匷烈ですよね。面癜いのは荒朚さんの亜流っおあんたり芋かけたせんよね。たずえばひずころ倧友克掋の亜流っおいっぱい出たしたけれども、荒朚流っお芋たこずない。

荒朚 倉化するから真䌌のしようがないかもしれないですね。

―― 絵柄だけ真䌌おもしょうがないし、セリフ回しや、めたぐるしい芖点の切り替え、極端な構図やパヌスなどの総合されたものが荒朚流ですから。亜流が出おこないずいうのは、そういう技術的な問題でもあるでしょうね。

荒朚 絵もそうですが、ストヌリヌ展開でも登堎人物の芖点が、私は自分ではずいぶん切り替わるなぁず思っおいるんです。そういう描き方じゃないずストヌリヌが進行しないずいうのもあるし。倚分䞀回䞀九ペヌゞずいう制玄のせいで、目たぐるしくならざるを埗ない時はあるかもしれないですね。

―― それず時間の流れが独特ですよね。単線的には流れお行かない。手品的なトリックを倚甚されおいお、時間が埌戻りしお実はこんなこずをしおいた、ずか。たあ「スタンド」も実際に時を止めたり、戻したりできるわけだし。

荒朚 䞀秒のこずを綿密に描いたりするんです。登堎人物が萜ちおいく間のこずを、延々ず描いお、萜ちおいる間にここたで考えるか(笑)みたいな。

―― 第四郚ラストの「吉良吉圱」が死ぬずころは、時間にしお十五分くらいの出来事を、ほが単行本䞀冊を䜿っお描いおいたすもんね。このあたりは挫画ならではの時間性ですね。  荒朚さんの䜜品は、理詰めで明快な嚯楜性ずいいたすか、それこそ的な意味で垞に説明がきちんず出来おいるじゃないですか。「スタンド」にしおもトリックにしおも原理がきちっずしおいないず気がすたないみたいな・・・・・・。

荒朚 それはありたす。幜霊や超垞珟象にしおも、目に芋えないものを描いおいく堎合、それが科孊的であろうが挫画的であろうが、ちゃんずした原理がないず満足出来ない。それで「スタンド」みたいなものが生たれたんですよね。

―― あれはすごく斬新な感じがしたしたね。あれに䌌たアむデアっお芋たこずないんですけれど、なにかヒントはあったんですか

荒朚 いえ、それも「願い」から出お来たこずですから。぀たり超胜力ずいうのはただ念じたらバヌンっお割れる感じを、たぁ、䜕か出おきお叩けば読者はわかりやすいなず。ただそれだけなんですけれど。『うしろの癟倪郎』を読んで、守護霊なんかが出おきおも、ただ出おくるだけで䜕もしない(笑)。パンチでも繰り出しお、悪霊をやっ぀けおくれればいいのにず思っおいお、そういう発想で出お来たこずだず思うんですね。

―― 八〇幎代初頭には、䞀方で倧友克掋ブヌムがあっお『童倢』のような、それこそ目に芋えない超垞珟象をみんな描きたがる傟向があったじゃないですか。あれに察するアンチずいうものを倚少意識されたずころはあるんですか

荒朚 そうですね。超胜力のわかりにくさずいうのをなんずかしおやろうずいうのはありたしたね。でも倧友先生の空間の描き方にはすごい勉匷させおいただきたしたよ。コップの割れ方ずかね。よく芋お描いおいくずちゃんずわかるんですよ、理論的に描いおいお。ちゃんずこう、パズルみたいに砎片をきっちり描くんですよね。氎の散り方も、写真に撮ったりしおスロヌモヌションを芋お描いおいるんじゃないかず思うような、そういうのがすごい緻密で。奜きで読んでいたしたが、ただ超胜力の郚分がちょっずわからない、玍埗いかないんですね。じゃあ、わしらは叩きに行くんだみたいなね。そのぞんが願いずしお出おきたずいうこずなんだず思うんですね。

―― 独特のセリフ回しずいうのはいろいろなずころで指摘されおいるず思うんですけど、翻蚳調ずいうか、翻蚳ものを読んでるような感じを持぀こずがあるんですが、それは意図しおやっおおられるんですか。

荒朚 いや、本を読んだ圱響が残っおいるんじゃないかず思うんです。そういうふうに喋っおいる時もありたすね。なりきっちゃっおね(笑)。

―― 海倖の小説はやっぱりキングがいちばんお奜きなんですか

荒朚 そうですね。他のサスペンス系の䜜家をあたり読んでいないだけかもしれないですけれど。

―― 擬音に぀いおはどうでしょう。あの䞀郚で有名になったキスシヌンの背景音がありたすね、「ズキュりゥヌン」ずいう(笑)。キメの堎面では必ず「バヌン」ずか「ドドドド」ずか、独特の効果音が出おきたすが、あれも内面からほずばしっおくるわけですか。

荒朚 䜕かリズムみたいなもので「このシヌンにちょっず欲しい」ずか。映画の圱響だず思いたすよ、やっぱり。たずえば殺人鬌が埌ろに立぀ず急に音楜が鳎るじゃないですか。「キュンキュンキュンキュン」ずか、「ズンズンズンズン」ずかさ(笑)。なんなんだろうね、あれは。あれが欲しいんですよ。

―― やはり映画的に展開しようずいうのはありたすか

荒朚 ありたすね。芖点ずか、カメラの目で想像しながら描いたりしたすもん。カメラがモノに寄っおいったりするのがちょっず恐いなずか。䜕の倉哲もない氎の入ったグラスでも、ゆっくりずカメラが寄っおいくず、毒が入っおいるんじゃないかなず思うじゃないですか。もちろん挫画の画面ずいう制玄はありたすけど。

―― 映画はかなりお奜きのようですね。

荒朚 だいたい話題䜜は芳おいたすね。監督ではクリント・むヌストりッド、コッポラ、デ・パルマ、スピルバヌグあたりが奜きですね。リンチやキュヌブリックは、僕はちょっず駄目なんです。もちろんいいずころはあるんですが、自分のものずしお採り入れようずいう気にはならない。

―― キャラクタヌもですが、ずもかくスタンドの造圢が芋事だず思うんですよ。りルトラマンをデザむンした成田享さんが曞いおたすが、化け物をきちんず描くのは難しくお、かなり技術のある䜜家でも、化け物だけは奇圢やせいぜいキメラ的な造圢になりがちなんです。 荒朚さんの描く化け物は、デザむン的な敎合性もさるこずながら、ちゃんず健康で自埋した生呜を持っおいたすね。だからぜんぜんグロテスクには感じられない。

荒朚 グロテスクなものは、もしかしたら描けないかもしれない。たあ䜜品䞭でもあたり残酷なシヌンは描いおいないず思いたす。䟋え血たみれになるような堎合でも、出血はあたりリアルじゃなくデザむンするし。ただスタンドの造圢にはそんなに苊劎しないですね。民芞品や人圢の䜿えそうな郚分をちょっずず぀持っおきたりしお。それにスタンドの胜力を加味しお考えたす。

―― 「゚コヌズ(広瀬康䞀のスタンド)」なんかも無造䜜に出おきた感じですかちょっず工倫した感じもしたすが。

荒朚 「゚コヌズ」はちょっず考えたかもしれない。はじめお成長するタむプのキャラクタヌを詊したので。スタンドも卵から孵っお倉化するずいう。

―― 広瀬康䞀は奜きなキャラクタヌなんですよ。

荒朚 たあ圌の運呜いかんで再登堎ずなるかもしれたせんね。でも本圓にあたり蚈算はしおいないですね。䞀芋蚈算しおいるように思われるみたいですが。ストヌリヌの蚈算も最初の頃はやっおいたんですが、ある時ね、なんか日蚘みたいにしお描いおいおもいいんじゃないかなっお、今日思ったこずを綎っおいこうかなずいう気になったこずがあるんですよね。ただ、方向性をはっきりさせおいるんで。

―― 過去のキャラクタヌにはあたり思い入れはない

荒朚 考えもしたせんね。別れた友達みたいな感じで、懐かしいなずいうだけで。次の週のこずで頭がいっぱいで忘れるんですよ。この䞖界は振り返っおいる暇がないんじゃないかな。

―― 以前、寺沢歊䞀さんが荒朚さんのこずを、最埌たでストヌリヌを緎っおから描くタむプだず解説されおいたしたが。

荒朚 いや、それはもうないです。もう来週のストヌリヌがわからないですから。『バオヌ』や『ゞョゞョ』の第䞀郚の頃はそうでしたが、それをやっおいるず持たない。  ただキャラクタヌに察しお明確なむメヌゞがあれば、その人の「運呜」で行くんです。人ず同じで、動かざるを埗ないずいうか。䞻人公の動機付けがはっきりしおいれば、こういう気持ちだからこう行く、ずいうのは必然的に決たっおきたす。

―― その蟺がスランプのなさずいうものに぀ながるんでしょうかねぇ。

荒朚 いや、スランプはありたすよ(笑)。

―― ないず蚀い切っおしたうのも問題でしょうけれど、ほかの方ずの比范で。挫画家も絵が䞊達するに぀れお、どんどんむラスト的な比重が高くなっお、物語を動かせなくなっおしたうずいうパタヌンもあるず思うんですが、荒朚さんの堎合、党然それがないですね。絵柄の倉化ず物語の進行が盞互に加速し合っおいる。このテンションで䞀〇幎続いおいる挫画っお他にありたしたっけ 『ゞャンプ』でも『こち亀』が二〇幎で、『ドラゎンボヌル』が䞀〇幎ぐらいでしたか。ただ『ドラゎンボヌル』ですらパタヌンの反埩は避けられなかった。トヌナメント方匏で、どんどん匷い敵が珟われおいく。荒朚さんは、こういうトヌナメント方匏に察しお、疑問を持っおいるように思うんですが。

荒朚 バブル的だなず思うんですよ。あの埌どうするのかなず䞍安になるずいうか、自分がそれをやれず蚀われる時は、えヌっず思うんですよ。トヌナメントは完党に吊定しおいるずころはありたすからね。

―― 『ゞョゞョ』に関しおは、どうもトヌナメント匏に誀解されおいる方がずいぶんいるみたいなんです。批評家たでがちゃんず読たないで、あれはトヌナメントだず断蚀したりするのは本圓に残念です。物語が䜕郚かに分かれおいるずころや、あずスタンドの胜力が䞀぀しかないずいうこずで、匷さよりも質で差別しおいたすよね。こういう蚭定によっお匷敵のむンフレヌションを防ぐずいう意図はあったわけですか。

荒朚 トヌナメント方匏は読者には受けるので、線集者がやっぱりやろうか、ず蚀う時もあるんです。でもその時は「うヌん。でもこの敵が終わったら、その時僕はどうすればいいんですか」みたいなね。実は、第四郚の杜王町の時に、これで終わりかな、ず思ったこずがあったんです。たた違う挫画を描かなきゃいけないのかなぁず。ずころが、線集郚が「䌑みは駄目だよ」ず蚀うから(笑)。それで仕方なく、無理やりキャラクタヌを䜜っお始めたしたが、でも描いおいるずキャラクタヌに情が移っおきお。

―― 広瀬康䞀がうたくバトンタッチをしたずいう感じで、読んでいるほうは䜕も違和感ずいうか、本圓に䜜為が感じられなかったですよ。

荒朚 あそこは結構䜜ったなず自分では思っおいたす。でもだんだんキャラクタヌに入っおいくずころから、そういう感じがなくなるのかな。


―― 荒朚さんはいろんな意味で、挫画の王道を行っおいる感じがしたすね。

荒朚 でも勘違いされお、マむナヌ系の人だなず思われおいるずころもあるんです。自分では昔からある少幎挫画の粟神を受け継いでいる぀もりなんですが。

―― それは本圓にそうですね。芁するに挫画の批評が荒朚さんの䜜品に぀いお語る蚀葉を持っおいない。私は今日、それを力説したくお来たようなものなんですけれど。これはあきらかに䞍圓な過小評䟡だず思いたす。初期のころは「セリフや擬音が面癜い」ずか、そういう些现なずころで持ち䞊げおおいお、いたやマンネリずか蚀っおたすけど、私はテンションはかえっお高たっおいるず思いたす。実隓性が目に぀かないせいでしょうかね。わかり易い実隓をしないずいうか。いたのずころ、正圓な評䟡ず思われるのは宅八郎の批評(『むカすおたく倩囜』所収)だけですね(笑)。

荒朚 読者が『ゞャンプ』の読者ですから。そういうのに鍛えられおいるせいなのかもしれないですね。でも䜕かそれも過倧評䟡じゃないかずいう(笑)。

―― いや、この王道を行きながら実隓的であるずいうのはすごく皀有なこずで、珟圚のあたりにも䞍圓な評䟡を倚少なりずも逆転させようずいう䜿呜感を持っお、今日は来たようなものです。  荒朚さんの䜜品は生呜賛歌ずいいたすか、健党ずいうのずもちょっず違いたすが、すごく健康的なんですよね。私は䞀方では吉田戊車の挫画に぀いお語ったりもしおいるんですが、あれはいろんな意味で病理的に語れるずころがあっお、逆に語り易いんですよ。ああいう挫画はどう思われたす

荒朚 奜きですね。ああいう人間の病的な郚分をえぐり出す感じも面癜いですよね。ああいう挫画を読んでアむデアが浮かんだりするけれども、僕の挫画のテヌマの根本は、人間を賛矎しようずいうずころにあるんで、ちょっずそこに芖点を移しちゃうだけなんですよね。ただ、僕の挫画も裏返せばああいう挫画になるずは思いたすが。  前の線集者には、「もっず人間の悲しさを描こうよ」ずかいうこずも蚀われたんですよ。そうするず、うヌん、描けないなずいう時があるんですよね。「わしの資質が違うかもしれん」ずかね。そういう時はやっばり悩みたす。描いおみたいず思うんですよね。  小説でいうず・キングのホラヌずか、ああいう”生たれおきた悲しさ”みたいなのもやっばり「人間賛歌」だず思うんですよ。だけど、それはちょっずなかなか行けない。だから、そこを䞭心に語っおしたうずぞボな䜜家だなみたいな感じだず思うんですよね。あたりそこに焊点がいくずね。映画でいうず『セブン』のように地獄に突き萜ずしお終わるようなみたいな、あのぞんは行けないず思いたすね。どこかで救っおしたうんですよね、わしは。でもああいうのもいいんですよね。いいず思うんですよ。いずれは挑戊しようかなず、テヌマがビシッず合った時にトラむしおみたいずは思うんですが。

―― 第四郚ずいうのは少し流れが倉わっおサむコパスものずいうか、『矊たちの沈黙』ずか『セブン』ずか、あの蟺のテむス トがちょっずあるんですね。

荒朚 そうですね。時代ですかね。『ゞョゞョ』の第䞉郚あたりは神話的なストヌリヌの様盞があったんですけれど、四郚あたりで少し日垞のものに移っおきたずいうので、䞻人公がそういうふうになったんですよね。

―― それは積極的に採り入れた感じですか。それずも日垞を描こうずしたら、必然的にそうなったずいう感じですか

荒朚 そうですね。宮厎の事件ずか、ああいう感じで。敵の象城が䜕かなず考えた時に、ディオもいろんなものの象城ずしお描いおいるんですけれど、やはり日垞の、隣に䜏んでいる人が䜕をしおいるかわからないずいうのがいちばん恐いなず思ったので。で、いたの第五郚の敵は内郚にいる、自分の䞊叞が敵ずいうこずになりたす。これは自分を守っおくれるはずの政治家や譊官が敵かもしれないずいう意識に重なりたすね。

―― 第四郚の「杜王町」は䟋倖ずしお、あたり䞖界が箱庭的にならないようにずいうこずは考えたすかオタク的な閉じた空間のなかで敵が出おくるず、それこそトヌナメントみたいになっおしたうずいうこずで。

荒朚 必芁ずあればそれもやらないこずはないず思いたす。でも䞀週間で描いおいる時は、本圓にここだけなんですよ。䞀秒のあいだだけ、この空間だけでどういう攻防があるんだろうなずいうこずを考えおいたす。そういう感じですので描いおる時は狭いですよね。あずから芋るずその䞖界はでかくなっおいたすけれど。  それず毎週アむデアは䞀個しか出さないずいうのがあっお、ニ個出すず読者はわからなくなるずいうのがあるんですよ。描くこずは䞀個だずいう挫画の描き方があるんです。線集者がそういうこずを蚀うんですよね。アむデアが二個あるず、線集者は「そんなに考える必芁はない」「ニ個あるず駄目だよ、読者はどっちを読んでいいのかわからないだろ」ず。䞀個でいい。


―― 血筋の話ですから家族が出おくるわけですが、だいたい父芪が死んでしたったりずか、ペボペボになっちゃったりしたすよね。女性を守るためずいっおも、それは母芪を守るため、助けるために闘う堎合が倚いようですが、この蟺も䞀皮の健党さずしお受け取っおしたうんですけれど。

荒朚 うヌん。読者がこれはちょっず倉だなず思うようなこずは避けようずするず、どうしおもそうなっおしたうずいうか。恋人を守るためだったら、ちょっず気高くないかなずいう・・・・・・。もうちょっず欲望の郚分、自分の損埗の感じが入っおいたりするけれど、それがちゃんず愛になるたでいろいろ描かなけりゃいけないですよね。だけどお母さんずか肉芪だったら䜕の動機もいらないず思うんです。女性を守ったりするず違う話になっおしたうんですよ。なぜその女性を守らなければいけないのかの話を描かなければいけなくなっおしたう。話がずれおいっおしたうんですね。たあ女の子があたり描けないずいうのもありたすが。䜕床か詊しおはみたんですけどね。  闘いの挫画を描きたいのに、読者はそれたでに我慢しなければいけないわけですよ。熱心な読者は読んでくれるかもしれないですけれど、『ゞャンプ』の読者は闘いが芋たいのに、そんなずころを延々ず描かれおいたんじゃ  。だったらお母さんにしお、そこのずころはパヌンず流すずいうやり方ずいうのはあるず思うんですよね、打ち合わせの時にたどろっこしいやり方は华䞋したりずかね。だからパズル的な䜜り方の時もありたすね。ここにこうはたるずか、それは駄目だなぁずか。ここでちょっずあい぀を助けようかずか、そんなのはかったるくないですかずか。ゞェヌムズ・キャメロンのようにゎヌンず行かなきゃ駄目だずいう時があるんですよ。キャメロンは骚倪に行くずころが奜きですね。䜙蚈なずころはあたり描きたせんよね。でも背埌に物語がある。

―― 実写映画が撮れたらなず思うこずはありたすか

荒朚 自分で撮れたらなずいう垌望はありたせんが、映画ずいうのは芞術ずしおすぐれた䌝達方法なんだなず思う時はありたすね。映画は認めお尊敬しおたす。でも挫画が映画みたいな芞術になるのかなずいうずころは疑問があったりもしたすけれども。アニメはあんたり県䞭にないし。

―― 加藀幹郎ずいう評論家が、寺沢さんずか荒朚さんなどの挫画を総称しお、マニ゚リスム、぀たりきわめお高床な技術で絢爛たる匕甚をちりばめた挫画だず指摘しおいたすが、それは意図的になさっおいるこずなんですか

荒朚 そうならざるを埗ないずいうずころですね。

―― 匕甚はされるけれどパロディはあたりされたせんよね。シリアスなタッチでもアニメ的なおちゃらけがないずいいたすか。

荒朚 あの、倚少銬鹿銬鹿しいず思っおも、照れずにやるずいうのは基本なんですよ。ちょっず照れはあるんだけれど、そこを突き砎っおいくんですよ。そういうテクニックっおあるんですよ。あえおやるみたいな(笑)。決心がいるんですよね、あれはね。

―― やっばりおちゃらけおしたいたいずいう誘惑はあるんですか。

荒朚 ははは。あるんですよ。描いおいおちょっず、なんかやばいんじゃないかなず思うこずもあるけれど、それを芋抜かれるず読者がしらけるから。でもあれもゞャンプの䌝統なんですよね。車田正矎先生ずか、なんでここたでノレるかなずいう、すごい人がいたすからね。

―― あれは『ゞャンプ』ならではずいう感じですよねぇ。

荒朚 よく考えるず、なんで宇宙に飛んでいくみたいなね(笑)。だけど、完党に読者の䞊をいっおしたうから、ああヌっおなるず思うんですよね。

―― ちなみに技の名前を叫ぶのは車田正矎先生ですね。

荒朚 ですね(笑)。

―― 車田先生はパンチシヌンの構図はだいたいい぀も䞀緒でしたけれど、荒朚さんはその蟺は描き分けおおられたすよね。

荒朚 だんだん時代も進化しおくるわけですからね。うん。だから僕の挫画はやはり䌝統に則っおいるず思いたす。

―― 最近こい぀はいいず泚目しおおられる挫画家の方はいたすか

荒朚 うヌん。いっばいいるけれども認められないなずいう郚分もあったりずか。オタク系の挫画家ずいうのは、ちょっず理解できないけれども、うたいずは蚀わないけれども、やっばり独特の魅力があるのかなず思うんですよ。みんな熱狂的にその絵がいいずいっお支持しおいるわけでしょう。だけど自分にはわからない郚分もあったりしお。なんでこうペラペラに描いおいいのかなずかね。同じ顔ばっかりでいいのかなずか。  望月峯倪郎さんは奜きですね。『ドラゎンぞッド』は読んでたす。『バタアシ金魚』はよく刀らなかったけど、『座敷女』のころからいいなず思い始めお。『ゞャンプ』では、うすた京介『すごいよマサルさん』。あずあの『カむゞ』の犏本䌞行さん(『ダングマガゞン』連茉)。『カむゞ』はわし奜みじゃないですか、そんな感じしたせんか。絵はちばお぀やを蚘号にしたみたいな感じで、そんなにうたくないけど。あれはいいんですよ。去幎燃えたのはあれですね。本屋に走っおいったのは久々ですね。

―― 今日のお話を聞いおたすたす確信したした。やっばり我々がすごいず思っおいる郚分を党郚軜い気持ちで出しおおられるずいうのがわかりたしたので(笑)。これはもう倩才性の蚌ずいうこずで。

荒朚 倩才じゃないですけどね(笑)。でもあたり重芁じゃないず思うんですけどね。

―― 我々の芋方も間違っおいるのかもしれたせんけれど、でも他の挫画ず違うずころに目がいっおしたうんです。意図しお違わせおるのかなず思うず、そうでもないわけですよね。自然に出おくるもので。

荒朚 それしか行けないですね。

―― そのノリで今埌も䞀〇幎、二〇幎ず。

荒朚 わかりたした。頑匵らせおいただきたす。぀らいですけど(笑)。 [3]


Missing translation
Published August 1997
👀 Hirohiko Araki, Hachiro Taku


Taku: There are some similarities between you and Kira, aren't there?

Araki: Yes, I suppose so.

Taku: What are they? Come on, tell me~.

Araki: Err, let's not......

Taku: (suddenly taking a serious tone) Did Mona Lisa give you an erection?

Araki: (laughs) That was just a gag.

Taku: Come on, Araki-san. Let's be honest today.

Araki: ......Well, there is one thing. My own experience with nudity is quite similar to his. Though instead of a photo, I was really into western paintings like the nude depiction of the goddess Venus.

Taku: So you like that type of thing [to the point of getting an erection].

Araki: When I saw it as a kid, I thought "Ah, so this is what a woman looks like naked." You could say I was greatly influenced by goddesses and the like.

Taku: Oh, so western paintings...[give you an erection].

Araki: Yes, the silhouette of a female body wrapped in silk really gets me.

Taku: Oh, so it really gets you [erect].

Araki: Actually, I had lots of other ideas for Kira, such as taking a bath and even going to the toilet with the severed hands of the women he murdered. However, they stopped me saying, "that's too much". I was going to make him use the woman's hand to wipe his butt on the toilet, for example.


Araki: You know, I don't really get series like Evangelion or Gundam, where the protagonist is psychologically forced to become the hero of the manga, despite not wanting to fight. (laughs) It just doesn't feel right to me! I want the protagonist to be able to push forward without a worry in the world. Doesn't that sound much better?

Note: Square brackets are Taku's inner thoughts.

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


ボクず荒朚飛呂圊 文・宅八郎   荒朚ずはもう数幎の぀きあいになる。
















宅 今日は荒朚コミックの原点をたどりたいんだけど、昔はマンガは䜕を読んでたの

荒 昔は梶原䞀階ずやはり、癜土䞉平などですね。特に『柔道䞀盎線』ず『巚人の星』が奜きでした。それに暪山光茝先生の『バビル二䞖』。前に宅さんに指摘された通り、確かにあれに異垞性を加えればもう『ゞョゞョ』だよな。

宅 異垞性は認めるわけだ笑。暪山マンガのいいずころは䞻人公があんたり難しいこず考えおないずころだよね。 荒 すごくストレヌトでいいですよね。

宅 䞀芋ヒュヌマニズムの手塚治虫ずちがっお、暪山光茝は始めからそういうの捚おおいるでしょ。『鉄腕アトム』ず『鉄人28号』の差っおいうか。ボクは暪山掟ぞいくわけ。

荒 かなりキおいるよね、暪山マンガ。ハヌドボむルドっおいうか。

宅 今のゞョゞョでもそうだけど、原圢っお暪山光茝の『䌊賀の圱䞞』ずかでさ。たずえば、忍者ず忍者が巻物争いで闘っおいる䞃぀の圱法垫線のず同じじゃないですか。

荒 あれは基本だよね。あのマンガは『少幎ゞャンプ』の䞀時代の䜜家にずっおバむブルみたいなものですよ。

宅 倩才的でしょ。ボクは暪山マンガの忍者や超胜力、ロボットもの『鉄人28号』『ゞャむアントロボ』なども倧奜き。暪山さんっお小難しい事を蚀わないし、ファンタゞヌを描こうずしおないでしょ。むゞむゞりゞりゞしおないずいうか。アニメの『新䞖玀゚ノァンゲリオン』なんかずは党然違っお。

荒 あの、゚ノァンゲリオンずかガンダム系のさ、「ホントは戊いたくない心理の䞻人公がマンガの䞻人公になっおる」ずいうこずがよくわかんないんですよ笑。だっおスカッずしないじゃないですか 悩たずに突き進んで欲しいよね。スカッず。

宅 スカッずいきたいよね゚ノァンゲリオンずか芋おいるずわからない。頭が痛いもん。だから、ボクら2人の゚ノァ・シンクロ率はマむナス500だ 荒 あのアニメ、だめだよ・・・・・・。

宅 ゚ノァの䞻人公にしおも「そういう性栌だから、おたえはむゞメられるんだ」っお感じで笑。ボクはむゞケたものは芋たくないずいう気持ちが匷いから。女性キャラで倧人気の綟波レむにしおも、蚀っおみれば、陰気でタチの悪い女っぜいし笑。

荒 でも、あれがあれ皋支持されおいるのも䞍思議ですよね。

宅 倧ヒットしおたすね。『ザンボット3』から『ガンダム』、『むデオン』の流れでしょ。むゞケ系悩み系ダメ系の極臎ですよね。暪山䜜品にはそういう暗さっお基本的に無いじゃない。

荒 オレは石ノ森章倪郎先生の『仮面ラむダヌ』ずかにもその系統あるず思う。

宅 たしかに。『人造人間キカむダヌ』ずかもね。

荒 「自分は改造人間になっおむダだよヌ」みたいなね。オレだったら「うれしいんじゃないか」ず思うんだけどね。うらやたしいじゃない単玔に。ラッキヌ、みたいな。 宅 そのずおりあの䞖界はちょっずメ゜メ゜だよな。グズなメ゜メ゜感芚。

荒 「戊いたくないヌ」ずかね。

宅 『サむボヌグ009』ずかの最埌に「やっぱり本圓の敵は人類だった」ずかそういうのダダもん。悪玉ブラックゎヌストの銖領なんか、最埌にすごくむダな事蚀うんですよね。「ブラックゎヌストを殺すには地球䞊の人間党郚を殺さねばならない。なぜならブラックゎヌストは人間たちの心から生たれたものだからだ」地䞋垝囜ペミ線ずか。捚おれリフもいい加枛にしおくれ笑。

荒 『ゞョゞョ』だず吉良吉圱は、ある意味で肯定した䞊で殺人鬌になっおいる。悩むずしおも「勝぀」ために悩むならいいですよ。だけど人生悩たれおも困るよね、前向きに悩んで欲しいよね。

宅 吉良だったら、今床はどの女を殺しお手銖切り萜ずそうか、っおこず

荒 そういうこず笑。

宅 スカッず行こうッ


宅 荒朚さんはい぀頃から挫画家になりたいず思っおたわけ

荒 子䟛のころから挠然ずなりたいずは思っおいたけど、プロを目指したのは高校の頃かな。受隓勉匷ずかが嫌いでさ、逃避もあったかもしれない。

宅 挫画家以倖では、ファッションデザむナヌも考えおいたずいうのは笑

荒 爆笑それはないですよ。デザむン孊校でファッションを習っおいたんです。䞀床はマネキンのメヌキャップの仕事で就職しおいるんですよ。ラッキヌな幎で、そのずき同時にデビュヌ䜜が採甚されお、マンガの方を遞んだわけです。

宅 デビュヌ䜜の掲茉が遅れたら、今ごろマネキンのメヌクしおたかもね。

荒 今は懐かしいけど、本圓に新人時代は厳しかった。もう䜕回曞き盎ししたか解らない。曞き盎しが20ペヌゞ䞭10ペヌゞずかありたしたね。培倜でやっず䞊がっお持っおいくず、「このペヌゞ、ダメタメダメ・・・・・・」「明日たでにやっおこい」っお感じです。

宅 「迫力無い」ずか「構図が悪い」ずか蚀われるの「無駄無駄無駄無駄」ずか笑

荒 「䞻人公の顔が違う」ずかね。初めはなかなか安定しないんですよ、衚情が。

宅 でも挫画家さんっお安定しちゃうず、キャラクタヌは髪型しか倉わらない笑。

荒 矎しい顔は䞀皮類なんですよ。矎孊は䞀぀。だんだん線が決たっちゃう。どんなに䞊手い先生でもそうですね。池䞊遌䞀先生だっおそうでしょ。

宅 でも、絵はだんだん倉わっおいくよね。ゞョゞョにしおも、この10幎間でタッチは倉わっおきおる。『少幎ゞャンプ』での連茉もう長いよね、だっお叀株で蚀えば『こちら葛食区亀有公園前掟出所』の次でしよ。

荒 やっばり歳を感じさせるよね。諊めちゃうずきもあるよ、疲れちゃっお。

宅 進行は培倜培倜でやっおいるの

荒 いやヌ、さすがにもう無理ですね。連茉圓初ならずもかく10幎もやっおるず薬でも䜿わない限り笑。挫画家っお䞀番クスリやりそうな人皮じゃないですか笑。䞍思議にやんないね。みんなクスリ。やりそうなのに笑。

宅 荒朚さんの堎合はマンガを描く䜜業で、どこに時間がかかるの

荒 僕の堎合はやはり絵、ですね、ネヌムなどよりも。今は䞀日6ペヌゞが限床だけど、アシスタントばかり増やしおも指瀺しきれないし。 宅 どこたで自分で描いお、どこからアシスタントなの

荒 それは挫画家それぞれだけど、僕は人物は党郚自分だね。これは譲れない。矀衆は䞻な線だけで、服の柄ずかはアシスタントに描いおもらうけど。

宅 絵を描き蟌んでいく感芚なんですけどね。ボクも䌌おるかなず思う面がある。ボクはひどい匷迫神経症で完党䞻矩なんですよ。単行本になるず、䞀般読者じゃ気づかないようなずころたで文章を手盎ししたり。荒朚さんは絵を描いおお、そういう自芚はありたすか

荒 うヌん、わかる描き盎しはね、基本的にしないんだけどやろうず思えばい぀たででもやっちゃいたすね。それで、毎週の締め切りではい぀も線集者には30分埅っおもらっおいるんですよ。ほんずは来た時には終わっおいるんだけど、原皿枡す前に䜕かちょっずでも手を加えおいたいんですよ。

宅 同じですね。ボクも原皿をなかなか枡せないの線集者苊笑。

荒 だから、どこたでも描きこめるから぀いやりすぎちゃっお笑。でもあれは無我の境地に入るんですよ。描いおるうちに気が぀くず時間の感芚が飛んだりずか。 宅 第2郚から第3郚になった時、絵のタッチが倉わりたしたものね。今じゃ第1郚の絵は描けないでしょ

荒 そうそう。だから”ゞョナサンでサむンしお䞋さい”ずか蚀われるず困るんです。「いやぁ、ゞョナサンかけないよヌ」っお笑。

宅 䞀床、ゞョナサン・ゞョヌスタヌ䞀代目ゞョゞョが誰だかわからなかったんですよ。折り蟌みポスタヌの絵かなんかで笑。


荒 宅さんは第4郚の吉良が奜きなんでしょ。

宅 第3郚でディオずいう最匷の敵を描いちゃっお、あれ以䞊行っちゃうず『北斗の拳』みたいに終わるしかないじゃないですか。宿呜のラむバル・ディオずいう最匷キャラクタヌがいお、100幎の時を越え䞖代を超えお闘っおきた。で、「ディオの次は䞀䜓どんな匷い敵だろう」っお思っおいたら、䜕ず敵は倉質者だった笑しかも爆匟魔。それでボクは「バンザむ」だったんだけど。

荒 確かにあれはトヌナメント制の吊定なんですよ。勝っお勝っおたた勝っお・・・・・・ずいうむンフレを繰り返した埌、どうなるのかっおいう。ある意味で『ゞョゞョ』っお、タむトルだけ䞀緒で違う䜜品なんです。ホントは䌑んで新連茉始めたいけど、線集郚が䌑たせおくれなくお笑。

宅 だからボクは正盎蚀っお第4郚は、苊しくお乗り切り぀぀描いおるなあ、ず思った。

荒 ああ、ありたしたね、それは。でもオレはい぀も迷っおいお、初めは批刀も受けるけど批刀芚悟で気にせず描いおいるず、読者にも玍埗しおもらえるみたい。

宅 逆にボクはもっず吉良の方で暎走しお欲しかったんだよね。

荒 でもあれはかなりダバむ領域だよね。

宅 吉良ず自分が重なっおいるずころっおあるでしょ

荒 ありたすね、確かに。

宅 どこなの、教えおよ。

荒 いや、それは・・・・・・。

宅 モナリザで勃起したんですかぁ急に真面目に

荒 爆笑あれはギャグですよ。

宅 いや、荒朚さん。今日は本圓のこず蚀いたしょうよ。

荒 ・・・・・・実は近いモノはあるよ。自分のヌヌド䜓隓っおのは、実はああいうのだよ。写真ずかじゃなくお。西掋画に描かれた裞のビヌナスずかさ。

宅 そういうのが奜きなんだ勃起しちゃうんだ――内心の声。

荒 「ああ、女の人の裞っおこうなんだ」ずいう矎しさを子䟛の頃に感じたね。だから、原䜓隓が女神ずかのほうなんですよ。

宅 西掋絵画にね勃起しちゃうんだ。

荒 そう、あずシルクをたずった女性の䜓のラむンっおのがこう、くるんですよ。

宅 くるんですね勃起しちゃうんだ。

荒 じ぀は吉良のアむデアはただあっおね、吉良が殺しお切り萜ずした女の手ず、お颚呂もトむレも党郚入るっおのを考えおたんですよ。でもさすがに「それはダバむ」ず止められお。トむレで女の手にお尻拭かせたりしおるんです、本圓はね。

宅 爆笑最高 でも少幎誌によく吉良なんかが茉ったず思うよ。少幎誌だず衚珟のコヌド芏制があるず思うんですよね。

荒 服を着おいおもちょっず男ず女が抱き合っおたり、セックス想像させたりするずダバむ。だから吉良が茉ったのは䞍思議だよ笑。道埳性じゃないんだよね、読者の感情を逆なでしお抗議がくるかの問題で。よくそういったシヌンのカットずかさせられるんですよ。でも盎接の抗議じゃないし、玍埗いかなかったりはしたすね。 宅 別に「オラオラオラオラオラ」っおセックスしおる蚳じゃないんでしょ笑

荒 そりゃそうですよ笑。でも䜓䜍の話を描いた時、マネキンみたいな絵だったのにダメだったんですよ。逆に描き盎し芚悟で描いたダバむ衚珟がすんなり通ったり、「モナリザで勃起」ずか・・・・・・。吉良は青幎誌だったらもっず描けたず思いたす。でも想像させおおくのもたた、いいかず思いたすけどね。

宅 寞止めっおありたすもんね。

荒 あず、宗教斜蚭寺院を颚景ずしお描いた堎合にも「マンガなんかに描かないで䞋さい」っお抗議が来ちゃっお、「堎合によっおは暎力的な人間を向かわせるこずもありたすので」っお話も聞いたこずありたすよ。

宅 宗教関係はラシュディの『悪魔の詩』の䟋もあったから怖いよね。いきなり半月刀ずかで襲われたら。

荒 宅先生みたいに「明日向かうぞ」っお笑

飛呂圊ず八郎、二人は犯眪者 宅 よく互いに神経症じみた話するじゃない。

荒 オレはそれほどひどくないよ 倚少あるけど笑。

宅 それでいうず、第3郚に出おきたデス13悪倢のスタンドが奜きなんですよ。だけどすごく怖い。悪倢ずか芋ない 神経症のせいかもしれないけど、ボクは悪倢や寝 蚀、そう絶叫がスゎむですね。

荒 あるある 寝蚀ある。絶叫。

宅 笑仮説ですけど、その絶叫が荒朚さん特有の描き文字擬音語・擬態語なんじゃないですか笑。それで、どんな倢芋おるか芚えおたす

荒 よくは芚えおないです。

宅 萜っこちたりしたせん

荒 ありたすね。あず、よく人殺しおるのあるな、オレ笑。

宅 ボクもよく人殺ししたすよ。

荒 でも正圓防衛ですよ笑。

宅 ボクはそうでもないな笑。

荒 戊っお、盞手をメッタ打ちにしたり。

宅 殺されるっおのはないですか ボクは䞡方あるんですが。

荒 殺されるのはないですね。

宅 吉良みたいに手切っおたりしお笑。それから醒めない悪倢ずいえば、䟋えば『サむボヌグ009』ずか『仮面ラむダヌ』ずか、人䜓改造のシヌンを延々描いおたら怖いよね。

荒 ムムム。それは面癜いかもしれん。

宅 人䜓改造手術ばっかり本気で描いお行ったら宮厎勀みたいなこずになっちゃう。圌は幌女に察しお「テレビで芋た改造人間の、改造手術をした」っお蚀っおるんだよ、䟛述で。仮面ラむダヌだず思うんだけど笑。

荒 あの事件ただ远っおるんですか

宅 いや。ずりあえず死刑刀決出ちゃっお。刀決は法埋解釈を考えるず䞍合理だずおもうんですけどね。ずころで凶悪犯眪ずいえば、オりム事件ずか起きちゃうずマンガのリアリティが狂うっおいうか、珟実の事件のほうがすごいじゃないですか。報道芋おたした

荒 ずいうか、芋ざるを埗なかった。

宅 今のゞョゞョ、フヌゎの「パヌプルヘむズ」殺人りむルスのスタンドっおサリンぜいでしょ。究極の殺傷胜力だもんね。

荒 そうだね。あれ収拟぀かないんだよ。考えずに出しちゃったのはいいんだけど、展開を考えなきゃ笑。

宅 でも、地䞋鉄の䞭であの「パヌプルヘむズ」を登堎させちゃったら、阿錻叫喚のハルマゲドンで、少幎誌じゃなくおも「NO」ず蚀われるだろうね笑。 荒 どうかな、茉るかな笑。

宅 そういえば前、荒朚さんやたらにルヌズ゜ックス気にしおたじゃない。女子高生の尟行ずかしおたんじゃないの 荒 ちがうよ あれは芋おただけ 人間芳察だよ!!

宅 笑たあボクもわかるよ、昔は尟行が趣味だったから。ビデオカメラで人のこず録画しおたこずもあるもん。あ、いっしょにしちゃ悪いか

荒 近いずころはあるね。オレも近所の野良猫の通り道を確かめたりしおる。楜しいよね芳察するのっお。

宅 奥さんに聞いたよ、近所の猫に嫌われおるらしいじゃん。

荒 え、どういうこず

宅 いや、荒朚さんの顔芋るず逃げ出すっお。前に特泚の空気銃を芋せおもらったでしょ。猫を空気銃で撃っおるらしいじゃない。趣味が「猫撃ち」なんでしょ

荒 ち、違うよあせる あれは猫が庭でりンコしお困ったからちょっず脅かしただけだよ。い぀もやっおるワケじゃない。ただハンタヌ的に远っお遊びたいんだよ。猫っお毎日通るルヌトが決たっおいるワケよ。それを調べあげお猫が逃げたず思っおるずころに先回りしおビビらせたりずか笑。

宅 で、撃っおるわけでしょ笑。前に、倧藪春圊の犯眪小説みたいに、ボクが郜内某所に䜜ったSM監犁拷問ルヌム「ネズミ人間の郚屋」を荒朚さん、芋たがっおたじゃないですか。吉良がもっず続いたら、尟行ずか監芖、拷問で色々描けたでしょ。そこら蟺をもっず期埅しちゃうな。

荒 うん、尟行は今埌、是非やっおみたいテヌマだね。

宅 ディテヌルだったら、協力したすよ。ボクはプロのストヌカヌだから笑


宅 第4郚に登堎する挫画家・岞蟺露䌎も元は危ない人でしょ。挫画家が䜜品䞭で挫画家を描きだすず、粟神状態がダバむっおいう気がする笑。

荒 ああ・・・・・・、そうすか笑。

宅 埌は荒朚さんが鏡を描きだすず危ない感じがする。ラカンじゃないですけど。それから『バオヌ来蚪者』でいうず、予知胜力少女スミレがスケッチブックから飛び出る男を芋たりするじゃないですか。あのあたりの衚珟っお、結構サむコだず思うよ。

荒 確かにね。鏡ずいえばニセモノ・・・・・・䟋えばりルトラマンのニセモノずかでおくるずダバむ時なんだよね。苊し玛れでやっおいるこずもありたすね。

宅 子䟛心に倉だず思ったのが、手塚マンガずかよく自分が出おきたりするじゃない。ベレヌ垜かぶったたた颚呂に入っおたりしお。

荒 登堎しおおいお手塚治虫が殺されるのもありたしたよね。

宅 マンガずいうフィクションの䞭に本人が出おくるのは、おかしな構造だよね。

荒 でも、今床の短線も『岞蟺露䌎は動かない』、原䜜・岞蟺露䌎、絵・荒朚飛呂圊なの笑。

宅 前に新人賞の審査員やったでしょ、露䌎の名前で。遞考䜜品を露䌎センセむが批評しおいたのがおかしかった。荒朚さんが蚀えないこずを代匁しおいお。新人にガタガタ蚀うの奜きじゃないでしょ

荒 うんうん、気が匱いし。

宅 だから、ここは露䌎先生にビシッず蚀っおもらおう、でもこれは自分じゃないっおいう笑。寞評芋たら、新人に察しお割合きびしいこず蚀っおたじゃない。「぀たんないね」ずか笑。

荒 露䌎ないいだろうっお。自分の口じゃ蚀えないくせに笑

宅 しかし、危ないず蚀えば荒朚さんの䜜品っお、けっこう手ずかブッ飛んでるでしょ。手フェチっぜいよ笑。吉良なんか手を集めおるわけじゃない。

荒 でもあの蟺はグロテスクには描いおいない぀もり。デザむンずしおですよ。血にしおも勢いを絵にしおいる感じです。

宅 デザむン、ですかあ。本圓かなあ。でも仗助の「䜓を治す」こずが出来るスタンド胜力ずいうアむディア入れればあずはいいんだ笑。

荒 治せないず収拟぀かなくなる笑。ストヌリヌの流れで殺しちゃっお困ったりずか。でもここで殺らないずダメな堎合があっお。絶䜓絶呜にしないずいけない時が。

宅 ぀い殺しちゃったりしお。ずころで、昔、石川賢さんの『颚魔小倪郎』っお忍者マンガなんお、生きたたたノコギリで切っおたりしたんだよね。どこが忍法なんだ笑。そんな描写を『少幎サンデヌ』でやっおた。ちょっず山田颚倪郎入っおるの。

荒 オレは本宮ひろしが刀で手切っおるほうが怖かったですね。「これがワシの蚌じゃあ」みたいな感じで、ドスンず笑。

宅 䜕が「蚌」なんだ笑。

荒 心倖なんだけど自分はマむナヌ系っお芋られおいるずころがあるみたいなんです。自分ずしおは正統掟を行っおるず思うんですけどね。マンガの王道、ずいうか。

宅 王道でありたいのはわかるし、認めるんです。荒朚さんのキラむなマニアックなファンに匕っ匵られないほうがいいのも実に正しい刀断だず思う。

荒 ええ、そうですね。

宅 ただ、荒朚さんの独特の描写、ボクはバむオパンク感っお呌んでいるんだけども、テむストは狂っおるよ。吉良はいわゆる「王道」じゃないですよ笑。超胜力であるスタンドっおアむディア自䜓も、いた初めお読み出した人はわかんないず思いたすよ。䜕でもう䞀人、背埌霊みたいなのがいるのかわからないよ。

荒 長いマンガの欠点ずいえばそこでしょうね。䞀話完結ならいいけど。

宅 スタンドずいう凄いアむディアを思い぀き過ぎたのかもしれない。スタンドっおいくらでも展開可胜な特殊ゞャンルだもんね。

荒 ねえ、䜕なんだろあれ笑。よくわからない。偶然の産物だな、もう。

宅 自分自身で、スタンドみたいな固有のリクツっお途䞭で解らなくならない

荒 ああ、正盎わからなくなるね。

宅 䟋えば、4郚の由花子さんの髪っお、どこたでがスタンドでどこたでが本圓の髪なのか解らないし、最初の蚭定ではスタンドは普通の人には芋えないハズなのに「これ芋えおんじゃねヌか」ずか。

荒 笑そういうの出おきちゃうよな。

宅 スタンドの抂念も途䞭で暎走ずいうか倉化しおたすからね。遠距離型や耇数タむプが出おきたり。スタンドの「文法」を他の人に䌝えようよするず倧倉ですよ。

荒 でも、本圓はものっお䞀蚀で蚀えないずちょっずダメだず思うんだよね。䟋えば「恐竜の映画」ずか「宇宙人が襲っおくる」ずかね笑。


宅 でも、あのアむディアはビックリした。爆匟魔・吉良のバむツァダストはすごい。時間を爆発させお時を戻しちゃうなんお。でもSF心の無い人があそこだけ読んでもわかんないだろうな。『ビヌバップ・ハむ・スクヌル』ずかの読者には笑。

荒 いや、わかっおくれるず思いたすよ。オレはビヌバップ奜きだし。橫山光茝の䞖界が奜きな䞀方で、梶原䞀階の『愛ず誠』も奜きなんだよ。䞍良な䞖界がいいんだよ。『愛ず誠』の玔愛関係は実は屈折しおるし。そしおあの䞍良な感じが、SFの䞀方で奜きなんですよ。人間の汚いずころ、本宮マンガ系の任䟠ものにも燃えるんですよ。奜きで読み蟌むマンガは別にあるんですけど、「来週どうなるのかな」っお気になっお、本屋に駆け足で走っちやうのは「汚い系」のマンガのためなんですよね。暪山光茝はカッコよくお倧奜きなんですけど、「明日楜しみだ」ずいうのは本宮ひろ志なんですよ。

宅 わかるなあ、その感じ。ボクも『ダングマガゞン』の『代王TAKE2』ずか奜きですよ。

荒 SFだず暪山先生の挔出、サスペンスの䜜り方ずかがいいんですけど。あず『鉄人28号』の圱のむメヌゞっおいいんですよ。

宅 あの「♪倜の街にガオヌ」ね。

荒 そう、暗闇で目がピカっず光ったりするあの感じ。

宅 じゃあ、『8マン』は

荒 8マンはデザむン的にカッコ良かったず思いたす。挔出はやっばり暪山光茝だず思いたすね。トリッキヌな感じずでもいうのかな。「スッ」ず急に埌ろに立぀シヌンずかでドキッずするんですよね。

宅 あるある ボクも8マンはデザむンがシャヌプで奜きだし。それから、『圱䞞』では䞀回炎の䞭に消えた男が戻っおくる物語性ずかあるでしょ。ああいう兄貎分が戻っおくるずいうのは『スタヌりォヌズ』だずハン・゜ロでもそうだよね。アクション映画にもよくあるパタヌンだけど、ものすごいピンチになった時に死んだはずの兄貎分が垰っおきたり・・・・・・。

荒 たるで守護粟霊の様に・・・・・・。

宅 ・・・・・・でもゃっぱり助けたあず死んじゃったりするんだけどね笑。

荒 アニメだず、タツノコプロがそういうの奜きだよね。お父さんが実は生きおいた・・・・・・ずか。タッノコの絵はいいですよね。良くできおたすよね。 宅 荒朚さんのマンガ芋おいるず、そういう「兄貎のいる原颚景」をよく芋たりするんですよ。実の兄匟の蚭定でなくおもね、「兄貎分」が犠牲になるこずで「匟分」を成長させおいったりね。荒朚マンガの䞀぀の特城だずも思う。

荒 なるほど。そうだね。

宅 ずころで、荒朚さんは今、アニメっお芋ないでしょう。

荒 ほずんど芋ない。オレはアニメはダメなんだよ。子䟛の頃は芋おたけど・・・・・・ちょっず離れおるず、入れなくなるよね。

宅 そうそう。入れないね、もう。䞭にはスゎいマニア向けっおあるから・・・・・・。

荒 ゚ノァンゲリオンなんかも最初から芋ないずわかんないよね。オレのファンも、あんたりアニメずか芋ないみたいなんだよな。

宅 わかるよ。だっお荒朚さんの固有のタッチが奜きなんだもん。だから、荒朚さんの䞖界をアニメで衚珟しようず思ったら、予算ずかを䜕も考えなかったら出来なくもないず思いたすよ、おそらく・・・キチガむみたいな人が挔出やればね・・・・・・。ボクずか笑。

荒 アニメ人気っおいうず、他の䜜家さんのファンっお、そのマンガ䜜品のファンなのね。䟋えれば、『るろうに剣心』のファンなのね、その䜜者のファンじゃなく。

宅 ええ、それが荒朚ファンっおいうのは、荒朚さんの絵ずか描写ずかが奜きだからさ。ほら、手や銖がフッ飛ぶじゃない。たずえばそういうのが奜きだし。

荒 そういう倉態チックなのが奜きなのか笑。

宅 いやいや、倉態チックな描写ばかりではないけど笑。


宅 第4郚に描かれおいたのは「朜んでいる恐怖」ですね。

荒 あれはスティヌブン・キングの圱響です。第3郚では描けなかった郚分だね。

宅 第3郚は目的ハッキリしちゃっおたすからね。「敵ディオ・行き先゚ゞプト・じゃあ行く」っお。でも笑ったのが承倪郎䞀行のずったルヌトず猿岩石がずったルヌトが近かったよね、あれはおかしかった。

荒 そうそう、テレビで芋おいたら「このルヌトどっかで芋たこずあるな」っお笑。でも政治的な問題であのルヌトを䜿わざるを埗ないんですよ。いくらスタンドでも政治が盞手じゃ、かなわない笑。

宅 第3郚ではアゞアから䞭東たでワヌルドワむドな展開だったのに、いきなり第4郚の杜王町っお、じ぀は荒朚さんの故郷の仙台でしょ。

荒 急に範囲が狭くなっちゃったんだけど、平和な街に「朜む恐怖」は、自分の䜏んでいる範囲だから描けるものだよね。

宅 キングみたいなお化け屋敷ものはね。スロヌな閉塞感が重芁だから。

荒 それで杜王町にも疟走感が必芁になった時に吉良を登堎させたんだよ。タむミングを蚈っおお。週刊連茉だず䞀番匷い奎を出しちゃうず読者はそれしか芋なくなっちゃうから。それで、第3郚のディオでもそうなんだけど、真っ黒な圱だけで描いたりするわけね。悩みたしたよ、連茉の難しさに。

宅 荒朚流の週刊誌挔出論だね。でも、第4郚はうたくひっぱったじゃないですか。途䞭に吉良の゚ピ゜ヌドも入れお。

荒 そういうテクニックを駆䜿しおいるんです。流れが止たっおいるように蚀われるのはそのせい。あの頃は『こち亀』みたいのを目指しおいた郚分もあるんですよ笑。

宅 日垞ず非日垞のゎッタ煮ですか。確かに4郚の初めはあたり人が死なないように描いおたしたね、最埌にはいい人になったり。

荒 友人になったりずかね。

宅 あれは王道ですよ。桃倪郎ずか八犬䌝みたいな物語の䜜り方ですよね。最初は敵なんだけど、意気投合しお仲間ができおいくずいう。

荒 ああいう話は奜きです。

宅 ずころで、今の第5郚むタリアギャング線っお、䞀幎以䞊やっおるのにただ導入感が匷いんですよ。党䜓像が芋えおこないでしょ、5郚っお。先が読めないんですよ。

荒 読めない・・・・・・か、オレも読めないよ笑。たあ、正盎ただ考えおいないずころもありたすよ笑。ゞョゞョは3郚で終わるはずだったから、本圓は。でもテヌマがあるから安心しおよ。

宅 最初は、䞻人公がボスを最終的にやっ぀けるっお決意するじゃないですか。ただ、今はボスにずっおの裏切り者を凊刑しながら話進んでるじゃない。

荒 そうですね。䌚瀟組織の䞭でもあるず思うんです。こい぀はい぀か消さなきゃっお思っおいおも、この蚈画のなかでは、今は嫌いな䞊叞を支持しずくのが有利だから、嫌いな奎ずも手を組んでおく、ずか。

宅 政治的刀断笑。集団意志ずいうか。

荒 そうですね。5郚でやりたいのは「正矩ずは䜕か」っお奎。たずえばダクザの理屈ね。『ゎッドファヌザヌ』みたいな。

宅 ゎットファヌザヌは、䜕が正矩か解らないもんね。メ゜メ゜しおないし。

荒 メ゜メ゜じゃないよ前向き。吉良も自分の論理に忠実に生きおる人間じゃないですか、前向きに。りゞりゞされるず嫌なんだよな、読者もそうだず思うよ。それず、ずにかくキャラクタヌを䞀人䞀人描き蟌んで行こうかず。

宅 第5郚で嬉しいのはゞョルノの胜力モノに生呜を宿らせる。ぞビずかピラニアずか、生き物いっぱい出せるでしょ。究極生物カヌズ第2郚ずか、『バオヌ来蚪者』から続く生物兵噚の感じがいいんです。でも、ゞョルノがロケットパンチみたいに自分の右手をブッ飛ばしお、ピラニアに倉圢させお敵の䜓内を食い荒らすシヌンがあったじゃないですか。ズボッ、ギャヌッずいくアレ。突然読んだ人は䜕がなんだかわからないですよ笑。䜜者が頭狂ったかず思うよ爆笑。

荒 それは確かにそうだけど。『少幎ゞャンプ』ではテレお曞いちゃいけないんですよ。そう、これは車田正矎先生の教えです笑。たずえば、『少幎サンデヌ』なんかだず、欄倖に「なんちゃっお」ずか曞くんですよ。

宅 ああ、テレ隠しで。

荒 でも『ゞャンプ』ではそういう「蚀い蚳」しないわけですよ。

宅 なるほど。ゞョゞョはい぀たで続くの

荒 ゞョゞョの血統が思い぀かないね。第4郚の仗助は浮気させお䜜ったけどさ。だから第6郚はクロヌンしかないず思うんですよ。

宅 でも未来は描けないっお、前にも蚀っおたよね。

荒 リアリティをたず䜜らなきゃいけないから、それだけで頭が痛くなっおくるね。そういう意味で未来のむメヌゞがわかない。

宅 架空では22䞖玀ずか描けないんだな。その蟺、手塚治虫っおスゎむよね。頭の䞭に未来の郜垂蚈画図があるんだからね。

荒 现かい描写も必芁になっおきたすしね。ディテヌルを远求するずブレヌドランナヌ的になっちゃったり。その䞖界䜜るのはいいんですけど、肝心のテヌマやサスペンスがおろそかになったりするじゃないですか。だからシンプルな方がいいんですよね。兵隊がゞャングルに入っおいくずか。

宅 で、ゞャングルで困っおる話ずか笑。なら別に未来じゃなくおもいいじゃない。そういう未来劇っお脚色された時代劇だったりするでしょ。『スタヌりォヌズ』だっお原圢は黒柀明の『隠し砊の䞉悪人』だし。

荒 スタむルが新しいだけなんですかね。でも、思想を発展させる未来の曞き方もありたすよね。ハヌドSFに倚いんですけど。䟋えばフむリップ・K・ディックずかゞャンキヌだけの䞖界になったらいいずか。

宅 ディックはね笑。荒朚さん、ハヌドSFも読むんだ。

荒 苊手ですけどね。ただ䞍思議だったのはファンタゞヌにある客局がいるじゃないですか。意倖な感じですね。マむナヌでマニアックな人たちの䞖界かず思っおたのに倚いんですよ、今。

宅 瀟䌚珟象アニメ、゚ノァ人気にも通じるでしょうね。

荒 ファンタゞヌ読みたすオレも読んでみるんですけど党くダメですね。

宅 魔法がかっおるもの、宗教っぜいものは読めない。厇高な䞖界っおわかんない。


荒 高玚じゃなく、トリッキヌな感じずいうのかな、映画でも、そういうトリックものっおバカにされおる面があるず思うんですよ。技巧に走るっおのが。でも面癜さの普遍性っおそこにあるず思うんだよね。

宅 それはわかるよ。たずえば暎論を蚀うず「黒柀明っおB玚」じゃないですか。少なくずも、あれが芞術䜜品なのか、ず。

荒 挔出方法がなんずいうか、トリックですよね。人をだたすずいうか手品的な挔出で。「なヌんだ」っお蚀われちゃうんだけどもそれが普遍の条件ず思うんですよ。暪山光茝にはその魅力があるんですよ。

宅 『䌊賀の圱䞞』で忍者ず忍者が催眠術のかけ合いをした時ずか奜きだよ。ボクあれ読んでお自分が催眠術にかかっお寝蟌んだもん笑。そういう感芚もあるのかなあ。 荒 そうですね、それ。でも読者のなかにはそれを解っおくれない人もいるんですよ。バカにしたりずか。でもそれがないず本質には行かないずおもうんだよね。

宅 『ゞョゞョ』で第3郚ダヌビヌ兄匟のあたり読んでいお思ったのが、荒朚さん『12人の怒れる男たち』ずかも奜きでしょ。

荒 シャヌロックホヌムズ的なのね。あずトリッキヌっおいうず『ルパン䞉䞖』。名䜜䞭の名䜜ですね、私のなかの。

宅 トリックものは高玚感が無いず蚀われるんだけど、映画なら黒柀明は倩皇っお蚀われるでしょ。でもよく芋るずB玚だずいう。

荒 倖囜に認められたから、みんな黙っおるのでしょうけど。

宅 アカデミヌ賞か。でも実は『火曜サスペンス劇堎』みたいなもんでしょ笑

荒 それはちょっずないよ笑。

宅 そうか、火曜サスペンスはいくらなんででもないか笑。でも黒柀黄金期のさ、䞉船敏郎ず仲代達矢のやりずりなんお超B玚だよね。『怿䞉十郎』の血がドバヌッずか。

荒 うん。䟋えばカメラがぐヌっず顔に寄っおいっおそのたた口の䞭から胃袋たで入ったりずか、バカにされるず思いたすけど、それがマンガでは重芁だず思うんですよ。

宅 そういう意味だずさ、ゞョゞョでも、映画だずたずえば『シャむニング』ずか『スピヌド』ずかの感じを䜿ったりしおるでしょ。

荒 ちゃんず芋おたすね笑。

宅 ずころで、映画俳優では誰が奜きですか

荒 クリント・むヌストりッドが昔から奜きですね。䜜家、監督ずしおも。

宅 吹き替えはルパンの山田康雄でしたね。

荒 だけど、オレは『倧脱走』が映画の䞭で䞀番奜きだな。スティヌブ・マックィヌンのあのぞこたれない性栌がゞョゞョの䞻人公の元だね。「なんで俺が戊わなくちゃいけないんだ」ずかメ゜メ゜しないし。

宅 そうかゞョゞョ圹はマックりィヌンだったのか


宅 でも『倧脱走』っおじ぀は暗いですよね。3人くらいしか助からないし。あず、ブルヌス・リヌずかは芋なかったの

荒 芋たしたけど、いたいちキャラクタヌがわからなかったな。

宅 そうか。塔を䞊がっおいくずどんどん敵が匷くなっおいくっおのは、マンガの王道パタヌンだけどね。

荒 そうですね。

宅 でもボクはたた吉良みたいなキャラを出しお欲しいよね。キチ・・・・・・。

荒 ガむ笑

宅 ボクもスティヌブン・キングが奜きなんですよ。高校時代のあだ名がシャむニングだったし笑。それずキュヌブリックの「2001幎宇宙の旅」は宗教的領域たで描いた、ずか蚀われおいるけど・・・・・・。

荒 受けおじ぀は良く解らない、ずいうずころありたすよね。

宅 うん。『スタヌりォヌズ』の方が党然面癜いけどね。それからボク、スピルバヌグはあたり奜きじゃない。『未知ずの遭遇』、『ET』ずか。ボクはファンタゞヌだめだから。

荒 宅さんはもっず刺激がなくちゃだめなんですね。

宅 ボクはもっずシャブ、ガンガン来おるみたいのがOKっす。別にボクはドラッグやらないけど笑。そういうアッパヌ系のが。ゞョゞョずか。

荒 なんか宅さんに奜かれるの嫌かもしんない。オレ・・・・・・笑。

宅 荒朚マンガは倧奜きだよッ!

荒 ほめられおる感じしないなヌ笑。

宅 でも、『ビッグコミック・スピリッツ』の『いいひず。』みたいのも奜きだよ。こう芋えお『䞀杯のかけそば』で泣くような男だから。『䞀杯のかけそば』で泣いお、『シャむニング』でぞラぞラ笑っおる男。最近は『いいひず。』がいいっす。

荒 裏読みずかしおるんじゃないの

宅 いや。ああいうのは単玔に裏読みしないで、ほのがの「いいな」ず思っおる。よし、ボクも人に芪切にするぞ、ずか笑。

荒 だけど、宅先生は「いいひず」が急にさ、次の瞬間に「恐い人」になったら・・・・・・ずか思わない

宅 思う。確かにあれっお䞀皮のホラヌな感じですよね。『いいひず。』っお実際あんなや぀が街歩いおいるず思うずホラヌみたい。

荒 あい぀、そのうち䜕かやるんじゃないか、っお思うよね。

宅 テレビドラマではSMAPの草圅クンが䞻人公だけど、いいキャスティングだよね。恐いもんキムタクずかより草圅クン。

荒 ああいうタむプっおキレたりするよね、孊校にいたけど。

宅 ゞョゞョ実写化の際は、吉良の圹を是非、草圅クンに。

荒 いいですねヌ䞀同爆笑。


Missing translation
Published January 29, 1998
👀 Hirohiko Araki


Weekly Jump February 9 1998.jpg
Published February 9, 1998
👀 Hirohiko Araki


One question and one answer from Araki-sensei, "Feelin' JOJO" final episode special!!


"JoJo's Bizarre Adventures is headed in to it's 12th year! And as it's the last episode of "Feelin JOJO", we've had Araki-sensei himself appear!! He'll point blank answer some of the questions in JoJos!!

Q: Who's the strongest in the Passione?
A: Abbacchio. (If we're talking about fist fighting...)

Q1: Who is the first character you came up with in the allies of part 5?
A: It's Giorno! By the way, the characters I'm most fond of is Giorno if we're talking about allies, and Pesci if we're talking about villains.

Q2: What is that thing on Abbachio's head?
A: It's a hat that acts like a hairband. The thing on Bucciarati's head is a hairpin brooch, and Mista keeps a lot of things in his hat. Mista is the kind of guy that wants to keep both hands open at all times, so he adds things to it pretty often. It also seems that he feels like it's a pain for him to carry things around too. Side comment: The thing on Abbachio's head wasn't an eggshell after all...

Q3: Who spends the most money on their clothes?
A: Mista. His sweater is cashmere, and his pants are zebra striped leather pants! (it's suspected that it breaks the Washington Convention)

Q4: Before they met Giorno, how did Bucciarati's gang earn their livelihood?
A: They received money for protecting restaurants, controlled ports, and what you would call gang work. They didn't affiliate with gambling and drug business. Of course they didn't go to school.

Q5: Do all of them have girlfriends? Also, who is the most popular and the least popular in the gang?
A: They don't have girlfriends. They are so popular it seems like they're always running away from girls. However, it seems like all of them think that "I'm the most popular"...

Q6: When looking at Fugo's pants, it looks like there's no way he could be wearing underwear but.... Does he not have underwear on?
A: It can be assumed that he's wearing the t-back like sexy things that are popular now a days. Side comment: When you look around his waist it really does look like he's not wearing any underwear.

Q7: When they're interrogating Zucchero, what was up with Narancia, Mista and Fugo starting to dance to the music that Narancia put on?
A: They are dancing to gangster rap. As they are a gang... Side comment: Even though we know what they are dancing to, why they started dancing is still a mystery...

JoJo's Bizarre Adventures celebrating 11 years of being published.

Q: Who is riding in Aerosmith?
A: It's Smith-san. Side comment: Check the cockpit! The person riding in here is Smith-san!!

Q8: What does Jotaro intend to do with Giorno?
A: I haven't thought of it yet. It might be that he's just simply curious about him...?

Q9: Is Trish based off of the super model Trish Goff?
A: Good job! I'm surprised that you know this. As you thought, I'm a big fan of hers.

Stand part

Q10: Will Fugo die from the abilities of Purple Haze?
A: He would die.

Q11: What is the name of the stand that you put the key in the turtle to activate? Also, what is the name of the turtle?
A: The turtle has no name. The name of the stand is "T-Rex"... or at least I think that's what it'll be.

Q12: Can the Sex Pistols only be used with the gun that Mista has?
A: Any gun that has been fired by Mista is OK! Also, Mista is able to always hit his target with one shot, and so he doesn't need machine guns and such.

Q13: Wasn't it a rule that there's only one stand per person? There's a few that have appeared since part 4 that are a number of stands such as Harvest and Sex Pistols...
A: No, these are still just one ability, and so they're counted as one stand.

Misc. part

Q14: "JOJO" has a lot of animals(a turtle, frogs, snakes, mice, spiders and such) that appear, but how do you pick what living creatures will appear?
A: For the most part I choose animals that "Look like they're not very intelligent and seem like they're not thinking of anything."

Q15: Do they really air "Captain Tsubasa" in Italy?
A: They do! At the very least I was it being aired 2~3 years back in Italy!! Side comment: Tsubasa playing in the turtle! Of course this isn't in Japan, it's in Italy.

Q16: If you could pick one stand to have Araki-sensei, what would you pick?
A: Hmmm, maybe Harvest because I want money... No, I want Heaven's Door instead! I'm not very good with research interviews...

Q17: What's the meaning of the "Romance horror! The crimson secret legend!"?
A: It was something the first editor added, and there's no deep meaning to it. I actually feel like we can remove it after all this time...

The road leads on to a new adventure!!
[Translated by Raika][5]

Missing translation
Published February 10, 1998
👀 Hirohiko Araki


「むンタビュヌグラフ 荒朚飛呂圊」



子䟛の頃からマンガは奜きでした。マニアじゃないけれどね。 時代は手塚治虫先生の党盛で、もちろん手塚先生の䜜品も読んだけど、どちらかずいえば、劇画が奜きでしたね。劇画時代の始たりの頃でしたしね。特に梶原䞀階先生の䜜品。癜土䞉平先生の䜜品もよく読みたした。






 『ゞョゞョ・・・』に出おくるスタンドは、守護霊からヒントを埗たものなんです。守護霊ずいうのは人間を守っおくれるものでしょう。それがもう少しアクティブになっお、守っおいる人間を襲っおくる者があったら、えいっず拳を出しお攻撃しおくれたらいいのにな っおいうずころから生たれたした。さたざたなスタンドを描いおいるうちに、もう匷くなり過ぎちゃっおカンペキなスタンド、みたいなのができちゃうこずがある。「ああ、これじゃあ倒せないよ、困ったな」なんお笑。でも結局䜕かがどうかなっお倒せるんですけど、それを理論的に説明するナレヌションをコマの䞭に入れるんです。少々匷匕でも玍埗できちゃうような、ね。ずおも䞍可胜なこずを科孊的に怜蚌する、ずいう本がありたすけど、ああいうのが奜きなんです。


珟圚、連茉は1本。マンガは週4日描いお、ネヌムに1日かけおいたす。培倜はできたせんね。仕事は5日に収めるようにしおいたす。  マンガ家ずいうのは家ですわっお仕事をしおいるから、楜に芋えるかもしれたせんが、実は非垞に重劎働。バトルシヌンなんか描いおいる時っお肩にもの凄い力が入っおたす。若い時じゃなきゃできない仕事なのかな。他のゞャンル、䟋えば青幎誌なんかに描いおみないの なんおいう声もあるんですが、僕にずっお『ゞョゞョ・・・』は党身党霊で描いおいる䜜品。今、他のマンガを描いおも、みんな『ゞョゞョ・・・』になっちゃいたすよ、きっず。







Comnavi3.jpg Comnavi4.jpg Comnavi5.jpg







䞀番奜きな映画は『倧脱走』、䞀番奜きな俳優は、クリント・むヌストりッド。 [6]


Missing translation
Published April 1, 1999
👀 Hirohiko Araki




荒朚 西暊2010幎お事ですか。


荒朚 なるほど。


荒朚 あのね、わしは「日垞」っおいうのを倧切にしおるんですよ。生掻の䞭でこう、コヌヒヌ飲んだりずか、みんなに分かるこずっおあるじゃないですか。 今、第五郚ではむタリアを舞台にしおたすけど、やっぱりむタリアっお倖囜だから、日本人には銎染みが無いんだけども、 でも、ゞョルノ達も埡飯は日本ず同じようなスパゲッティを食べおるずか、そういう読者の日垞ずの接点を、マンガに取り入れおるんですよ。 党郚䜜ったような䞖界は難しいんです。 日本人が食べたこずが無いものを食べおる䞖界ずか、日本人が䜿ったこずが無いような機械を䜿っおる ○○星の人ずかっおいう、スタヌりォヌズみたいなのはね、ちょっず『ゞョゞョ』では難しいんじゃないかな・・・ずい぀も思っおるんですよ。


荒朚 九十䞉幎の段階でマンガでは九十九幎の䞖界が舞台だずか、そういう事もやっおたんですけど、 未来で栞戊争が起こったりだずか、そういうのを想像するのっおあるじゃないですか。 だけど『ゞョゞョ』ではあんたりそういうのは想像しないんです。九十䞉幎の日垞を匕きずりながら・・・


荒朚 そう。殺人もやっおるけど、「ちょっず殺人鬌は進化しおるかなあ」みたいな、 そういう埮劙なずこなんですよね。


荒朚 うん、そうですね。たさしくそうなんです。 でもマンガだから、「ちょっず未来が欲しいな」みたいなね。


荒朚 でも、読者は䞀方で話の盛り䞊がりも欲しいわけですよ。毎日同じように延々ず続く『サザ゚さん』の䞖界みたいなのは、『ゞョゞョ』には求めおないので、「この蟺で最終決闘にいかなきゃいけないのかな」っおいう。四郚の倖䌝はいっぱいあるず思いたすよ。


荒朚 䜏んでたらダだよね笑。でも、あの圓時は異垞だったよね。 実際オりムずか起こっちゃったし。昔からね、新興䜏宅地は結構倉なダツがいるっおいうのはあったんですよ。 「䞀芋幞せそうできれいだけど・・・」みたいな。


荒朚 杜王町はたぶん普通に過ぎおいくず思いたすよ。


荒朚 「ディヌプむンパクト」っおあるじゃないですか。わし、ああいうのがいいず思うんですよ。 隕石が萜ちおきお、地球の半分ぐらい死ぬじゃないですか。 党員滅亡するのはむダだけれども、半分ぐらい壊滅しお欲しいなあ、ず笑。 別に地球を完璧には救っおないけれども、なんかスカっずするんですよ、そういうのはなんか必芁なんじゃないですかねえ。


荒朚 そうだね、第五郚は「やっぱり人間っお運呜にしばられおるのかな」っおいうのがあるんです。 マンガを描いおるず分かっおくるんですよ。 䟋えば䞻人公を蚭定するじゃないですか、で、その䞻人公が新宿に来たずするず、その埌どうするのか、䞀芋無限の可胜性があるように思いがちですよね。 でも䞻人公に動機づけずか性栌ずかがあるずね、もう決たっおくるんですよ。 䟋えば東京駅に敵がいたりずか、愛する人がいたら、もうその䞻人公は東京駅に行くしかない。 わしが考えるたでもなく、そういう颚に動いおしたう。 そうするず「あ、運呜っおあるんだな」っお、創䜜しおるず分かるんです。


荒朚 でも、「運呜はやっぱり䞻人公が切り開いおいくものなんだな」っおいう。 死ぬかもしれないけど、切り開いおいく。・・・キャラクタヌ䜜っお、過去ずか现かいずこ決めおいくず、やっぱり生たれた時が問題なんですよ。 生たれた時を決定するず、性栌ずか、埌のこずも自然に決たっおくるんですよ。 わしはそんなの考えおないのに、「こうなるしかない」みたいな。 そうやっお考えおいくず、「運呜ずかあるのかなあ」っお。


荒朚 もうすぐ終わるんですけど。た、それは読んで頂ければいいず笑


荒朚 たあ、朧気にですけどね。


荒朚 いや、未来にいくんじゃないかな、埮劙な未来に。


荒朚 血統はどうなんだろう、ただそれは考えおないんですけどね。


荒朚 そっかあ。やっぱ重芁ですかね。

――メチャ重芁ですよ笑。 [7]


Missing translation
Published April 6, 1999
👀 Hirohiko Araki


奇抜な発想ず、奇劙な䞖界芳で構成された倧河ストヌリヌもテンションを萜ずすこずなく぀いに第5郚終結 次なる展開は

12幎前、連茉が始たった『ゞョゞョの奇劙な冒険』。タッチポヌズ、セリフ効果音、そしお䞖界芳は圓時、飛びぬけお異圩を攟っおいた。唐突であり、尋垞じゃないもの。異端ず呌んでは倱瀌だろうか。以来、ずっず気になっおいた。そんなちょっずヒネた期埅を荒朚飛呂圊は絶察に裏切るこずなく、単行本は珟圚62巻にたでわたっおいる。第5郚ギャング線が぀いに゚ピロヌグを迎えたが、次の構想は 䌑茉期間を前に、今もっずも気になるマンガ家に話をうかがった。

「いやあ、なんか読者の興奮が止たるんじゃないか、ず思うず、䞍安になっちゃうんですよ。勇気がいるんですよね、最埌の敵ず察決するダマ堎に挑む螏ん切りを぀ける勇気が。だから、どうしおも毎週シツコむくらいにサスペンス的な駆け匕きを織り蟌んでしたう」  連茉13幎目に突入した『週刊少幎ゞャンプ』の名物マンガ『ゞョゞョの奇劙な冒険』の䜜者、荒朚飛呂圊さんは、こう蚀っお頭をかいた。  『ゞョゞョ』ずいえば、19䞖玀埌半のむギリスを舞台に、呪われた石仮面をめぐっお二人の若者の因瞁が深たり、果おしのない戊いが100幎以䞊にもわたっお展開しおいく壮倧なストヌリヌ。その唯䞀無二の䞖界芳ずタッチ、超絶ポップな描き文字やセリフの数々、そしお冒頭で荒朚さんが述べおいた、執拗なたでのサスペンスの導入で、12幎以䞊にわたっお読者を魅了し続けおきた。  いったいどのような粟神構造、䜓力、パヌ゜ナリティの人物が、この䜜品を構築しおいるのだろうか。  むンタビュヌの堎所であるホテルの䞀宀に珟れた荒朚さんは、12幎前の著者近圱ず少しも倉わらぬ雰囲気の、むタズラっぜい笑顔を絶やさない、少幎のような人物だった。









䜕を描いおも、ゞョゞョになる ゞョゞョになる










「もうね、『ゞョゞョ』しかないんですよ私には。なにしろ人間がテヌマだから、人間がいる限り続きたすよ笑。たしかに他の䜜品も読みたいずいう方もいるでしょうけど、すべおをこれにぶ぀けおるから、結局、タむトルを倉えただけで同じなんですよね。今さら恋愛マンガずか描けないし、いろいろ手を出したらダメになるだけでしょ。だったらもうね、開き盎るずいうか、芚悟を決めお『ゞョゞョ』ず心䞭ですね」 [8]


Missing translation
Published November 1999
👀 Hirohiko Araki



今回はなんず完成間近のアヌケヌドゲヌム「ゞョゞョの奇劙な冒険」を荒朚先生に遊んでもらい、倧いに語ろうずいう䌁画だ。 察談䌚甚の䌚議宀にゲヌムを甚意しお埅぀こず1時間。


ゲヌムの完成を間近に控え、もう2日も寝おいない。家には6日も垰っおいない。党おはこの日のためずいっおも過蚀ではないのだ。この日の かなり倧げさ 䞖界で䞀番にこのゲヌムを気に入っお欲しい人に遊んでもらうために 。そしお 

䌁画マンO 著曞、「忘れられぬゞョゞョ日蚘」より抜粋


荒朚先生 「どうもはじめたしお荒朚飛呂圊です。」

スタッフ䞀同 かなり緊匵しお「はじめたしお 。」


䌁画マンO 「では早速ゲヌムを芋おいただけたすか」

荒朚先生 「いやぁ、僕あたり栌闘ゲヌムは埗意じゃないんですよ。」「うたくできるかなぁヌ。」


スタッフ䞀同 ドキドキ 

荒朚先生 「オラオラッおぉ、すごい気持ちいいですねぇ」「わぁぁぁ、やられるよ」

キャラマンH 「だいじょうぶかな 」

スタッフ䞀同 ドキドキドキドキドキドキ 


荒朚先生 「いやぁ、スゎむ楜しいですよッこれは」「次はアレッシヌ䜿っおいいですか」


荒朚先生 「あはははっ面癜いッ、すごいなぁ原䜜通りだぁ」「わぁTo Be Continuedたで出おるすごい凝っおたすね」

䌁画マンO 「ど、どうでしょうか」

荒朚先生 「楜しいですよ、本圓に感動したすよコレは」「ずにかく気持ちいいし、アレッシヌなんか、すっごく面癜い。」「このキャラも䜿っおみよう」

スタッフ䞀同 ホッ

荒朚先生 「殎った感觊が䌝わっおくるんですよね。」「やっぱりこのゲヌムは、承倪郎のしかも〈オラオラ〉が䞀番重芁だず思うんです。」「そしおそれがムチャクチャ気持ちいい。」

䌁画マンO 「う、うれしい䞀番気を぀けたずころですし、かなり時間をかけたずころですね。」


䌁画マンO 「担圓者に䌝えおおきたす、喜ぶだろうなヌ。」

荒朚先生 「あず遊んでいおすごく感じるのはあぁ、このゲヌムを䜜った人たちは、本圓にゞョゞョを愛しおくれおいるな。本圓に楜しんでこのゲヌムを䜜られたんだなぁ。ずいうこずですね。」

䌁画マンO 「やっぱり楜しんで䜜られたゲヌムかどうかずいうのは、ゲヌム自䜓に出おしたいたすね。」

荒朚先生 「ゞョゞョらしさがゲヌム䞭の色々なずころに蟌められおるのが、ずおもうれしいです。」 G・プロデュヌサヌ「そこは圌らが䞀番こだわったずころなんですよ。」「もう制䜜者ずしおもゞョゞョファンずしお、劥協はなかったですね。」

荒朚先生 「キャラクタヌにむギヌがいるだけでもうれしいですね。思わず䜿いたくなっちゃう。」

G・プロデュヌサヌ 「僕も䌁画曞を芋おむギヌも䜿えたすっお曞いおあっお単玔に嬉しかった。」「よし、䜜れっお」笑

荒朚先生 「可愛いし良く出来おいたすね。やっぱり匱いんですか」

䌁画マンO 「いやヌ、銬鹿にできないんですよこれが」「むギヌはギャップが楜しいキャラクタヌにしたした。」「本䜓のずきずスタンドのずきず。」「い぀もはか匱い小犬がスタンドを出すず 」

キャラマンF 「恐ろしく匷くなる」

䌁画マンO 「その倉貌ぶりが面癜いキャラクタヌにしたした。」「もちろん本䜓でも闘えるように䜜っおたすよ。」

G・プロデュヌサヌ 「敵の攻撃圓たらないしね、小さいから。」

荒朚先生 「なるほどなぁ考えられおたすね。」「やっぱりそういうギャップずいうものが非垞に倧事なんですよね、ゲヌムだけに限らないず思いたすし。」「意倖性がないず面癜くないですよね。」

キャラマンH 「あず、苊劎したのは敵キャラたちの攻撃方法のアむデアですね。」

キャラマンF 「そうそう、原䜜で12回しか出おこない奎なんかネタがないんですよ。」「ポルナレフやアブドゥルは、ネタに䞍自由したせんでしたが。」

荒朚先生 「なるほどそうかぁヌ。」

䌁画マンO 「コむツはこんな攻撃したらおかしいよね。ずかしょっちゅうミヌティングしお。」「でもゲヌムずしお必芁だじゃあ、こうしようみたいに。」

荒朚先生 「敵キャラはデヌボずかも、スゎク個性が出おいおキャラクタヌ遞びずしおも絶劙ですね。」「やっぱりゲヌムにはこういう陰険な奎も必芁ですね」

キャラマンF 「やっぱりキャラクタヌ遞びは悩みたしたね。」「原䜜が倧奜きなだけにあのキャラクタヌも出したい、このキャラクタヌも出したいっおなっちゃう。」

キャラマンH 「そうそう、気が぀いたら第3郚のキャラ党員出そヌみたいになっちゃっお。」

䌁画マンO 「そりゃ無理だぁヌ。」

荒朚先生 「でも、このセレクトはかなり絶劙ですよ。」「承倪郎たちはお玄束ずしお、敵偎が。」「うたく色々なタむプがそろっおいたすね。」

キャラマンH 「先生に曞き䞋ろしおいただいた、ミドラヌも玅䞀点ずしおいたすしね。」

荒朚先生 「そう、ミドラヌがね、迷ったんですよ。」「こんな颚にみたいな指定が特になかったんで、僕の方でいろいろ考えおデザむンしたした。」

䌁画マンO 「どんな颚にですか」

荒朚先生 「やっぱりゲヌムのキャラクタヌなんで遞びたい、どんな奎だろうず遊ぶ人に思わせるキャラクタヌにしないず ず。」

スタッフ䞀同 「おおぉ」

䌁画マンO 「スゎむ、いやぁそれは僕らも新しいキャラクタヌを䜜る䞊で、い぀も䞀番神経を䜿うずころなんですよ。」

キャラマンH 「僕らずしおは原䜜には顔が出おいなかったんで、みんなでどんな顔なんだろうみたいな奜奇心が匷かったですね、そこは単玔にファンずしお。」

キャラマンF 「むラストが届いおみんなあぁ、こういう女の子だったんだっお。」

荒朚先生 「じ぀は、ミドラヌは原䜜では最初から顔は出す぀もりはなくお 」

スタッフ䞀同 「わぁ、やっぱり」爆笑

キャラマンH 「やっぱり各キャラ毎に现かい蚭定は有るんですか」「同じ敵偎のキャラでもディオにたいしお忠誠心で行動する金で雇われおいるなどの。」

荒朚先生 「ありたす。ディオに惚れおいたずかね。」

キャラマンF 「やっぱりそうですか。」

荒朚先生 「でも挫画䞭ではあえおそういう郚分を描かないこずもありたす。」「無理に入れるずかえっお刀りにくくなっおしたうんですね。」

キャラマンH 「今からでもゲヌムにこんな颚なアむデアも入れおはみたいな芁望はありたせんか」

荒朚先生 「いえいえ、ここたで䜜り䞊げられおいるだけで、もう倧満足ですよ」「たしおやこれ以䞊芁望なんお 」笑

キャラマンH 「これから実は△△の蚈画があるんで、アむデアや芁望を頂ければもうガンガン入れたすよ」

荒朚先生 「そうなんですかすごいなぁ、いやぁどうしよう。」笑

キャラマンF 「もう△△なんお党○○○ですから」

荒朚先生 「ぞぇヌ、すごく楜しみですね」

キャラマンH 「ずころでコミックのゞョゞョの今埌の展開なんですけど、ホントの所どうなるんですか」

imageスタッフ䞀同 「オむオむ」

荒朚先生 「えヌっずですね  」

キャラマンH 「やっぱり○○が××で△△ったりするんですか」

荒朚先生 「あっ、それ考えたした」笑

キャラマンH 「××が△△の□□ずいう颚になるのでは」

荒朚先生 「むダむダ」笑

スタッフ䞀同 「だめだ、もう完党に単なるゞョゞョファンになっちゃっおるよ。」

キャラマンH 「それずも□□の◇◇が  」

  こうしお〈荒朚比呂圊先生withファンの集い〉は氞遠ず続いおいったのだった  。 [9]

Home Media
Published 2000
👀 Kazufumi Nomura, Noburu Furuse, Junichi Hayama, Hideo Okazaki


Q - What was the reason for creating new episodes of the JoJo Series?

KN - We picked up the story from the latter half of the 3rd Generation, and there were comments that the story was difficult to follow without the former half of the story. This led us to create the first half of The 3rd Generation. After it's completed I would like to go back and animated the 1st Generation followed by The 2nd Generation.

Q - What's the difference between the original story and the animated version?

KN - In the original story, The Stands are apicated within a single frame, but in the animated version, The Stands play a large role because of their movement, complete with the sound effects.

Q - Is there anything specific that is added to the original story by having APPP do the animation?

KN - For one thing, there are no females in JoJo's Bizarre Adventure. But in the upcoming series, we decided to include one attractive female character. Also, when we created the 6 original episodes, the conclusion was that The 3rd Generation was not complete just from those 6 episodes. So we submitted a proposal for the upcoming 7 episode to complete the story, and Araki-san asked us to go ahead and animate the rest of the story.

Q - What is an ideal project for you?

KN - To work on something that will sell worldwide. Another is to gather together the very best of the Japanese animation techniques and create a superb piece of animation.

Q - In what ways have Japanese animation changed?

KN - It started with black and white TV animation, then color TV series, followed by OVA and theatricals and recently, computer graphics is now included in this list, and we are now facing a transition period, or the beginning of the CG age. There are some animation that are progressive, but even still, they haven't been able to fully incorporate computer graphics. So, the question is to what extent they can fully incorporate CG into animation.



Q - How did you get into the animation field?

NF - About 20 years ago, I went to a graphic design school. When I graduated from there and was wondering what to do at the time, I met this project's producer, Nomura-sen, for the first time, and it was his introduction that got me into this field. Q - What sort of work have you done?

NF - The first key animation I worked on was on the first theatrical of Lupin III. Last year, I worked on Initial D, a TV Series for Japan.

Q - How did you get involved in JoJo's Bizarre Adventure?

NF - Nomura-san, whom I mentioned previously, asked me whether I wanted to work on it. I was given the original story and I found it interesting, and decided to get involved.

Q - How much do you refer to the original story?

NF - Of course the storyline and characters all come from the manga. We're trying to pick up the most interesting parts.

Q - What do you think is the most difficult aspect of JoJo?

NF - The most difficult thing about this project is that the original story is based on a long story, and so we have to shorten it and pick out the most interesting portions.

Q - Who have you been influenced by?

NF - The biggest influence I receive is from the staff that I work with on every project



Q - How did you get involved in the animation industry?

JH - Simply because that was the only thing I could do.

Q - How long have you been in the industry?

JH - It's the 16th year now.

Q - You're now an art director. Could you give us some background into how you got to where you are now?

JH - I became an art director fairly quickly. I first became an art director two years into this field. It comes down to luck mainly but the project I was working on at the time was the TV series, Fist of the North Star. I did some work on the theatrical version of Fist of the North Star, and Masami Suda-san, and excellent and famous Japanese animator acknowledged my skills, and because of that, when I went back to start working on the TV series, they offered me the position of art director. And I've been working as an art director ever since.

Q - What are some titles that you've worked on?

JH - The first TV series would be Fist of the North Star. I also worked on Himitsu no Akko-chan. In terms of video I've worked on other titles, but perhaps the most representative would be JoJo.

Q - How did you get involved with JoJo's Bizarre Adventure?

JH - The director of the previous episodes, Hiroyuki Kitakubo-san, asked me to come on board.

Q - To what extent are you conscious of the previous episodes?

JH - Well, I want to make something that won't lose to the old episodes.

Q - How much do you reference the original story? (manga)

JH - We use the manga to a great extent. I'm personally a fan of JoJo, so I'm hoping to create something that won't go against the expectations of the fans of the manga. I personally like this project a lot and I'm giving it my best shot.

Q - You attended Anime Expo '98. What were your impressions?

JH - This was the first time I came into direct contact with American fans, but they struck me as being very enthusiastic and very mannerly. I felt that there were a lot of fans who made one feel good.

Q - Who were your influences?

JH - The person who influenced me the most is Masami Suda-san, as I mentioned previously.

Q - Japanese animation is being accepted and recognized all over the world. What are your views on that?

JH - In whatever age we're in, trends that are popular change and become accepted. I would like to work on projects that remain whatever the age, rather than what's popular at the time.



Q - How long has it been since you entered the animation industry?

HO - About 25 years.

Q - What sort of work have you done?

HO - A lot of it was film-related stuff, and some producing. For film, most of it was theatrical and TV series, and in the production end, it was mainly direct-to-video.

Q - I know you own a filming studio too, but what led you to create a studio for computer ink and paint?

HO - The biggest reason was based on the original 6 episodes of JoJo's Bizarre Adventure. Although we tried to be as creative as possible, there was a large amount that couldn't be done on film. The director was influenced by movies and US animation, and came to request effects that couldn't be delivered on film. So we felt the limitations imposed by film. Leaving quality aside, there's a lot more that can be done on computer in the descriptive end.


[Transcribed by Fr0stiFusionZ (JoJo's Bizarre Encyclopedia)]

Missing translation
Published January 18, 2000
👀 Hirohiko Araki


Hirohiko Araki Goes to America! ~ A little trip to America by Hirohiko Araki ~

A vast swampy area! Can you imagine the end of the story (Stone Ocean)?

A 30-minute drive from Miami, a metropolis with a population of 3 million, and you're in a swampy area 35,000 square kilometers in size!

The beginning of Araki's new story takes place in Florida, a year-round warm peninsula with a large Latino population that is not only the most cheerful place in the country, but also one of the most beautiful. Not only is it one of the most cheerful places in the U.S., but it is also one of the most transformed areas in the U.S., having been cultivated from scratch by humans from what was once a swampy area. Miami, now a metropolis with a population of more than 3 million, was once a desolate place where only river grasses grew in the midst of water, alligators, many birds, and many more small animals lived. And even now, within a half hour drive from the coastal cities of Miami and Palm Beach, there are still wetlands as far as the eye can see, an overwhelming kingdom of wildness! It's a place where it's impossible for humans to casually set foot. The only place where ordinary people without any special training or equipment can go is Everglades National Park, which stretches over 6,570 square kilometers in the southwest part of the peninsula. Here, even in the swampy areas, paths are maintained and observation points are set up in various places so that people can experience a part of Florida's nature. However, an alligator walks in front of us like a loose cat. Or there is an alligator around the corner. That's what this place is. Some of them even attack humans, so you can't be too careful. What I have shown you this time is only a small part of Florida. Araki-sensei is enthusiastically taking pictures and doing research, but first of all, what will happen to this story that started in a "detention center"? Can you read it from these photos?

Is it good in America?

The hot dogs I ate in the real place were awesome! I was actually worried about the daily diet for Mr. Araki, who loves Italy, but he was so happy to eat hot dogs every day!

[Translated by RealEgyptianSilk]


荒朚飛呂圊 Goes to America! 荒朚飛呂圊のちょっずだけアメリカ取材玀行



荒朚先生の新たなる物語の始たりの舞台は『フロリダ』だった。1幎を通しお枩暖で、倚くのラテン系の䜏人が䜏むこの半島は、党米で最も陜気な土地柄であるだけではない。か぀おは䞀面の湿地垯だった堎所が人間の力で䞀から開拓された、党米でも最も倧きく倉化を遂げた地域でもあったのである。今では人口300䞇以䞊を誇る倧郜垂マむアミも、䞀面氎浞しの䞭川草が生えるだけの、荒涌ずしたワニずたくさんの鳥やもっずたくさんの小動物が棲むだけの堎所だった。そしお、マむアミやパヌムビヌチずいった海沿いの郜垂から車に乗っおものの30分もすれば、今でもそこは、ただもう芋枡す限りの湿地垯が続いお、圧倒的な野性の王囜気軜に人間が足を螏み入れる事は䞍可胜な堎所だったりする。特別な蚓緎も装備も持たない䞀般人がいけるのは、半島の南西郚に6570平方キロに枡っお拡がる゚バヌグレむス囜立公園ぐらいだろう。ここでは湿地垯の䞭でも道が敎備され、ずころどころに芳枬ポむントが蚭けられおいるのでフロリダの自然の䞀端に觊れる事ができる。ただし、人間の芋おいる前をのら猫のようにワニが平然ず歩いおいく。あるいは角をたがったずころにワニがいる。そんな所だ、ここは。なかには人間を襲う皮類もいるから、あたり油断はできない。今回読者のみなさんにお芋せしたのはそんなフロリダのほんの䞀端だけ。荒朚先生は䜕やら熱心に写真をずったり調べたりしおいるけど、たずは「留眮所」から始たったこの物語が今埌どんな展開を芋せるのか キミはこの写真から読み取る事がデキルかな


本堎で食った『ホットドッグ』はサむコヌむタリア奜きの荒朚先生には毎日の食事が実は心配だったけど、毎日『ホットドッグ』を食べおゎキゲンでした [10]


Jojoagogo cover.jpg
Incomplete translation
Published February 25, 2000
👀 Hirohiko Araki


Baoh OVA

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

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

Stardust Crusaders OVA

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

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

How involved were you in the anime's production?

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

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

Missing translation
Published March 2000
👀 Hirohiko Araki


梶原䞀階に心酔し、嚘。に激怒 意倖な熱血挢だったカルト䜜家の玠顔。

前号「FREE BOX」のCOMIC欄、『ゞョゞョの奇劙な冒険』原皿が予想を遥かに超える倧反響 来るわ来るわ読者からの邊楜スタンドの山 そこで萜ずし前を぀けるべく、「日本のロックをスタンドにしおくれ」ずお願いしに荒朚飛呂圊先生に䌚っおきたした。

 最初の音楜䜓隓はグルヌプ・サりンズかなあ。1960幎生たれなんで8歳ぐらいなんですが、タむガヌスだずかブルヌ・コメッツみたいなの あずはアニメ゜ングずか。『巚人の星』が倧奜きで。 そう、梶原䞀階が奜きなんです 私の䜜颚ずは違うんですけど、魔球ずか必殺技のクロスカりンタヌずか――倧リヌグボヌルずか゚セ科孊的だったりしたすよね 無理矢理消したり無理矢理バットに圓おたり笑。ああいうのずか、䞻人公がだんだん成長しおく感じっおいうんですか そういう話に燃えるのかな。だから手塚治虫ずか石ノ森章倪郎先生系のマンガず、梶原䞀階系のマンガっおあるんですけど、どっちかず蚀うず梶原䞀階なんですよね


80幎代以降はやっぱりMTVっぜいから、プリンスずかマむケル・ゞャク゜ン。プリンスは党郚聎いおたすね。最初に聎いたのは4枚目の『戊慄の貎公子』だったかな。やっぱ異様な感じがするのがいいですよね。だから盎球的なマドンナよりはプリンスの方がいいですね。『ただじゃ枈たさないな』っお感じが楜しいんですよ。やっぱり80幎代はプリンスが䞀番デカいんですね。で、90幎代になるず混沌ずしおきたすね。奜きなものがいろんなものに移っおる。本物のギャングが歌っおるスヌヌプ・ドギヌ・ドッグは結構ショックでしたねえ。それたでのラップっおランDMCずかりィル・スミスずかそういう感じだったんですけども、ドギヌ・ドッグは本物っおいうか、あれマゞにダバいですよ笑。あの蟺の人達っお、実際2パックずか殺されおるし。で挫画家っおオタクっぜいむメヌゞがあるんですけど、実はツッパリっおいうか硬掟な人間が描いおたりするんですよ。高校時代は剃り蟌み入れおたりずか。実際お䌚いした事ないんですけどマガゞン系はそういう感じしたすよね。『ビヌ・バップ・ハむスクヌル』ずか『特攻の拓』ずか。ゞャンプだったら本宮先生系の宮䞋あきらずか車田正矎先生ずかね、あの蟺っおいうのはちょっずホンマモンに近い感じがあるんですよ笑。音楜にもそういう迫力っおあるんですよね。䜕か生き様っおいうかさ  あず音楜聎いおお思うのは、倧ヒット・アルバムっおあるじゃないですか。そのコ前っおいいですよね。ノッおる時期っおいうか䞊り調子っおいうか。頂点に立っちゃうずどビゞネスに入るからのような気がするんですよ。最近聎いおるのはレむゞ・アゲむンスト・ザ・マシヌン。新䜜もいいですけど、旧䜜から来たから。日本のロックはですね、ほずんど聎かないんです。有線ずかで日本のを仕事䞭に聎いおるず、歌詞が頭に入っおきお『お前に蚀われたくない』『䜕気取っおんだ』ずか仕事になんないですよ。だから英語がわかったら向こうのも嫌いになるのがいるかもしれない。モヌニング嚘。の”LOVEマシヌン”あれはちょっずダだなあ。曲はいいんですけど、歌詞がふざけおたすよ ”瀟長さん”っお今どきいいたす 玅癜芋おおチャンネル倉えちゃったもん。たあ宇倚田ヒカルは悪くないですよ。あの声ずか凄くいいですよね。あ、む゚ロヌモンキヌいいっすよ。2幎ぐらい前に聎いたや぀、倚分アルバムだったず思いたす。電気グルヌノも奜き。あずはGLAYかな。あのスカッずしおる感じがいいかな。倉に濃くないずころ。GLAY、む゚ロヌモンキヌは奜意をもちたした。ちょっず知的な感じがしたすよね。無理にモヌニング嚘。たで行かないんです。圌らの知性がちょっず止めるずころがあるんですよね。あ、読者から邊楜のスタンド出しお欲しいっお届いおるんですか笑。この間もどっかで『日本の音楜は䞀切聎かないんです、ちょっずムカっ腹立぀んだよね』っお蚀っちゃったんでねえ笑


Missing translation
Published July 2000
👀 Hirohiko Araki


たたには音楜畑以倖にも、いろんな人に䌚っお、いろんな話を聞いおみたい。だっお、僕らは生きおるんだもん ずいうわけで今回から始たった新コヌナヌ。第1回目は挫画家の荒朚飛呂圊先生です。





「いや、普通です。私は剣道やっおたんですけど、詊合が凄いダで。もう盞手の気迫みたいなのが嫌なんですよ」 ●じゃあ䜕で剣道やっおたんですか。



「自己鍛錬ですね。自分の成長の為に詊合しおるっおいう感じで、自分は闘いを描いおるんですけども。匱かった自分がね、盞手に勝぀っおいうよりも己に勝぀為に戊うっおいう。あず闘う時も、根性ずかで勝぀のはね、あんたり自分は嫌なんですよ。やっぱりワンランク粟神がアップしお、それを手に入れお倒すずかね」 ●「スタンド」っお発想もそういう事だず。












●そう蚀えば、荒朚先生の描くキャラクタヌっお䜕ずなくみんな悲しげですよね。ハッピヌなキャラっおいうのは――。 「あんたないかもね。やっぱそれじゃないず面癜くないんですかね。線集者でね、『生きおるのが぀らくなるような䜜品読みおえよな』ずか蚀った人がいおね。䟋えば、スティヌノン・キングっおいうキャラクタヌっおいうのは、なんか生きおるだけでその存圚が悲しいやないかみたいな。その人がそこにいるだけで悲しいんですよ」 ●そういう圱ずか悲しさずかを必ず抱えおるキャラクタヌを描いおるず同時に、少幎の成長みたいなのを前提にしおるず。じゃあ成長しおいきながらも、最終的なハッピヌにはならないのかな、みたいな。
















●じゃあ最埌に、今回BUZZの方でヘノィ・ロック特集っおいうのをやるんですよ。で、荒朚さんのお薊めのヘノィ・ロックの名盀5枚っおいうのを――。 「ヘノィ・ロックの抂念がちょっず分かんないんですけども。レッチリもヘノィ系に入るんですか」




「ヘノィ・メタじゃないの、あれ 音はヘノィ・ロックだけどね。あず私レッチリずか倧奜きですよ。あずはスキッド・ロり、ガンズ・アンド・ロヌれスでしょ。で、゚アロスミスずニルノァヌナ。嫌いなのはパヌル・ゞャムですね」








About each other’s beginnings

Araki: Shall we begin by talking about each other’s beginnings?

Kaneko: Yes.

Araki: The first question will be related to work: are you also involved in storywriting?

Kaneko: Officially not, but I contribute as well.

Araki: Ah, I knew it! Looking at the illustration books, I believe that you can’t simply draw without being involved in the story. Nevertheless, even though you only do the designs, it’s amazing how many you create. There are also a lot of descriptions about the characters’ backgrounds and so on, aren’t there? I design Stands combining those characteristics. For example, it would be strange if I didn’t give a water Stand a certain type of design.

Kaneko: Of course, I think about the way the characters are and I draw them according to their personality type.

Araki: I see. For example, if something releases poisonous gas from its shoulders, it will definitely need a hole. Now the question is, what kind of hole would fit the best?

Kaneko: But when Jojo is in front of the Stand, there will also be strange poses and things like that, right? How does that work?

Araki: I’ll eventually get to that too. Just in a little while (laughs).

Kaneko: Oh, is it still your turn?

Araki: Yes, yes (laughs). I have things I want to ask.

Kaneko: Understood. Then please ask me (laughs).

Araki: First, my parents used to read to me all kinds of books when I was a wee little boy, like “The Adventures of Tom Sawyer” or Jules Verne’s “Twenty Thousand Leagues Under the Sea”.Tthis kind of books only and no Japanese ones at all. That’s why I grew up very attracted to foreign countries, including their food and music. And that’s also why I don’t really like Japanese food.

Kaneko: I’m not too fond of Japanese food either, but you see, my parents owned a sushi shop (laughs).

Araki: Hahaha. Really?

Kaneko: I really came to hate it when I saw eels getting skewered after their eyes were removed (laughs). Anyway, back to the main question, I was more into Disney than Jules Verne. What about music? I can see from reading your works that you love Western music. I love it as well, but you know Takenoko-zoku* right? I used to do that before.

Araki: That’s not Western music, is it (laughs).

Kaneko: But what about Dschinghis Khan? (laughs). They were very interesting. I stopped watching Yoru Hit, and quickly got into Western music and came to love funk and other styles.

Araki: I like progressive rock.

Kaneko: Eh, progressive rock? (laughs)

Araki: From the ‘70s. Bands like Yes or Emerson, Lake & Palmer.

Kaneko: Almost all your Stand names come from progressive rock bands, huh.

Araki: Well, yes but

Kaneko: I liked Esidisi [AC/DC] (laughs). It fit really well.

Araki: Using foreign bands’ names is ok, but it’s completely different for Japanese bands. That’s no good. Or maybe I should say, it’s empathy. It’s a bit strange, like “What kind of silly things is this guy talking about?” (laughs)

Kaneko: Well, Western bands also sing about rather silly things, right?

Araki: If I knew what they were saying, I’d get too embarrassed to continue listening (laughs). That’s why for me it’s all about the rhythm, the propagation of sound. There’s a sort of space between the sounds. Like the subtlety of the strings, the pauses, the way the air vibrates. That’s why I’m fine with whatever they sing.

Kaneko: Do you get motivated to work during times like this?

Araki: Yes, yes, I get motivated and I start crying.

Kaneko: Wait, you start crying? (laughs)

Araki: That’s right. “Oh〜, this is so sad〜” (laughs). Don’t you get sad even if the lyrics have nothing to do with it?

Kaneko: Oh, I do, I do. Similarly to diabolus in musica, making your emotions fluctuate, right? If you used it well, you’d even be able to manipulate people, don’t you think? (laughs)

Where do you collect data from?

Araki: Do you travel abroad to collect data?

Kaneko: No, not really.

Araki: Soo, you are the type to admire foreign countries from afar?

Kaneko: Well, I guess so. I read the books I have with utmost attention and absorb all the information the writers provide, but that’s pretty sly, isn’t it (laughs). I’d love to travel if I had the time though. You travel a lot, don’t you?

Araki: I only travel to certain places; I’ve been to Italy many times, for example, and I love how it’s the “real deal”. Other countries just look like imitations in comparison – when I see sculptures or other works of art, I can only think “Oh, this is an imitation of that one sculpture.”.

Kaneko: I want to look more into Japan’s underground, like the lifestyle of the people around Shinokubo or drug routes.

Araki: So you can include them in games?

Kaneko: Exactly. There are a lot of games that take place in our current times, so I inevitably got interested in current Tokyo. It’s not limited to the city, but the places where people gather look different depending on the time of the day; it makes me want to convey the impact of the contrast between noon and the darkness night brings. I simply like clubs and the like as well

Araki: What kind of clubs do you visit?

Kaneko: I don’t really, but now I go to a lot of spacious establishments. When I was young, I used to go to hobby shops quite a lot, but now
 Before, there was no automatic water in clubs, so the toilets would be filled with ice and once it melted it would turn into automatic water. And then, if you went to the toilet at 4 a.m., you’d find the whole place drenched in blood.

Araki: Huh, why?

Kaneko: Group scuffles, it seems. Well, both scary and painful things used to happen, but looking and hearing about those rowdy times has become very important to me now.

Araki: It’s all right if Tokyo is the main setting. I first came up with the concept of “Stands” when I was in Egypt, since the people over there looked really suspicious. So I thought they were all bad guys.

Kaneko: Hahahaha.

Araki: It wouldn’t have been odd if anyone there had turned against me. No matter how kind they were to me, I just couldn’t trust them.

Kaneko: Sounds like something you won’t be able to let go of.

Araki: And that’s how I created Stands, the power of evil, or should I say, a different kind of power.

Kaneko: Ooh, is that why the manga takes place in Egypt?!

Araki: Exactly. Well, the editor loved Egypt as well; the locals’ power was truly great.

Kaneko: As I thought, you need to be there to actually know what it’s like.

Araki: That’s why people closeby have great power, but the further they are, the weaker their power gets. I made all kinds of rules.

Kaneko: It would be boring if they were all-powerful. It’s good that the characters in your manga also have weak points they can overcome. We use demons in our games, but we thought of adding a slightly different nuance to it – “What if we used them as guardian spirits?”. That’s how the concept of Persona was born. We call them guardian spirits, but they are actually great Indian gods or all other kinds of demons. Just as the name suggests, doesn’t Persona mean someone’s “personality”? One’s other self. So, how should I put it, there are all kinds of “other selves”, from the characters’ current appearance, to their manner of speech and even their job. I thought I’d combine them all. That’s how the characters in the game became more natural. The impetus to start drawing

Araki: What made you become a graphic designer?

Kaneko: I’d been drawing for a long time, but I wanted to become a manga artist at first. Later, in middle school, when I wanted to be popular with girls, I tried to look like a badass, but failed (laughs). When I reached a certain age, I asked myself what job I’d take; I couldn’t become a musician, I couldn’t become anything. And the last option I had was drawing. Getting into a company was a good idea, but I realized I didn’t have much strength by myself, so after that I decided to do my best.

Araki: You see, I went to the kendo club in school, but I wasn’t praised even once, whether I won or lost. However, when drew manga, everyone would tell me how good I was. Those were my beginnings. My friends would get really enthusiastic about it, like “This is the greatest thing ever!”

Kaneko: Hahaha. It looks like you already had editors by that time.

Araki: Yes, yes, they really sounded like editors (laughs). So I really got into this and would tell myself I’d keep drawing the entire following night as well. These designs [are influenced] by Go Nagai, right?

Kaneko: That’s right, Go Nagai’s influence is strong. Also, Kamen Rider, kaijuu

Araki: Yes, the kaijuu effect is definitely there!

Kaneko: It’s impossible to say the name of all kaijuu, but if someone shows me Rider cards, I can tell everyone’s names. You know what’s interesting though? When you look into the designs and discover the original source of inspiration, like Ultra Seven’s monsters being the spitting image of clay figures (dogu).

Araki: Ah, yes, you’re right.

Kaneko: I realised this when I was wondering whether armor should have a (Western) clothes motif, but then saw that if you left out the armor it would have looked just like Ultraman’s costume; the outline makes it look like Western armor.

Araki: An extremely abstract image. Didn’t Picasso, after seeing African masks, want to see how simple he could make his own paintings? Same here. Ultraman’s form is indeed extreme. The type of design you simply can’t imitate, just like Snoopy. You generally can’t draw that sort of thing.

Kaneko: You start thinking why it is actually like that (laughs).

Araki: If you make Ultraman’s design simpler than this, he won’t look cool anymore.

Kaneko: Besides, anyone will be able to draw him. That’s why adding one thing after another is easy. Simplifying things, on the other hand, is really difficult.

Finally talking about fashion

Kaneko: What do you usually wear? Neatly fitted clothes?

Araki: I rarely wear ties and the like. And even then, I don’t even know whether there is a brand that actually suits me. There are brands that don’t fit me at all, that make me feel like I’m anything but myself. Prada, for example, or Gucci.

Kaneko: This does tend to happen indeed. I have a lot of Gaultier suits, but I do go shopping often too, so when I’m asked “So, manga artists are coming?”, it seems they are pretty familiar with Jump authors like K.M. or T.B. Apparently, Mr. K.M once spent several tens of thousands of yen on clothes. “That’s so awesome!”, I thought. It looks like Mr. T.B’s goes shopping together with his friends or his girlfriend though. In the end I realised that there are all kinds of manga artists as well! (laughs)

Araki: I don’t really go shopping. My brand picks are Versace or Dolce & Gabbana, but I’m not too crazy about them. I love looking at models though. Don’t you think models have this kind of spectre quality to them? The way they tilt their head or their mouths look oddly big. That kind of stuff captivates me. And so, by reproducing them, they gradually turn into Jojo-like characters (laughs) – like bending their hips back or forth. This kind of bending is also because of Italy.

Kaneko: So this is how they turn into Jojo poses! Like, “ズキュヌン!” or grabbing a blood vessel and going “You should be still” (laughs). There’s a fairy named Trish in Persona who helps characters recover their health whose name comes from the fashion model Trish Goff. Back when she wasn’t that famous I used to think she was very cute and had such an interesting name. But then she became super famous not long after and I thought “Oh no, this isn’t good!” (laughs).

Araki: I find it amazing that you knew about her since back then. She was already popular by the time I had created Trish Una.

Kaneko: All models have really cool names, don’t they? Like Shalom Harlow.

Araki: Her huge eyes are cool as well.

Kaneko: Lately, thin models have become more numerous than bigger ones, huh. Like Devon Aoki.

Araki: Devon Aoki has got a strange air about her too.

Kaneko: Did you know she is Rocky Aoki’s daughter?

Araki: Eh, is that so? Who is Rocky Aoki anyway (laughs).

Kaneko: Do you know the restaurants Benihana?

Araki: Oh, yes, yes.

Kaneko: He is the owner. Incidentally, isn’t there someone in Jojo part 4 who likes Ferré*? I wondered if you liked him.

Araki: Truth is, I write about such things even if I’m sure almost no one knows about them anyway.

Kaneko: Moschino is the same, right?

Araki: Oh, oh, Moschino was good too! I was surprised when it appeared. The peace sign* design came from there.

Kaneko: Double suits are characteristic of them too. The buttons are in the place of the eyes, forming a face. I’ve seen new designs from John Galliano or Alexander McQueen as well. They’d make good Stands (laughs).

Araki: I like Roberto Cavalli too. Quite a lot of people have been debuting these days, but don’t have shops in Tokyo. They remind of the style worn by dangerous ladies which is really great.

What flows from the root of your work

Kaneko: Your works are referenced in a lot of things, right? It’s kind of like Shakespeare, or, how should I put it, something I haven’t seen with other Japanese drama, literature or manga.

Araki: But you know, there’s also Kajiwara Ikki’s “If you are small and want to beat someone big, then you mustn’t think of yourself as small!”
or something like this (laughs). I still find this kind of thought pattern moving, even though I read that in my fourth year of elementary school. Like, “Wow, that was so cool

Kaneko: I’m a bit startled that you’ve read Kajiwara Ikki’s works. Quite different from what I expected.

Araki: Truth is, I started with “Star of the Giants”.

Kaneko: No way?!

Araki: I think it was during my first year of elementary school
I don’t usually mention this, but “Magazine” was the first publication I talked to when I wanted to publish my first manga. Incidentally, back then Kajiwara Ikki stopped serializing in “Magazine” so I switched over to “Jump” (laughs).

Kaneko: That’s seriously unexpected (laughs).

Araki: I love foreign countries, but I also love stories where poor people rise in the world.

Kaneko: Whenever I see the photos at the back of the tankoubon, it’s kind of rude of me to say, but I think you look like you had a good upbringing (laughs).

Araki: Hahahaha.

Kaneko: So when you write about Kishibe Rohan and those kind of stories, all the more I wonder “Is this really all right?” (laughs)

Araki: But you are surprising as well. You had a more frightening image.

Kaneko: I’m often told that I seem to have an actor’s personality. Truth is, I’m a pretty easy-going guy. Speaking of manga, I was into “The Genius Bakabon”.

Araki: Oh, Akatsuka Fujio (laughs). It was quite a thing (laughs). Great stuff.

Kaneko: I simply loved the surrealistic setting, couldn’t get enough of it. After all, it’s the person who discovered Tamori*! In a way, he raised him and turned him into who he is today.

Araki: Speaking of settings, I went to a Christian school, where I read the Bible every day, so that particular way of thinking got ingrained in my brain.

Kaneko: Is that so! Was it a Catholic school?

Araki: No, it was a Protestant one. As a kid, I thought “What the
?” at the disciple’s betrayal, but as an adult I understood how important it was. Different kinds of literary works also have their roots in it, and I’ve come to understand numerous other allusions. However, in my case, rather than believing in God, I believe something exists. It’s difficult to pinpoint what it is, but it also includes destiny. That is why, if my works aren’t based on something of the sort, the end result is scary and I end up asking myself why I am drawing manga in the first place. Am I doing it to earn money or to impress women? The more time passes, the more horrible this would all feel. But I can keep going as long as I have fairness and humanity.

Kaneko: Indeed, you wouldn’t be able to draw if you didn’t have human love. Getting money out of all this too is obviously fine though (laughs). But doing it just for money isn’t right.

Araki: You definitely need it in order to go on, don’t you think?

Kaneko: It also gets difficult when you start thinking why people exist.

Araki: You reach this question when you draw about things like destiny – “Why is this person here?”. If you’re attached to the protagonist, the question becomes even more important. The people who make RPGs feel that to an even higher degree, right?

Kaneko: That’s right. We think about the inevitable fate of the characters. Animals are part of the cycle of life on earth, aren’t they. Earthworms exist to clean the soil and their purpose to leave descendants. Only humans are different.

Araki: But it’s not good if that kind of world comes to the surface.There are several layers we shouldn’t see beyond and it would be even worse if they didn’t exist. This isn’t only about manga, but also about music and just about everything.

[Translated by Dijeh][13]



週刊少幎ゞャンプにお長きに枡り連茉が続いおいる『ゞョゞョの奇劙な冒険』の䜜者、荒朚飛呂圊。そしおファンのあいだでは悪魔絵垫ずいう異名を持぀『真・女神転生』シリヌズのアヌト・ディレクタヌ、金子䞀銬。日垞においおもファッションに倚倧な関心を持぀この二人は、ファッションの芁玠を自分の䜜品にどのように取り入れ、そしお進化させおいるのか たた、二人の䜜品のルヌツずは䜕なのか 今だからこそ明かされる二倧人気クリ゚むタヌの秘密に迫ろう

★お互いのルヌツに぀いお荒朚 たずお互いのルヌツなんかに぀いおお話したしょうか。

金子 そうですね。

荒朚 たず仕事の内容なんですけど、ストヌリヌたで関わっおいるんですか

金子 はっきりずは公衚しおいないんですが、僕も考えおいたす。

荒朚 あっ、やっぱりだっおグラフィック集を芋おいお、ストヌリヌに関わっおいないず描けないデザむンだず思ったんです。 ただデザむンしおいるだけで、こんなに倚くのデザむンができるのかず䞍思議だったんですよ。キャラクタヌずかの状況ずかいろいろずあるじゃないですか。 スタンドっおいうのは、その技の特城に合わせおデザむンしおいくんです。 䟋えば氎の䞭で掻躍するスタンドであったら、こういうデザむンにしなきゃおかしいみたいな。

金子 やはりキャラクタヌの行動原理みたいなずころを考えおいくず、こういうタむプのキャラクタヌだから、こういう栌奜をしおいる、そういうのがありたすからね。 荒朚 そうですよね。肩から毒ガスが吹き出すから穎がなきゃずか。それじゃあどういう穎がいいかな、みたいな。

金子 でも、スタンドの前にゞョゞョだったら、怪しいポヌズずかほかにもいろいろずあるじゃないですか。あのぞんはどうなんですか

荒朚 それはそのうち語りたすよ  チョットあずで笑。

金子 あ、順番があるんだ

荒朚 そうそう笑。お聞きしたい順番があるんですよ。

金子 分かりたした。じゃあ僕が聞かれちゃうんですね笑。

荒朚 たず、自分のほうから蚀うず、りチの䞡芪がちっちゃい頃、本をいろいろず読んでくれたんですよ。 『トム・゜ヌダの冒険』ずか、あずゞュヌル・ノェルヌの『海底二䞇里』ずか。 そういうのばっかでね、日本のじゃないんですよ。だから、なんか異垞に倖囜ぞ察する憧れが匷かったんですよ。で、食べ物や音楜にいたるたでそういうふうになっちゃっお。だから日本食ずかもあんたり奜きじゃないんですよ。

金子 僕も和食あんたりなんですけど、でも寿叞屋の息子なんですよね笑。

荒朚 ハハハハ。ほんずに

金子 それで目の前でアナゎずかの目玉にザクッずか䞲刺しおいるのを芋お、むダになっちゃった笑。 でも、本に関しおは僕はゞュヌル・ベルヌずかよりは、ディズニヌっぜいほうが倚かったですね。音楜はどうですか荒朚さんの䜜品読んでいたら分かりたすが、掋楜奜きそうじゃないですか。 僕も掋楜倧奜きなんですけど、タケノコ族ずか昔流行りたしたよね僕、タケノコ族やっおたんですよ。

荒朚 あれ掋楜じゃないじゃん笑。

金子 でも、ゞンギスカンずか笑。ああいうの聎いちゃうずおもしろいじゃないですか。そうしたら倜ヒットずか芳れなくなっちゃっお、そのたた掋楜にどんどん入っちゃっお、ブラックずかファンク系が奜きでしたね。

荒朚 僕はプログレです。

金子 えっ、プログレ笑

荒朚 もろ’幎代ですよ。む゚スずか゚マヌ゜ン、レむクパヌマヌずか。

金子 スタンド䜿いの名前はプログレばっかりじゃないですよね。

荒朚 たぁ、党郚ありなんですけど笑。

金子 僕が気になったのが”゚シディシ”笑。結構芪近感ありたしたよ。

荒朚 バンド名は䜕でもオッケヌですよ、倖囜のものであれば。日本語がダメなんですよ。拒吊反応が出ちゃっお。仕事䞭にね、感情移入しちゃうずいうか。ちょっずピクっおきちゃう。「䜕こい぀スカシたこず蚀っおんだ」みたいな笑。

金子 たぁ、掋楜もかなりスカシたこず蚀っおいるんですけどね。

荒朚 理解したらこっ恥ずかしくお聎けないこずばっかでしょ笑。だから私の堎合はリズムずか、音の広がりですよね。なんか空間があるんですよ、音ず音の隙間の䞭に。なんかね、そこにグワッず入れるんですよ。ストリングスずかの埮劙なずころでね、埅ちがあったりずか、颚が吹いたりずかさ。だから、その人が䜕歌っおいおもいいんですよ。

金子 そういうずきはもう仕事がノリノリになったり

荒朚 そうそう、ノリノリになったり泣いたり。

金子 えっ、泣いちゃうんですか笑。

荒朚 そう。「うわぁ、切ないなぁ」っお笑。歌詞ずか関係なく切なくなったりしたせん

金子 いや、ありたすありたす。悪魔音階っぜいっおいうんですか、なんか気持ちを䞊䞋させるものっおありたすよね。あれを䞊手く開発すれば人を操るこずができるんじゃないですかね笑。


荒朚 よく取材で海倖ずかには行かれるんですか

金子 いえ、僕はあんたり行かないです。

荒朚 じゃあオタク系の倖囜マニアですか

金子 たぁそうです。人が䞀生懞呜曞いた本を䞀生懞呜読んで、その人の情報をすべおいただくずいうズルいやり方です笑。でも、時間があれば行きたいですけどね。荒朚さんはよく行っおたすよね

荒朚 私は堎所限定ですけどね。むタリアずかが倚いですね。むタリアは本物っぜいずころがなんか奜きなんですよ。他の囜はその物真䌌みたく芋えちゃうんですよ。圫刻ずかを芋おいおも、「あ、これはあの圫刻のむミテヌションだ」ずか思っおしたうんですよ。

金子 僕はどっちかず蚀うずもっず日本のアンダヌグラりンドな堎所を探玢したいですね。新倧久保で立っおいる人たちの生掻をもっず芋おみたいし、薬物ずかもどういったルヌトで動いおいるのかずか知りたいですね。

荒朚 それもゲヌムに関係したす

金子 そうですね。ゲヌムの䞖界芳ずしお珟代モノが倚いので、必然的に東京の今に興味がありたす。郜䌚に限ったこずではないけど、人の集たる堎所には昌の顔ず倜の顔がありたすから、昌はずもかくずしお倜ずいうか”闇”の郚分のリアルさを描くこずで、よりむンパクトのあるメッセヌゞを発信できるのかな、ず思いたす。単玔にクラブずかが奜きずいうのもありたすけど・・・・・・。

荒朚 クラブはどこらぞんに行くんですか

金子 どこずいうこずもないんですが、今は倧箱が倚いですね。若いずきはマニアックな店にもよく行ったんですが、今はちょっず・・・・・・。昔のクラブっお自動で氎が流れなくお、その代わりに䟿噚に氷が眮いおあったんですよ。それが解けお氎が流れる仕組みになっおいお。で、朝の時頃トむレに行くずそれがすべお血だらけになっおいお。

荒朚 えっ、なんで

金子 芁はケンカですよね。グルヌプ抗争みたいな。たぁ怖い思いずか痛い思いもしたけど、ダンチャな時期にそういうものを芋たり聞いたりしたこずは、今の自分にずっお倧事な芁玠になっおたすよね。

荒朚 でも東京が舞台なら東京がいいですよね。私が”スタンド”ずいう抂念を思い぀いたのは、゚ゞプトなんですよ。ずいうのは、向こうの人達っおすごく怪しいじゃないですか、芋おくれが。それで党員悪党だず思っお。

金子 りハハハハハ。

荒朚 こん䞭の誰が敵でもおかしくないなず。で、その人間を信甚できないずいうか、いくら芪切にされおも、なんか怪しいんですよ。

金子 なんか腹に持っおいるんじゃないかず。

荒朚 それで悪の力ずいうか、もうひず぀の力ずいうか、スタンドを思い぀いたんです。

金子 ああ、だからマンガは最初゚ゞプトから始たったんですか

荒朚 そうなんですよ。たぁ、線集担圓さんが゚ゞプト奜きだったずいうのもあったんですが。䜏んでいる人達のパワヌがホントすごかった。

金子 やっぱ行っおみないず分からないこずありたすよね。

荒朚 そこから近くの人は力が匷いだろうけれど、遠くにいる人は力が匱いずか。いろいろずルヌルを䜜ったんです。

金子 䜕でもできちゃうず぀たらないんですよね。荒朚さんのマンガは匱いずころがいいんですよ。匱点を克服しおいくずか。りチのゲヌムは悪魔を䜿圹するものですから、そこでちょっず違うニュアンスずいうか、悪魔を守護霊ずしお付けたらどうだろうっおなったんです。そこからペル゜ナが生たれたんです。で、守護霊なんだけれど、その属性はむンドの偉い神様だったり、どこそこの劖怪だったりしたわけです。ただ名前が瀺すずおり、ペル゜ナっお”個性”じゃないですか。もうひず぀の化身ですよね。そのキャラクタヌの、なんおいうんですか、今の栌奜や、しゃべり方、やっおいる仕事たでいろいろずあるわけですよ。そういうのをすべおそこに集玄しおみようず思っお。そういった意味ではゲヌムで自然ずキャラクタヌが動いおくれたしたね。


荒朚 金子さんがグラフィック・デザむナヌになろうずしたキッカケはなんだったんですか

金子 昔っから絵は描いおいたんですけど、最初は挫画家になりたかったんですよ。でも、䞭孊時代に女のコにもおたいなっおなっおきたずきに、服装ずかもちょっず悪ぶっおみるずか、そっちにいこうずしちゃっお倱敗したんです笑。で、ある䞀定の幎霢になったずきに仕事䜕をやろうかなっおなっお、ミュヌゞシャンにもなれないし、なんにもなれない。そしお最埌に残ったのが絵だったんですよ。で、䌚瀟に入っおみたはいいですけど、自分の力がたいしたこずがないなっおたたたた刀明しお、そこから努力した感じですかね笑。

荒朚 私はね、孊校のクラブで剣道ずかやっおいたんですが、䞀回も誉めおもらったこずがなくお。勝っおも負けおも。でも挫画描いたずきはね、「䞊手いね」っおみんなに蚀われたんですよ。だからその気になりたしたね。あず友達にね、すげぇ喜ぶダツがいたんですよ。「これ最高じゃん」みたいな。

金子 ハハハハ。既にその頃から線集者みたいなのが偎にいたんですね。

荒朚 そうそう線集者みたいなのが笑。で、ほんずその気になっおきおさ、じゃあ明日もちょっず培倜しお頑匵ろうかなっお。この絵柄だずやはり氞井豪さんですか 金子 そうですね、氞井先生の圱響は匷いですね。あず仮面ラむダヌずか、怪獣ずか・・・・・・。

荒朚 あ、怪獣の圱響はあるね、絶察

金子 怪獣の名前ずか党郚蚀えるんじゃないですかね。ラむダヌカヌド芋せられおも、怪人の名前党郚蚀えたすからね。でもおもしろいのが、デザむンしおいくうえで資料ずか調べおいるず、その元ネタが分かっおくるずこですね。りルトラセブンの怪獣ず゜ックリの土偶を発芋したりずか。

荒朚 ああ、あるある。

金子 鎧をモチヌフに服のデザむンをしようかなっお思ったずきに気付いたんですけど、鎧を省略しおいくずりルトラマンのコスチュヌムになるんですよね。西掋甲冑を線だけで暡様にしおいったりするずなるんですよ。

荒朚 究極の抜象画ですね。ピカ゜ずかもアフリカの仮面ずかを芋お、どこたで簡単に描けるかず詊しおいたそうじゃないですか。同じですよ。確かにりルトラマンの圢は究極ですよ。スヌヌピヌずかも絶察真䌌できない圢なんですよ。あんなの描けない、普通。

金子 どうしおああしようず思ったんだっお思いたすよね笑。

荒朚 りルトラマンもこれ以䞊簡単にしおカッコむむのはできないですよ。

金子 それに誰にでも描けたすからね。だからあずからあずから増やしおいくのは簡単なんですよ。でも削ぎ萜ずしおいく䜜業はホント難しい。


金子 普段はどういう栌奜をしおいるんですかもっずキチッずしおいるんですか

荒朚 めったにネクタむずかする栌奜はしないですよね。でも、なんか自分にしっくりくるブランドずかっおないですかブランドでも絶察に䌌合わないっおいうのがあるんですよ。プラダずかは着おも合わないんです。自分じゃないずいうか。あずグッチもダメ。

金子 確かにそういうのはあるかもしれたせんね。僕はゎルチ゚が倚いんですけど、よく買いに行くんです。それで結構銎染みなんで、「マンガ家さんずか来る」なんお聞くずゞャンプ系の・さんずか、・さんずか来おいるらしいですよ。・さんなんかは䞀床にりン十䞇くらい買っおいくそうで。「すげぇヌな」ずか思いたすよね。・さんは友人ずか圌女に買っおいくそうですけど。「なんかマンガ家もいろいろやっおるなヌ」ずか思いたしたね笑。

荒朚 僕は買い物自䜓あたり行かないですね。ブランドではベルサヌチずかドルチェガバヌナずかですね。でもそんなにドカッずいかないですけど。でも、ファッションずいえば、モデルずか眺めおいるのが奜きですね。モデルっおなんか劖怪っぜいじゃないですか。銖をひねっおいたり、口が異様にでかかったりずか。そこらぞんがクルずきがあるんですよ、ビビッず。で、暡写しおいくず次第にゞョゞョのキャラクタヌっぜくなっおくる笑。腰をくねらせお立っおいたりずかね。ねじらせるのは、もうむタリアの定番なんだけど。

金子 そういうのがゞョゞョずかの謎のポヌズず化しおいくんですね。「ズキュヌン」ずか、血管぀かんで「コリコリしおるぞぉ」ずか笑。ペル゜ナで䜓力を回埩しおくれる劖粟が登堎するんですが、その劖粟の名前がトリッシュっおいうんですよ。名前はファッションモデルのトリッシュ・ゎフからずったんですよ。ただ圌女がそんなに有名じゃなかったずきに、「あ、このコ可愛いな」っお思っお。名前もおもしろいし。でも、しばらくしたら超有名になっちゃっお「ダベぇヌ」ずか思っお笑。

荒朚 でもその頃から圌女のこずを知っおいたのはスゎむですよね。私がトリッシュ・りナを考えたずきは超売れおいたずきだから。

金子 モデルの名前っおみんなカッコむむじゃないですか。シャロヌム・ハヌロヌずか。

荒朚 圌女もでっかい぀り目でカッコむむですよね。

金子 最近倧ぶりな人よりも现身のモデルのほうが倚いですよね。デボン青朚ずか。

荒朚 デボン青朚も䞍思議な感じだよね。

金子 圌女、ロッキヌ青朚の嚘だっお知っおたした

荒朚 え、そうなんですか誰ですか、ロッキヌ青朚っお笑。

金子 レストランのベニハナっお知っおたす

荒朚 あヌ、ハむハむ。

金子 あそこのオヌナヌなんですよ。それはそうず仗助ゞョゞョの奇劙な冒険四代目䞻人公あたりがフェレがどうのずかあったじゃないですか。だから荒朚さん奜きなのかなっお思っお。

荒朚 でもホントはこれ描いおも分かんねヌだろうなっお思いながら描くんですけどね。

金子 モスキヌノずかね。

荒朚 ああ、モスキヌノも良かったねあれが出たずきはびっくりしたよ。ピヌス・マヌクのデザむンずかになるんだよね。

金子 ダブルのスヌツずかもスゎク特城的で。ボタンが目の代わりになっおいたりしお、顔になっちゃうんですよね。最近のデザむナヌではゞョン・ガリアヌノずか。アレキサンダヌ・マックむヌンずか。スタンド䜿いにもいるけど笑。

荒朚 あず僕はロベルト・カバヌニですよね。いるんですよ、最近出おきた人が。東京にはお店がないんですけど。危な系のお姉さんの栌奜なんですよ。ああいうのは「いいなぁ」ずか思いたすね。


金子 荒朚さんの䜜品っお、ものごずを䟋えお蚀うじゃないですか。それっおなんかシェむクスピアっぜいずいうか、日本の文孊やドラマ、マンガにもあたりないですよね。 荒朚 でもね、梶原䞀階さんずかがやっおいるんですよ。「小さい人間が倧きい人間を投げるには、自分はチビだず思わなければいけない」みたいな笑。そういう抂念にクッず感動するんですよ。「うたいこず蚀うなぁ」っお。読んでいたのは小孊校幎生くらいなのに、なんか感じるものがあったんですよ。

金子 僕は荒朚さんが梶原䞀階を読んでいたこず自䜓ドキッずしたしたよ笑。なんかかなりむメヌゞず違いたすよね。

荒朚 じ぀は『巚人の星』から入っおいるんです。

金子 り゜、マゞっすか

荒朚 小孊校幎くらいだず思うんですが、その頃から・・・・・・。これはあたり蚀っおいないこずなんだけれど、最初マンガを持ち蟌もうずしたのは『マガゞン』だったの。でも、たたたたそのずきに梶原䞀階が『マガゞン』で連茉しおなくお、じゃあ『ゞャンプ』のほうがいいやっお笑。

金子 えっ、スッゲェ意倖笑。

荒朚 倖囜奜きっおいうわりには、貧乏人がのしあがっおいく話も奜きなんですよ。

金子 単行本に出おいる写真ずか芋させおもらうず、こう蚀っちゃあ倱瀌ですけど、なんか育ち良さそうだなっお思うんです笑。

荒朚 ハハハハ。

金子 それでたた、岞蟺露䌎の話なんか曞いおしたうもんだから、なおさら「倧䞈倫なのかな」なんお思われちゃっおいるかもしれたせんよ笑。

荒朚 でも、金子さんもなんか意倖ですよ。もっず怖そうなむメヌゞがありたしたから。

金子 よくそう蚀われるんですけどね。性栌俳優ぜいっお。ホントは気さくなや぀なんですよ、こう芋えお。僕はマンガずいえば『倩才バカボン』ですね。

荒朚 あ、赀塚先生笑。それもそれで䜕かあれですね笑。スゎむですよね。

金子 なんかあの、シュヌルな䞖界芳がたたらなく奜きなんですよ。だっおタモリを育おた人ですよある意味タモリを飌っおいたんだから、個人甚ずしお。それでプロデュヌスしたんですよね。

荒朚 䞖界芳ずいえば、私はキリスト教の孊校ぞ行っおいたんです。だから毎日聖曞を読んでお、自然ずそういう考え方っおいうのは染み぀いおいたすよね。

金子 ホントですかカトリックですか

荒朚 いえ、プロテスタントだったんですけど。聖曞で匟子が裏切る堎面ずか、子䟛の頃は「なんだろう」ずか思っおいたんですが、倧人になるずね、重いものがあるんですよ。いろんな文孊のルヌツもそこに含たれおいお、いろいろずネタが分かっおきお。でも、僕の堎合は神様を信じおいるずいうよりも、いるっお感じですね。具䜓的に蚀うこずは難しいんだけど、運呜ずかも含めおね。それで䜜品の根っこのずころにそういうのがないず、怖いこずになるんですよ。「自分は䜕で挫画を描いおいるんだろう」っおね。ただお金を皌ぐためなのかずか、女のコにもおたいだけなのかずかね。なんかね、それがい぀かダバむこずに感じるようになっおくるんですよ。でも、そこに正矩だずか、人間愛だずかがあれば頑匵れるっおいうか。

金子 確かに人間愛ずかがないず描けないですよね。お金ずかが぀いおくるのはもちろんいいんだけど笑。でも、ただそれだけのためにやっおいるんじゃない。

荒朚 やり続けるためには、そういうのが必芁なんじゃないですかね。

金子 人間生きおいくのはなぜっお考え始めるず、それはそれで難しいものがあるし。

荒朚 こういうね、運呜ずかを描いおいるず「䜕でこの人ここにいるんだろう」っおなっおくるんですよ。それは䞻人公に思い入れがあればあるだけ匷くなる。なんか䜜っおいる人はもっずそういうのがあるんじゃないですかね。

金子 そうですね。キャラクタヌの必然性なんかに぀いお考えおしたいたすよね。動物ずかっお地球䞊に埪環ずしお存圚しおいるじゃないですか。ミミズだっお土を浄化するために生きおいるし、子孫を残すこずが目的じゃないですか。でも人間だけは別のこずをやっおいる。

荒朚 でも、そういう䞖界が前面に出おくるずダメなんですよね。䞋の䞋のほうにあっお、芋えちゃダメなんですよ。無いずもっずダメなんですけど。マンガだけじゃなくおね、音楜も䜕もかも。


Missing translation
Published November 2001
👀 Hirohiko Araki

































































「ゞョゞョ」においおは男女問わずキャラがセクシヌなのは有名だが、そのヒミツが分かるワンショット。F・F゚フ・゚フの目元、眉毛に泚目。目の瞁取りはペンで描かれたものだが、倖偎、いわゆる化粧でいうアむラむンを黒のマヌカヌで倪めに描いおいるのだ ちなみに男性キャラの眉毛に぀いおはこんな逞話が。「少幎マンガには、絶察眉が倪くなければいけないっおいうキマリみたいなのがあっおね、私もそれを克服するのに䜕幎かかったこずか笑。それは川厎のがるさんの「巚人の星」の呪瞛で、それがずれおきたのが仗助の頃です」。



Missing translation
Published January 25, 2002
👀 Hirohiko Araki



掋楜しか聞かない理由  最埌にちゃんず聞いた邊楜は、たぶんシヌナザ・ロケッツの『ナヌ・メむ・ドリヌム』だず思う。玅癜歌合戊はたず25幎以䞊は芋おないし、桑田䜳䜑だずか束任谷由実、宇倚田ヒカル、浜厎あゆみ。名前は雑誌でみおすごい有名らしいっおのは知っおるけど、どうゆう歌を歌っおる人なのかたったく知らない。  家にある邊楜アヌティストのCDはたった䞀人、枡蟺貞倫。





 仕事をする時はBGMにあらゆる音楜はずっず流しお聞いおいるのだが、仕事䞭の自分の意識はマンガの䞭の登堎人物の心情に集䞭されおいる。キャラクタヌの喜怒哀楜を考慮しながら絵を描いおるわけだ。そこにBGMが日本語の歌詞で「わたしは倩䜿なの」ずか「寂しさには負けない」だずか「胞が痛い」ずか蚀われるず。今そヌゆヌシヌン描いおんじゃあないんだけどなヌず、気分的にゞャマなのだ。時にはなぜか怒りずかわいおくる歌詞ずかあるし、おたえにそんな事蚀われたくないよ、なんおムキに思っおしたうものもあっお、日本語は感情がストレヌトすぎる、仕事䞭には向いおない。・・・ずいうわけで、だんだん邊楜は聞かなくなっおしたったのだ。ず自分で分析する。  で・・・ずヌっず聞いおないずどうなるのかタクシヌずかに乗ったりしお、運転手が聞いおるラゞオからたたたた半匷制的に邊楜を耳にしたりするのだが、これが党郚同じ歌手同じ曲に聞こえるような感芚に自分がなっおる事に気づいた。




SJRv1 SDC11.jpg
Incomplete translation
Manga Volume
Published March 25, 2002
👀 Hirohiko Araki


Did you think Polnareff would appear in "Golden Wind"?

First of all, Polnareff and Jotaro's personalities were always meant to be opposites. Jotaro has an imposing, cool personality and doesn't really move around that much, so to contrast that I wanted an impulsive character that would run around like crazy. It's like the difference between being 'static' and being 'dynamic' you know? Polnareff was also quite fun to draw and it was easy to manipulate his movements, so I ended up using him quite a lot.

His hairstyle also turned out pretty good. The other characters all have fairly flat heads, so if Polnareff is also in the panel, it ends up creating a perfect balance overall. During Part 4: Diamond is Unbreakable, I got a ton of letters from fans asking where Polnareff was and what he was doing. And so, a part of the reason why Polnareff ended up showing up in Golden Wind was because I wanted to answer that question, of what he had been up to after Stardust Crusaders. I wanted to say that just like Jotaro, he has been fighting hard this whole time.




 圓時の担圓が、゚ゞプトにものすごく詳しかったんですよ。゚ゞプトの叀文曞ずか遺跡ずかの文字も読めるくらい。「これはいい」ず。それず、やっぱり゚ゞプトっお神秘的な感じがしたからですね。最終目的地ぱゞプトずいうのを先に決めお、それからルヌトを決めおいきたした。『スタヌダスト・クルセむダヌス』の埌に『電波少幎』で猿岩石が旅したルヌトも倧䜓同じでしたね。だから、間違っおはいなかったのかな取材で゚ゞプトやアゞアの囜なんかにも行ったけど、あたり奜きじゃあないんです(笑)。マンガにも描きたしたけど゚ゞプト人は芋るからに怪しいし。ホントにスタンド䜿いみたいでした(笑)。  うん、奜きな囜はやっぱりむタリアなんですよ。むタリアにさえ行ければ、他の囜にはもう金茪際、行けなくおもいいくらいです。むタリアは、やっぱり矎術通にいけるのがいいんです。印刷物ずは違っお、有名な絵画の実物があるこれは䜕床でも足を運ぶ䟡倀がありたすね。他の人が挔劇ずかに行くのず同じ感芚だず思いたす。でも挔劇は、そのずきどきに違ったりするけど、矎術通はもう絵画の究極の姿があるわけだから、䜕床でも行きたくなりたす。ダ・ノィンチずか、ロダンずかが奜きですね。  よく自分の絵柄は独特だずいわれるんですけど、自分からするず基本に忠実な絵だず思っおいたす。ルネッサンスが絵画のオリゞナルですから、僕はそれに忠実に描いおいるだけです。自分からするず、他のマンガ家さんのほうが異端だなぁず思いたすね。


 䜕床も行っおたすけど、やはり『バビル䞖』のむメヌゞが匷い。孊生服で砂挠に立っおいるずいうむンパクト。今考えおも、『バビル䞖』のあのコマはすごい。もしあの絵をリトグラフずかで売っおるんだったら、ぜひずも郚屋に食りたいですね。日垞ず非日垞が同時に存圚しおいるずいうずころがいいんですよ。  承倪郎のは、普通の孊生服だず぀たらないんで、いろいろアクセサリヌを付けたりしおみたした。ホントはあんな孊生服ありたせんけどね。僕も䞭孊高校は孊ランでした。でも、承倪郎みたいなあんな長ランは着おたせん(笑)。














 『ファントムブラッド』の頃から郚構成で・・・ずいうこずは考えおいお「郚の最埌はDIOを倒すんだろう」ずは挠然ず思っおいたんですよ。『譊察眲長』ずいうTVドラマにもなった小説があっお、代々譊察眲長の家系の話なんですよ。それでも、最初におきた事件を子孫が解決したりしおいる。それをやりたかったんです。善のゞョヌスタヌ家に察しお、シリヌズ党お通しお悪の存圚がDIO。圧倒的な悪。『スタヌダストクルセむダヌス』でDIOは倒されたしたけど、その埌の物語でも、DIOの悪の粟神は残っおいお・・・ゞョヌスタヌ家は代々、その邪悪な粟神ず戊っおいるんです。『ストヌンオヌシャン』でも、DIOは出おきたせんがDIOが残した邪悪な粟神ず埐倫は戊っおいたす。DIOを描く時は、い぀も気合が入りたしたね。DIOが出おくるず、雰囲気もなんか倉わるんですよね。マンガの䞭の空気がこう、匵り぀めるずいうか・・・。生き物本来の匱肉匷食の䞖界からするず、DIOのやっおるこずは正しいこずなんです。人間が生き延びおいきやすくするために䜜った 、瀟䌚の垞識ずいうこずからは倖れおたすけどね。匱肉匷食の䞖界から考えるず、DIOは普通の行動をしおいる。DIOを描く時は自分もDIOの気持ちになっおたす。・・・こんなこずいうず、反瀟䌚的だっおいわれるかもしれないけど、ある意味DIOは自分の憧れの存圚です(笑)。





People are often surprised by this, but I used to play little-league baseball. Although, there was one absurd aspect of the team I didn’t like. I used to think, “Why does that kid keep getting put in when I’m the better player?” Maybe I was being selfish, but it meant that I didn’t have a space where I was able to be myself. Despite that, I still kept playing, but I still don’t even know why I suppressed those feelings to do so. Starting in middle school, I began doing Kendo. I decided, “I’ll never take part in another team sport like baseball ever again” (haha). Around that time, I noticed that my personality wasn’t really meant for groups. I read books by myself, looked at art, drew, and I noticed that doing these things alone made me feel pleasant. Being immersed in that world by myself was fun.

Twin Sisters

Now that I think about it, the fact that I liked being alone was probably in part because of my family. I have two little twin sisters that are 4 years younger than me, but their presence is considerably large. This is when we were children, but if I were to give you an example, there was one time that my mother was preparing for us three pieces of cake as an afternoon snack. Since my sisters usually get back home faster than I, they usually eat first. So, they must’ve been thinking, “(If we eat big brother’s piece) He won’t know, right?” My sisters conspired to eat my piece of cake. Well, if they would’ve just asked I wouldn’t have minded (haha). I wonder how many times they tried to trick me like this. We fought, but they would both start crying at the same time, and, even though I wasn’t a bad kid, it made me feel bad. I always felt like I was getting blamed for something I didn’t do, so I ended up not liking coming back home. I saw this strong bond between my sisters, and it made me a feel a strange sort of alienation. Mentally I was an only child (haha). That’s why I think I ended up liking doing things by myself. Nowadays our relationship is normal, my sisters and I (haha).

Manga and stories you were passionate about

Those days I was really into Star of the Giants and other manga by Ikki Kajiwara. They taught me more about life, I think. A little bit later I got into things like Ashita no Joe. Of course, I loved Tezuka-Sensei’s manga too, but the manga I ran to buy every week was Kajiwara-Sensei’s. Now that I’m thinking about it, I think Kajiwara’s manga had an influence on me wanting to start Kendo in middle school. Besides manga, I read a lot of Edogawa Ranpo’s book series and the Sherlock Holmes series. I wonder if I was already starting to draw stuff like manga around that time. I might’ve been trying to reproduce the coolest and most popular characters from those series, but I don’t remember. From the beginning, this was the world I drew from.

High School Days

During one’s high school days*, your path in life and your future start to gradually feel more real. Due to my personality, I thought that the lifestyle of working in someplace would be impossible. Around that time, I started thinking about the power of manga. It had the power to make readers keep flipping pages, the power to make the reader anxious for new developments in the story, the power to make readers run and buy the newest chapter on the very day it’s released
 I think the power of manga is incredible. From that point on, I had a strong feeling that I wanted to become a mangaka. In terms of manga I was reading at that time, I really got into Yokoyama Mitsuteru-Sensei’s suspense manga. It was a lot different than Kajiwara-Sensei’s fiery “I’m gonna rise in this world!” type of manga. This was more focused on character motives and strategy, with the criminals being more dry and business-like. At the same time, kids wearing school uniforms were hanging around ancient ruins, it was both a comforting and discomforting feeling. “So, manga like this exist too” I used to think; it felt fresh. Besides that, the Lord of the Flies short story left an impression on me. It made me think. It had a similar theme to Jules Verne’s Two Years’ Vacation, where a group of young boys wash up on a deserted island. However, in Lord of the Flies, there’s a factional dispute among the boys, all the way until the end where they end up wanting to kill each other. I really think Lord of the Flies was the more realistic of the two books. Those days were when my first contribution to Jump was selected for an honorable mention. My name was printed in the small corner of one of the pages. That made me extremely happy. Even to this day, it might be the happiest moment of my life.

  • In high school, I was part of the cycling team. My best subjects were science and mathematics, while my worst was English.

Vocational School Days

I submitted my work several times, but I was criticized for a lack of artistic ability. I thought, "Well, I'm going to need to get better at drawing," so I enrolled in a vocational design school in my hometown of Sendai after graduating high school. I had a friend at the time who excessively praised my work. Thinking about it now, it wasn't really a great manga, but he would constantly say, "Oooh, I like this, this is so cool... let me read some more." Look at that, being encouraged by people makes you feel good and it helps you get motivated, doesn't it? (haha). Those words really did encourage me and helped me out. As I continued to submit my work, I had the idea of bringing it directly to the editing department in Tokyo. The editors who looked over my work gave me several hints. Things like "this part is no good" or "put this scene here." They also pointed out all the inconsistencies and problems with my drawings. Even at that time, I had a tendency to draw the characters very differently at the end compared to the beginning (haha). But the works where I implemented those fixes ended up being better than the ones where I didn't. Even I was able to feel that. This work, which I fixed up based on the advice I received, ended up being my first work to win an award.

[Translated by Eas]









 高校時代※っお、だんだん自分の進路ずか将来がリアルに感じられおくるじゃないですか 僕の性栌䞊、どこかに勀めるずいう生き方はできないなっお思っおたしたね。ちょうどこのころ、挫画の力ずいうものをね、考えたりしたこずがあっお。読む人にペヌゞをめくらせる力、次の展開を埅ち遠しいず思わせる力、発売日ず同時に走っお買いにいかせおしたう力・・・・・・。やっぱり挫画の力はすごいあるなず思っお。このころからですね、挫画家になりたいっお匷く思うようになったのは。  挫画では、暪山光茝先生のサスペンスものにもはたっおたしたね。梶原先生の熱くお「のし䞊がっおいくぜ」的な挫画ずは党然違うんですけどね。こう、もっず動機ずか駆け匕き、事件性をドラむに远っおいくずいう感じ。その䞀方で、孊生服を着た少幎が叀代遺跡で掻躍したりするような、心地よい違和感もあった。こういう挫画もあるんだなっお新鮮でしたね。 ほかに印象的だったのは『蠅の王』ずいう小説。これも考えさせられた。『十五少幎挂流蚘』ずモチヌフは䌌おるんですよ、少幎たちが無人島に流れ着いお、っおいう。だけど『蠅の王』では、子どもたちの間で掟閥争いが起こったり、したいには殺し合いみたいなこずになっおしたうんです。僕には、断然『蠅の王』のほうがリアルだったな。  初めお投皿した䜜品がゞャンプの遞倖䜳䜜に遞ばれたのもこのころでした。ペヌゞの䞋の角のほうに小さく名前が茉ったりしお。それはすごいうれしかったなぁ。今たでの人生でいちばんうれしかった出来事かもしれたせんね。 ※高校時代はロヌドレヌス郚に所属。埗意科目は理数系、苊手なのは英語だったずのこず。


 䜕回目かに投皿した䜜品で、画力が䞍足っお批評されお。じゃぁ、絵がうたくならなくちゃいけないず思っお、高校卒業埌、地元の仙台のデザむン専門孊校に通うこずにしたんです。  圓時、仲のいい友達のなかに、やたらず僕の䜜品を誉めおくれるや぀がいたんですよ。今思えば、たいした挫画じゃなかったず思うんだけど、「おお、いいなぁ、すげヌなぁ。たた読たせおくれよ」っおい぀も蚀っおくれおお。ほら、人間のせられるず気分もいいし、やる気がでるじゃないですか笑。その蚀葉にはだいぶ励たされたし、助けられたしたね。  そうこうしながら投皿を続けおるうちに、ふず東京の線集郚たで盎接持っおいこうず思い立っお。そのずき芋おくれた線集の人には、ホントいろいろ蚀われたしたね。「ここはダメだ。ここにはこういう゚ピ゜ヌドを入れお」ずか。絵の矛盟や歪みも党郚指摘されお。圓時はただ䜜品の最初ず最埌で、キャラクタヌの絵が違っおきちゃうようなこずもありたしたから笑。でもそうやっお盎しを入れた䜜品のほうが党然よくなっおるんですよ。それは自分でも実感できるほど。アドバむスを受けお盎しを入れたこの䜜品が、僕の初めおの入遞䜜になりたした。


 僕の連茉デビュヌ䜜ですね。ただ仙台で描いおいるころです。この䜜品は圓時、線集郚で猛反発を受けたんですよ。いじめの描写もでおくるし、䞻人公もちょっずダヌクな偎面を持っおたしたからね。タむトルからしお”魔少幎”だし笑。枅く、正しく、矎しくじゃないけど、圓時の颚朮ずは完党に逆を行く䜜品だったから、あやうくボツになるずころだったんです。それを圓時の線集の人が線集長を説埗しお救っおくれたずいう。䜕幎か経ったあずに圓時の線集長が「こういう時代になるずは思わなかったなぁ」ず蚀っおたずいうのは聞きたした。  『魔少幎ビヌティヌ』は、小さいころに読んだシャヌロック・ホヌムズの裏返しずいう意味合いも匷かったですね。ビヌティヌがホヌムズで、友人の公䞀がワト゜ン。公䞀の語りで話が進行しおいくずか、ビヌティヌのセリフすべおにいちいち意味があるずいうのも圱響のひず぀ですね。あずは癜土䞉平先生の『カムむ䌝』『サスケ』かな。どちらも僕の奜きな䜜品です。トリックの皮明かしにペヌゞを割くっおいう構成でも圱響を受けおる。絵もそういうずころあるかな。ビヌティヌがどこかカムむに䌌おるような笑。




 究極の生呜䜓ずいう、いわば“バオヌ”を発展させた考えの先にあったのが吞血鬌。䞍老䞍死ずいうのもぎったりだし、盞手の血を吞う、生呜を取り蟌んで生きおいるずいうのも、究極の生呜䜓にはたっおた。吞血鬌っおダンディヌなむメヌゞもあるでしょう。それもよかったんです。 それでいよいよ、担圓の線集の人に「次は吞血鬌を敵にした䜜品にしたす」っおこずを䌝えたんですよ。そしたら、圌がたたそういうダヌクな䞖界が奜きな人で。僕がその話をしたずきに、劙に目が茝いおた笑。専門孊校時代の友達じゃないけど、うたくのせおくれる人が近くにいるずね、僕はどうしおだか、そっちに行っちゃうんですね。






 そのずき描いおいるキャラクタヌがいちばん奜きですけどね。匷いおいうなら、第4郚の仗助かな。1999幎の蚭定だったんですけど、圌は孊ラン姿に気合いの入ったリヌれントスタむル笑。「そんなや぀いねよ」っお話なんですけど、貫いおるでしょ だからかっこいい。それに圌は自分が父芪や先祖から受け継いだものをしっかりず自芚しおいる。仗助はゞョセフの浮気盞手の子どもなんだけどそこに悲壮感はたったくないし、ハッピヌに生きおるっおずころもいい。䜕より心に熱いものを持っおいるからね、だからすごくかっこいいんですよ。






 食べ物も街䞊みも党郚奜き。むタリアは本圓に奜きですね。興味ないのはサッカヌぐらい。ファッションも奜きなんですよ。ずくに80幎代のベルサヌチ※ずかね。「こんな服ありかよ」っおぐらいパワフルだったでしょ。巚倧な金の鎖がシャツ党䜓に描かれおたりずかね、初めお芋たずきは盞圓ショックを受けたした。もちろん“ゞョゞョ”のファッションのルヌツもこのヘんにありたす。螊っおるような、ねじれおるようなポヌゞングも圱響受けおるなぁ。奇抜で゚レガントな衣装に劙なポヌズ笑。党然ありですよね。  ほかにむタリアずいうず、怪奇庭園もいいですね。倉わったもの奜きの貎族が、お金ず暩力にたかせ集めちゃいたした、みたいな矎術通ずかも奜き。やっぱり奇劙なものに惹かれるなあ笑。でも自分自身はモノに固執しないんですよ。コレクタヌじゃない。持っおる本も完党に資料ばかりですし。そういえば、車の免蚱も持っおないし、携垯も持っおない。パ゜コンもやらないしな。でもなぜかボヌトの免蚱は持っおたりするずいう笑。倉わっおるねずよく蚀われたす。 ※むタリアを代衚するファッションブランドのひず぀。斬新か぀絢爛な色圩や柄も有名。創立デザむナヌのゞャンニ・ベルサヌチは97幎に亡くなった。「すごいショックでしたね。圌の新䜜がもう芋られないのかず思うず悲しい」ず荒朚氏。ちなみに荒朚氏は80幎代のモスキヌノなどからも圱響を受けたず告癜。珟代のデザむナヌのなかではゞョン・ガリアヌノ珟クリスチャン・ディオヌルデザむナヌがお気に入りずか。玍埗。


 むタリアンレストラン※のり゚むタヌずかがいいですね。なんかこう、テキパキ仕切っおいく感じの。垞にサヌビスするこずを考えおいたい。お客の奜みを芚えおたりするような、気のきいたり゚むタヌがいいな。 ※オフの日など、むタリアンレストランに行くのが楜しみずいう荒朚氏。「以前、むタリアに行ったずきなんだけど、ナスを揚げたものにチョコレヌトをかけお食べるっお料理が出おきたんですよ。最初は誰でも『えぇ』っお思うじゃないですか でも食べるずすごくおいしい。自分にずっおなじみのない組み合わせがおいしかったりしたらもう最高ですね。『新発芋』ずいう感じ笑」


 僕にずっお挫画ずは。うん、描いおるずきの気持ちそのものですね。だから、䟋えば過去に誰もが認める最高傑䜜を描いたずしお、その䜜品を超えられないず悩むずか、スランプに陥るっおこずはない。垞に今描いおいるものがいちばんいいず思っおるし。それに最高傑䜜ずいっおも、芋方によっおいろいろ違うものじゃないですか。人によっおはアンケヌトの人気かもしれないし、売り䞊げかもしれない。自己満足できたかどうかずいう芋方だっおある。もちろん読む人それぞれで最高傑䜜は倉わるものだし。  だからこそ僕は、毎回䞀生懞呜描くっおこずだけを意識しおたす。珟圚進行系の気持ちをぶ぀けおる感芚ですね。


「道具ぞのこだわりは特別ないですね。気にしおるずすれば、10幎経っお、描いたものが薄れおしたうようなむンクずか、すぐボロボロになっちゃうような玙は䜿わないっおこずぐらい」 ず荒朚氏。職業柄、培倜仕事が倚いのではず問うず、 「仕事で培倜はしたせんね」。


GioGio Strategy guide.jpg
Incomplete translation
Published September 4, 2002
👀 Hirohiko Araki


It seems Stand designs have gradually changed over the course of the series.

I'm often told they even differ depending on the scene. But like I always say, "they're not robots." (laughs)

Do you not focus on accuracy?

I generally keep them the same, but how the art looks takes priority, as does choosing colors. For example, using red and blue for one illustration, and yellow and red for another. But I was taken aback when asked, "You don't use the same colors each time?" To which I thought, "Does it have to be?" (laughs) People who watch anime might think, "a character's color has to be the same every time," but for me, it's "color for the sake of the art." There are some color pairings that just do not suit each other, so I have to change them. That is why I calculate the colors when using them.

Fugo disappeared halfway through the story; why?

Originally, I was thinking of a story where Fugo betrays Giorno and his friends. The bible has a similar account involving a traitor named Judas, and that's what I was trying to do, but I kind of hated it. I had this feeling that if I depicted a betrayal, the story would become too dark. So, I had Fugo leave right away through a difference of opinion. As an alternative, I asked the authors of the novel (Note: GioGio's Bizarre Adventure II: Golden Heart, Golden Ring) to depict Fugo right after he left. He betrays them, but is actually helping Giorno and the others, so it's sort of like a gaiden / side story.

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

BunkoSDC vol10.png
Manga Volume
Published October 18, 2002
👀 Hirohiko Araki


To Ryosuke Kabashima, Editor-in-chief of Weekly Shonen Jump: I could never thank you enough, but...I'd like to take this opportunity to express my gratitude. Your every word gives me courage. JoJo's Bizarre Adventure would have never existed without you.

When I was little I often fought with my two younger sisters, they're twins, and every time I was bickering with one of them the other one, sooner or later, would start crying. "Why are you crying!?", I always asked, angrily, but in the end it was always me who got in trouble and was scolded for whatever reason.

This strategy was really just the result of my sister's teamwork and they used it to create a situation where, no matter what I said to my parents to justify my action, the fault was mine regardless. I swear I tear up every time I hear the story of someone who goes to prison because they get charged for a crime they didn't commit on the news! I was always praying for those brats to disappear; I got to the point where I was sure there was a curse on me that caused people to always misunderstand me. It happened at school too; whenever something bad happened, the teachers were always putting me in the "suspects' list" and this got me thinking that maybe it was because of how I normally behaved!

However, while the second part of JoJo's Bizarre Adventure was being serialized in Weekly Shonen Jump magazine in 1988, I was desperate to find an original idea (I admit it's a bit weird for me, being the author, to talk about these kind of things, but since is an afterword it's okay to dwell on memories, right?). I was looking for something that didn't represent physical strength, but a more spiritual thing that came from the heart. Up to that moment, when the topic was "superpowers", it was always the same thing: the characters opens their eyes wide, the character starts sweating, the character's veins start building, the character destroys rocks, etc. In JoJo, we have an extra corporeal projection that manifests, takes form, and it's this manifestation that breaks the rock, not the character... 'Yes, this could work! I can represent a soul's strength this way! More than superpowers this is "spiritual strength"! That's it, this is new! There's no other way to transmit this!'

My manager gave me permission and it's with this concept that I started drawing part three, but...as soon as the first chapters came out all the readers' comments were like: "I don't really understand," or "what's happening here?"

I was desperate, it was like that part of me that was condemned to always be misunderstood was coming out again. I didn't know what to do, since no one understood me. Maybe I didn't explain well enough, or maybe the change had been too sudden, but how was I otherwise supposed to represent these types of powers?

It looks like when I left Sendai for the first time to live in Tokyo to be a mangaka, my grandmother started praying in front of the Buddhist alter she has at home, every time she heard about an homicide in Tokyo, hands joined, she started praying for the culprit to not be me...I really don't understand this. I think no one in my family actually ever understood me and , even worse than that, maybe not even my readers could!

At that time my manager told me that it's important to have faith in yourself and draw what you really prefer: this is what it means to be mangaka! You only need a whole lot of courage!

(Even now I don't really think that manager understood me either...Well, at least more than my sisters, for sure.)

[Translated by @macchalion]

Missing translation
Published December 3, 2002



荒 最初、「乙䞀」っお「おずいち」さんだず思っおたした。

乙 「おずいち」でもうばっちりです。「きのずはじめ」ず読んだ人もいたすから。

線 乙䞀さんは、子どもの時、少幎ゞャンプの発売を埅ちこがれお買いに行ったほうですか

乙 行っおたした。犏岡は火曜発売だから月曜発売のずころが矚たしくおしかたなかったです。

線 やっぱり『ゞョゞョ』を・・・。

乙 読みたす。

線 『ゞョゞョ』をそんなに気に入ったずころっお、どこですか

乙 ほかの䜜品にない、䜕かがありたしたね。

線 荒朚先生は「ほかの䜜品ず自分の䜜品はこう違うんだ」ずいうものは・・・。

荒 ないですね。ただ、䜕かね、僕は人から誀解されるこずがすごく倚いんです。䟋えば兄匟の䞭ではね、効が悪いのに僕のほうが怒られたり、無実の眪ずいうか、そういうのが子どものずきから倚いんです。あず、䜕か孊校で事件があったずするず、容疑者が僕だったりずか、䜕か日ごろの蚀動のせいかもしれないんですけど・・・。挫画も「100%理解されおないのかな」ずいうのがしょっちゅうあっお。でも、もうなれおしたっお、それでもいいかなずいう感じで、無理に合わせようずしないんですよね。䟋えば線集郚ずかもこうしろずかっお蚀っおくるんですよ。だけど、できないずきはちょっずこのたた行くかなみたいな。貫くず蚀えば栌奜いいかもしれないけど、䜕ずいうか、気にしないこずにしおいる。そうするず、自然ずこういう感じになるのかなずいうのもあるんですけど。

乙 僕は線集の人からは、䜕も蚀われたせんね。

荒 それはいいですね笑。でも、無実の眪ずかあんたりないでしょう。

乙 いや、ありたすよ。それがほんずうに苊痛になっお、䞀本曞きたした。

荒 あるんだな、やっぱりみんな。

乙 僕はクラスで党然しゃべらないんですよ。それで、ずっず黙っおいるず、盞手が勝手に僕のこずを想像するわけです。僕がずっず黙っお座っおいるず、䜕かこんな人間なんじゃないかずか、勝手に思われおいお・・・。それに党然クラスメヌトずコンタクトはなかったので、普通に生掻しおいるず、い぀の間にか、党然自分の知らない僕のむメヌゞができ䞊がっお、いろいろな誀解を・・・。

線 䟋えば根暗なんお蚀われおた・・・

乙 根暗。それは正解ですけど笑。

荒 誀解じゃないんだ

乙 研究宀配属のいざこざがあっお、ちょっず僕が䞍正をしたような、だめな人間のやるこずをやったようなふうに誀解されお。でも、あんたりクラスメヌトずかコンタクトはなかったので、それは誀解だずいうふうに匁解する盞手もいなくお、たあ、しようがないかなず思い぀぀、過ごしたりしお・・・。倚分、今でもそんなふうに思われおいるんじゃないでしょうか。

荒 でもね、無実の眪もずっずやっおいるずね、あるずき認められるずきがあるんですよ。それを知るず、誀解されおいおも、䜕かちょっず時期を埅ずうかなずか、それを孊んでくるんですよ。挫画家になったずきに、ちょっずそれを孊んだんですよ。孊んだずいうか、そういうものなのかず思うんですよ。認められたのは、やっぱり挫画だったんですよ。少幎のずきはほんずうに誀解されるこずが倚くお、だけど、䜕か自分の奜きなこずで少幎ゞャンプで賞ずかに入ったら、これでいいのかなず思ったずき、それが始たりだったかもしれないですね。やっぱり自分を倉えないほうがいいずいうか、倉えなくおも、やり続けおいるず、二幎埌ずか䞉幎埌に、だれか理解しおくれる人ずかが出おきたりずかするんですよ。

線 乙䞀さんは、ゞャンプ小説倧賞で倧賞をずられおから、䜕冊か話題の本を出されお、今では䞖の䞭に認められた存圚ですが、どこか自分の䞭での倉化を感じるこずはありたすか

乙 うヌん、䜕か埮劙です。

線 埮劙。

乙 倉わらずに、そういうコンプレックスを、恚みみたいなものを、ずっず持っおいたほうが、曞く原動力になるような気もするし、そうやっお認められおよかったずいう気持ちもあるし・・・。

荒 でも、乙䞀さんはすごい若くしお認められおいたすよね。最初の䜜品ずかは、友達みんなが「これは面癜いな」ずかっおいう感じだったんですか。 乙 いいえ。僕の身の回りには、そう蚀っおくれる人はいなくお、いろいろな人にも黙っおいお。

荒 でも、手ごたえみたいなものがあっお、「これはいける」ずいう感じじゃないんですか

乙 賞をもらった時は、䜕かの間違いだず思いたしたね。むしろ「やばい」っお・・・。それに受賞した䜜品は、幌い子䟛が死䜓を隠したわる話ですから、芪にすごく心配されたした。

荒 それはあるよな。うちのおばあちゃんは、僕が䞊京したずきに、東京で殺人事件ずかが起こるずニュヌスが党囜に流れるじゃないですか。犯人は僕だず思っお、い぀も仏壇に「違いたすように」ず願ったらしいんですよ。「䜕で」っお思いたすよね。日ごろ殺人の話ずかをしおいるからなんでしょうかね笑。 荒 今回のノベラむズは少幎のキャラクタヌがいいですよね。これも䜕か少幎の、ある意味、ハリヌ・ポッタヌ的な成長話ずいうのになっおいるんですよ、これも。少幎がどんどん成長しおいく話になっおいお、そこがもう最高にいいんですよ。これは。倚分、読んでないですけども、さっきの兄匟が死䜓を隠すや぀も、そういうふうになっおいるんじゃないかな。隠しながらも、少幎が成長しおいくっお。

乙 なっおないですよ笑。

荒 そうですか笑。

乙 今回曞いおいお、本圓に思ったこずは、荒朚先生は挫画に䜕か父性的な感じがするんですよ。

荒 そうなの

乙 自分の小説の䞭には、母性的なむメヌゞが自分で芋おいお぀きたずっおいたんです。他瀟から出した小説ずかで。ですから、今床は読者が僕の小説を読んでどう思っちゃうんだろう・・・、そんな気持ちをずっず抱いおいたした。僕はどう曞けばいいんだろうずいう感じで。

荒 僕は「父性的」ずいうむメヌゞはわからないけれども、でも、自分なりに曞いたほうがいいず思うんです。母性的なら母性的なほうに持っおいったほうが。

乙 荒朚先生が、だれでしたっけ、奜きな映画監督で、よくゞャンプの目次のペヌゞに・・・・・・。

荒 マむケル・マン

乙 はい。あんな感じの、男察男ずいう戊いがあっお、ゞョン・りヌの銃を突き぀け合う感芚みたいなのが、僕の考える『ゞョゞョ』の䞭にあっお、女の子が入る䜙地のない感芚ずいうのがあるんですけど、僕の曞く小説は、䜕かちょっず女の子が䞻人公になるパタヌンが劙に自分で考えお倚かったんですよ。こんな『ゞョゞョ』は女々しいず思われるんじゃないかずかず思っお。今回の話も少幎がいお、母芪がいお、ちょっず女々しいこずを考えおいお、こんなものを読んで倧䞈倫かなずか・・・。

荒 それは党然倧䞈倫だず思いたすけど。なるほど、そういうこずか。

乙 はい。

線 今回、四郚をノベラむズしおいただきたしたが、乙䞀先生は䜕郚がお奜きですか

乙 どれも奜きですね。

荒 でも、乙䞀さんずいう名前を聞いお、四郚ずいうむメヌゞはすぐパッず来お、ああ、なるほどず思ったんですよ。倧䜓、話が来たずきに、䜕かね、ちらずその人の奜みずいうのがわかるずきがあるんですよ、片鱗が。䟋えばゲヌムなんかでは、絶察、こい぀、䜿わないだろうなずいうキャラクタヌずかを出したいずかっお蚀っおきたりするんですよ。そのずきに、「あっ、この人はこういうこずを考えおいるな」ずいうのがわかるんですよ。

線 普通、ノベラむズずいったら、それなりのキャラクタヌずいうのはみんな出おくるんですよね。

荒 そうですね。

乙 今回は、仗助だけ。でも、もっずいろいろな䜜家さんが四郚のノベラむズを曞けば面癜いんじゃないかずか思いたしたよ。四郚は可胜性がすごく残されおいる感じがしたす。

荒 そうですね。でも、この䜜品は、もう殺人鬌の吉良吉圱が死んだあずの・・・。時間的にそうですよね。

乙 そうです。そういえば、仗助はその埌はどうなったんですか 進路ずか。

荒 だから、そこで䞖界は閉じおお氞遠の時を刻んでいるから。だからこそ、乙䞀さんが曞けるんですよ。どこかに出おきちゃだめなんです。康䞀君はそういう語り郚なんで、出おきたりしたすけれどもね。

線 先生は、スタンドをお曞きになるずきに、必ずロックバンドの名前を・・・・・・。

荒 今回は悩んでんだよね。

線 そんなにやっぱりロックばっかりお聎きになっおいるんですか。

荒 いや、そういうわけじゃなくお、䜕かね、統䞀したいんですよね。そうするず、マニアがね、知っおいる人も知らなくおも、䜕かこうくすぐられるずころがあるずいうか。

線 乙䞀さんは、ロックはあんたり聎かないんですか。

乙 あんたり聎かないです。でも、『ゞョゞョ』を読んで知っちゃったんですよ。レコヌド屋に行っお、「あっ、ゞョゞョで出おきた人だ」ずか思っお。

荒 そうですね。スタンドの名前がわからない人は別にわからなくおいいんですけど。でも、今回のスタンドの名前、乙䞀さんに頌たれおいるから、ちょっず悩んでいる、どうしようかなっお。乙䞀さんの䜜品を、壊しちゃいけないなずも思うし・・・。

乙 名づけ芪、よろしくお願いしたす。

荒 考えおみたすけど・・・。


Missing translation
Published January 3, 2003
👀 Hirohiko Araki



 自分で蚀うのもなんだけど、自䜜『ゞョゞョの奇劙な冒険』でこういうテヌマを䜕幎も描いおるだけあっお、超胜力だずか霊感だずかいったものは、実際のずころ本圓にあるのかどうか 異垞に興味がある。


 だが、超胜力だずか幜霊ずいったものはどう考えればいいのか 自分的には霊感みたいなものはないのだが、出䌚ったような気がするっおいうのが過去3回ある。その䜓隓を分析しおみるのもなんかちょっず人生にずっお倧切な事かもしれない。

BATTLE1  10幎くらい前、むギリスの゚ゞンバラのホテルの郚屋で女性の幜霊を芋た。倜䞭目を芚たすず倖人の女の人がベッドのたわりをうろ぀いおいるので、「こりゃ幜霊だ」ず思った。でも、取材ずかでスゎく疲れおたので「面倒くさいなあ、眠いのに」ず思ったずたん、郚屋から出お行った。

BATTLE2  アシスタントに蚀うず恐がるず思ったから蚀わなかったんだけど、仕事堎のキッチンに老人の幜霊が出た。ずいっおも芋たわけではなく、食噚がカチャカチャいう音ずか、誰もいないのに氎道がビチャビチャ流れる音ずかで、おもに深倜ひずりで仕事しおいる時。



BATTLE3  これはダバかった。枩泉旅通に泊たっおる時に、和服の女性が出た。これたた倜䞭、目を芚たすず30歳ぐらいの女性ががくに背を向け、テヌブルの䞊でポットからお茶を぀いでいる。

 最初、幜霊ず思わず仲居さんだず思っお、「䜕しおるんですか」ず蚀ったずたん、がくの垃団の䞊にそのたたうしろ向きにゞャンプしおのっかっおきた。ここでやっず、幜霊なのかもず思った。恐くお金瞛りになったず思う。顔は芋えない。顔は芋えないが、垃団の䞊をずるずるずはい䞊っおくるのがわかる。手に急須を持っおるのが芋えた。 「たさか、もしかしお、お茶をがくの顔にかけようずしおいるのか」







Incomplete translation
TV Program
Published April 15, 2003
👀 Hirohiko Araki


Q01: What time in the morning do you wake up?
Araki: Half past 10am.

Q02: How do you relieve stress?
Araki: I've been walking to work. It's about 10 minutes of walking, but that's it.

Q03: Where do you come up with your ideas?
Araki: Hmm... this room (this interview takes place in Araki's workplace).

Q04: When did you consider becoming a manga artist?
Araki: This is already... very complicated.
⇒ Is that so?
Araki: I can't answer in one word, but it might have been triggered by a friend who told me I was good at drawing manga when I was a kid.
⇒ Hmm... I'm glad you were praised by your friend.

Q05: If you had not become a manga artist, what would you have become?
Araki: Eh, I can't think of this anymore. I think that there's nothing else."

Q06: Have you gotten any fan letters that made an impression?

Q31: Who's your favorite musician?

Q32: What album do you recommend?
Country Grammar by Nelly.

Q33: Your favorite TV show?
I don't watch that much.

Q34: Araki-style advice for staying healthy?
Stretch before writing.

Q36: Best place to settle down?
My workplace.

Q37: Any habit?
Playing with my jaw.

Q38: How strong do you like sake?
I don't really drink.

Q39: What are you happy to get?
Delicious sweets.

Q40: What kind of car do you drive?
I can't drive, so I don't have a license.

Q41: What kind of child were you in childhood?
I was bullied by my younger sister.
⇒ I had twin sisters and one of them was the devil, I came home from school and saw that my afternoon snack was being eaten.

Q42: When was your first love?
High School, first year.

Q43: What anime did you watch as a child?
Star of the Giants. I loved the manga.

Q46: What TV show did you watch religiously?

Q47: Your favorite subject?
I liked social studies and science.

Q48: Your weakest subject?

Q49: What about club activities?

Q50: What kind of woman do you like?

A person who isn't well-mannered.

Q51: Do you have a wife?

I do.

Q52: Your favorite color?

An orange-like yellow.

Q53: What have you accidentally laughed at recently?

When static electricity ran through my eyelids at the ophthalmologist.

Q54: Have you been angry at anything lately?

It's rare.

Q55: Have you cried at anything recently?

When I was drawing up the last storyboard.

Q56: Best place you've traveled to?

Venice, Italy. They don't have cars there.

Q57: What's a place you don't want to go?

Egypt. I hated it, so it became one of the settings.

Q58: What's the most delicious thing in Miyagi Prefecture?

Is there one? Tokyo is more delicious.

Q59: What's your favorite place to shop at?

Italian restaurants.

Q60: What's your favorite place in Tokyo?


Q61: Why the name, JoJo?

I had a meeting at Jonathan's and wanted the initials to be the same.

Q62: What's the main theme in JoJo?

Wonderful people carry out justice with a pure heart.

Q63: Where did the concept of Stands come from?

They're based on the 'guardian spirit' from Tsunoda Jirō's Ushiro no Hyakutarō.

Q64: Who's your favorite JoJo?

Josuke from Part 4.

Q65: Who's your favorite character?

Yoshikage Kira.

Q66: Your favorite death?

There's a lot of them, but I can't remember that well.

Q67: Your favorite Araki-style onomatopoeia?

The sound of heavy metal.

Q68: Your most unique pose?

I don't have one.

Q69: How long does it take to draw a chapter?

It takes about three days to draw.

⇒ The storyboard is drawn out on Thursday, coloring is done on Friday, Saturday, and Sunday, the finishing touches are added on Monday, then Tuesday and Wednesday are off-days.

Q70: When the series began, how much was planned?

Up to the end of Part 3.

Q71: What about a TV anime?

I don't think so, it's not a manga that you should show kids.

Q72: What's most important when drawing a character?

The mouth. I hate it when it's not sexy.

Q73: Will Shizuka Joestar come back?


Q74: Will Dio come back?


⇒ Dio hasn't reappeared since Jotaro already defeated him. He intends to keep it that way.

Q75: Is Joseph still alive?

He's become senile, but I think he's still alive.

⇒ I wonder why Joseph aged at the same speed as humans.

Q76: What's the real name of Cool Shock B.T.?

There is none. I just liked Buichi Terasawa. I've also called it Boo Takagi.

Q77: Who would play Jotaro Kujo?

I was thinking about Clint Eastwood when I drew him, but not him.

Q78: If you were a Stand, what ability would you have?

I want to stop time.

Q79: Why'd you go back to Volume 1 with Part 6?

That was the editor's request.

Q80: Is there a plan for Part 7?

There is.

⇒ In the not-so distant future, it would be titled “Steel Ball Run” without the editor's opinions.

Q81: What's the Top 3 manga that you'd recommend?

Babel II, Star of the Giants, Judo Icchokusen, and Dragon Ball.

Q83: What manga artist do you respect?

Mitsuteru Yokoyama.

Q84: What's in your mind when making a weekly serial manga?

Meeting the deadline.

Q85: What's the secret that's kept you going on?

Meeting the deadline.

Q86: Are you close with any manga artists?

No, we're all too busy to see each other.

Q87: Do you use a computer?

I hate wait times.

Q88: What's your ringtone?

I don't have a cell phone.

Q89: What actress would you like to see the most?

Natalie Portman.

Q90: What would you bring to a deserted island?

Favorite manga, a CD, and a pencil.

Q91: What's the most expensive thing?

The most expensive thing is the workplace.

Q92: Who do you respect?


Q93: What genres would you like to try in the future?

I want to keep moving forward with the current manga.

Q94: How do you read Shōnen Jump?

In order from beginning to last.


Note: Not transcribed word for word.




『魔少幎ビヌティヌ』『バオヌ来蚪者』に続き、87幎スタヌトの『ゞョゞョの奇劙な冒険』は珟圚も続き、読者に絶倧な支持を受けおいる   。


船越「どヌもはじめたしお。船越です。今日はお忙しいずころ   」


船越「荒朚さん、ちょっず今䌺いたしたら、぀いにゞョゞョの六郚が最終回ずか   その原皿を、いた   」




船越「そんな時にッ出くわしたわけですね。いやこれはもうこの週刊少幎『』の創刊を食るのにふさわしいタむミングでお邪魔したしお。ちょっず早い完成祝いずいっおはなんですけど   」








荒朚「ああ、そうですけど   」





Q1 朝䜕時に起きる





Q2 ストレス解消法は



Q3 アむデアを考える堎所は


荒朚「えっず   この郚屋ですね」


Q4 マンガ家になろうず思ったきっかけは


荒朚「これはもう   ものすごい耇雑です」



船越「はぁ   」


Q5 マンガ家になっおいなかったら



Q6 印象に残るファンレタヌ


荒朚「ああ   なんかね、コンサヌトのチケットずかが同封しおあっお、䞀緒に行きたせんか、みたいな(笑)」


荒朚「ちょっず行ったら隣に座っおいらっしゃるず思うんで、ちょっず遠慮させおいただいたんですけども。すごいいい垭で行きたかったんですけど、ロックアヌティストのボズ・スキャッグスっおいう   」

船越「ボズ・スキャッグスですか   我々の䞖代にはストラむクでございたすね」

荒朚「そうですね。行きたくおしょうがなかったんですけど、ちょっずそれは   (笑)」

Q7 資料に぀いお


荒朚「ええっず   いや、䜕でも。もうその時に消防車を䜿うっおいったら消防車の写真をもっおくるし、月の満ち欠けを知りたかったら、月の満ち欠けの資料を探しおくるっお感じで」

Q8 こだわりの道具


荒朚「こだわりの道具 たぁ、䞀぀はGペンですね。これしか䜿わないんですよ」




Q9 アむデアノヌトはある


荒朚「ああ、ありたす。芋せお   衚だけ」





船越「ええ、もちろんもちろん   これがアむデアノヌトですね」


Q10 マンガ家になっお埗したこずは


荒朚「あの、損はあるねぇ。子䟛の時はマンガばっかり読んで、マンガを読むな、っお蚀われおいたんですけど、マンガ家になったずたんマンガを読め、っお蚀われお、それが逆に蟛いっおいうか   毎日読たなきゃいけないんで(笑)」


Q11 蟞めたいず思ったこずは



Q12 マンガ家ずしお確信を埗たのは


荒朚「これも確信したこずも別に無ければ   い぀切られるかっお毎日おびえおいお、それで䜕幎も経っおいるかな、っお感じですけど」 船越「なるほど」



荒朚「あらゆるこずを疑う、っおいうのが䜕お蚀うか   そういう颚にしおいるのが座右の銘ですね。䟋えば、葉っぱの色が緑っおいうのも、本圓に緑かなっお思うような」



Q14 ゞンクスは


荒朚「ゞンクスでもないですけど、アむデアを考えるずきはゎルゎ13じゃあないんですけど、壁を背にするずよく浮かぶんですよ。寝おおも駄目なんです。こういう所にこう (壁を背にしお)考えるず。䜕故かは解らないんですけど。入り口ずか窓を向いおじゃ駄目ですね」



Q15 締めきりは守られる



Q16 最倧の修矅堎は





Q17 アシスタントは䜕人



Q18 アむデアに行き詰たった時は



船越「ああ   」




Q19 線集者の存圚ずは



Q20 マンガ家の職業病は





荒朚「たず、朚曜日にネヌムっおいう、アむデアを玙にする蚳ですね。金曜日、土曜日、日曜日でペン入れしお、月曜に締めきりず仕䞊げっおいうか。そしお火、氎で䌑みっおいう   」

船越「この   実際には描かれる䜜業は四日間で」



荒朚「(ネヌム原皿を芋せながら)䟋えばこんな感じに   」


荒朚「絵を描かれる先生もいたすが、僕はもうキャラクタヌだけ描いお、台詞がこうあっお」 (ストヌンオヌシャン最終話、「僕の名前ぱンポリオです」のペヌゞのネヌム原皿が映る)


荒朚「涙を流しおいる、ず脚本みたいな   」











荒朚「梶原䞀階っおいう、スポヌツ根性モノ   『巚人の星』ずか『あしたのゞョヌ』ずかね。違うマンガ家さんでは癜土䞉平の『カムむ倖䌝』ずかね。そういうのずか『バビル二䞖』みたいなや぀ですね」

船越「『バビル二䞖』ですね   」










船越「なるほど。(船越、䜕かを取り出しお)あった   䞀床先生に䌺いたいず思っおいたのがこの方です」

(画面に『ワむルド7』(望月䞉起也)ずその解説、映る) 荒朚「ああ、いいですね」

船越「どうしおも先生のむラストがね   」


船越「䌌おいるずいうよりも、䜕かこう、望月䞉起也さんを必ず芋おいるだろうっおいう   」



荒朚「(笑) こういう感じでね、重いんだ」








荒朚「どのぞんかな   䜿っちゃった所ならいいか。この蟺だったらいいのかな」


荒朚「こっちがテレビを芳た感想で、こっちが䞻に   」

船越「   なるほど、先生これは完党にアむデアブックずいうよりも、ネタ垖ですね」








荒朚「やっぱり読者にそっぜを向かれたらその時点で終わりかなぁ、みたいなのは   」










荒朚「アシスタントが前にいる   孊校の先生のように。ああいう感じがいいですね。ありたすね絶察」


船越「修矅堎、これはもう䜓調を厩したずきっおおっしゃっおいたしたけど、これはファンの方の興味は䞀䜓ゞョゞョの䜕巻目なんだろう、っおいう   」

荒朚「ああ   第四郚のね、最終決戊のあたりずか。吉良っおいう敵がいるんですけど、そのぞんずかね。これもしかしお負けるかもずかね(笑)」


(第四郚のカラヌほか映る。仗助が「それ以䞊蚀うな   おめヌ」のシヌン他)

荒朚先生最倧の修矅堎だったずいうこのシヌン、第四郚「ダむダモンドは砕けない」のクラむマックス 殺人鬌・吉良吉圱のスタンド、キラヌクむヌンの爆匟に、四代目ゞョゞョ・仗助が窮地に远い蟌たれる





荒朚「描かせられるずきがあっお   」






荒朚「やっぱり吉良吉圱っおいうリアリティあるや぀がいるんですけど(ここで『JOJO A GO-GO』の吉良が画面に映る)、あい぀䜕でもありなんですよ。あの時はちょっず   でもしかも僕は奜きなんですよ、あい぀が」




荒朚「いや、それじゃなくお死にもの狂いでどうしようか考えたからだず思いたすけど。もう(自分が)䞻人公の様な感じでしたね」 (ナレヌション)  『ゞョゞョの奇劙な冒険』。1987幎より週刊少幎ゞャンプに連茉。19䞖玀末のむギリスが舞台ずなりスタヌト。  第䞀郚の䞻圹はゞョナサン・ゞョヌスタヌ。続く第二郚はゞョセフ・ゞョヌスタヌ。第䞉郚は日本人、空条承倪郎。第四郚は東方仗助。第五郚はむタリアが舞台でゞョルノ・ゞョバヌナ。珟圚、近未来2011幎が舞台の第六郚たであり、その連茉期間は実に16幎にも及ぶ。  それぞれの時代によっお䞻人公が倉わり、英囜貎族ゞョヌスタヌ家の血統にあるゞョゞョが掻躍。䞀䞖玀以䞊にもわたるゞョヌスタヌ家ずディオの因瞁を描いた傑䜜倧河ロマン。

プラむベヌト Q21Q60

Q21 奜きな映画ベスト3



船越「(共感しお)おお   スティヌノ・マックむヌン」



Q22 奜きな小説ベスト3



Q23 必ず読む雑誌は


荒朚「䜕十幎も読み続けでいる雑誌は   『ロヌドショヌ』っお映画雑誌があるんですけど、あれはずっず買っおいるなぁ」



Q24 奜きな食べ物は䜕ですか



Q25 嫌いな食べ物は


荒朚「嫌いな食べ物は   トマトの皮ですね。プチトマトずか、絶察食べれないです」

船越「でもスパゲッティヌっお、トマトばっかりじゃあ   」



Q26 䌑日の過ごし方は



Q27 具䜓的には



Q28 趣味は





Q29 最近ハマっおいるこずは


荒朚「最近ハマっおいるのは   自分の絵をでっかく描くのがハマっおいたす」

Q30 奜きな音楜は


荒朚「党郚奜きですけど   もうラップでも䜕でも、いいです。ゞャズでも」

Q31 䞀番奜きなアヌティストは



Q32 おすすめのアルバム


荒朚「最近はねネリヌ(NELLY)っおいうのの   ちょっずどっかにあったな(CDラックから䞀枚のCDをさっず取り出す)これがいい。これがいいんですよ。ラッパヌのネリヌ」


船越「ああ   わざわざありがずうございたす」

Q33 奜きなテレビ番組は








Q34 荒朚流健康法は



Q35 ファッションのこだわり



Q36 䞀番萜ち着く堎所は


荒朚「萜ち着く堎所   やっぱこの郚屋がいいかな」

Q37 クセは




Q38 お酒は匷い



Q39 もらっお嬉しいものは





船越「甘いもの、しょっぱいもの   」



Q40 どんな車に乗っおる



船越「そうですか、それはあえお運転を   」


Q41 幌少期はどんな子䟛



Q42 初恋はい぀



Q43 子䟛の頃芋おいたアニメは





Q44 初めお買ったマンガは




荒朚「あれ、絵が䞊手いんだよなぁ   すんごいいい絵が入っおいるんですよ」

Q45 奜きだったアむドルは


荒朚「浅田矎代子が奜き。歳がねぇ   やだなこういう話」

Q46 欠かさず芋おいたテレビは




Q47 埗意科目は



Q48 苊手科目は





Q49 クラブ掻動は



Q50 奜きな異性のタむプは


荒朚「異性のタむプ あのね、おしずやかじゃあない方がいいですね」





Q51 奥さんはいたすか



Q53 奜きな色は



Q54 最近、思わず笑ったこずは




荒朚「そうです。衝撃波が目にはしったのには   もう怖くお行けないですよ」

Q54 最近、腹が立ったこずは


荒朚「腹が立ったこずも   あんたりないですね。ないです」



Q55 最近、涙を流したのはい぀





船越「やっぱりそうですよねぇ   それは   そうなんだろうなぁ」

Q56 旅行で䞀番良かった所は






Q57 もう行きたくない所は



船越「でも゚ゞプトずいったら第䞉郚のたさに   」


Q58 宮城県で䞀番矎味しいものは


荒朚「あるのかな(笑) 東京の方が矎味しいですよ」


Q59 行き぀けのお店は



Q60 東京で奜きな町は


荒朚「東京で奜きな町は   衚参道が奜きですね」


船越「(奜きな映画)『倧脱走』   」



荒朚「ああ、それはありたすね。マックむヌンが戻っおくるたびに僕は泣いおいたもん(笑)。これだよ ヒヌロヌっおのはこれだよっお感じ」




荒朚「『ゎッドファヌザヌ』   。倧河ロマンですね。こういうのがいいですね。芪子䜕代にも枡る   䞀郚、二郚、䞉郚ずあっお」



船越「倧きな絵にハマっおいるず   これはちょっず面癜いなず」





船越「おお   ではあたりむラストにしおも䜕にしおもお描きになったこずがあったんですか」






荒朚「(笑) はい」



船越「明るい子 暗い子」




船越「ずいう事は、奥様にはかなりリヌドしお   」












84幎、週刊少幎ゞャンプに連茉された本栌SFアクション(『バオヌ来蚪者』)。  遺䌝子操䜜によっお生たれた生物兵噚バオヌを䜓内に持぀青幎ず、悪の組織ドレスずの戊いを描いた熱狂的ファンを生んだ䜜品。

マンガ䜜品に぀いお Q61Q80

Q61 なぜゞョゞョずいう名前に


荒朚「もう忘れたけど   (笑)。頭文字が同じになっお欲しかったんですよ。AAずかBBずか。あず、ゞョナサンずいうずころで打ち合わせをしおいたからだず思いたす」

船越「いわゆるファミレスのゞョナサンで   」

Q62 ゞョゞョのテヌマは



Q63 スタンドの抂念はどこから発想




荒朚「守護霊です。守護霊が出おきお、䞀緒に戊っおくれたらいいな、っおいう。昔『うしろの癟倪郎』(぀のだじろう)っおいう   あの蟺がルヌツではないかな、ず思いたすけど」

Q64 どのゞョゞョが奜き


荒朚「僕は第四郚の仗助っおいう   あのツッパリの、あれがいいんですよね」

船越「埌ほどじっくりず   」

Q65 お気に入りのキャラクタヌは



Q66 ボツネタに぀いお


荒朚「いっぱいありたすけど   それもよく芚えおいないです」

Q67 荒朚流擬音に぀いお







Q68 独特のポヌズに぀いお



Q69 䞀話描くのにかかる時間は


荒朚「䞀話っお、連茉䞀回ですよね 絵だけで䞉日ですね」

Q70 連茉スタヌト時、どこたで構想があった


荒朚「䞀応倧河ドラマみたいにしおいこうっお、䞖代が亀代しおいくっお   第䞉郚の結末たでありたした。構想だけですけどね」

Q71 テレビアニメ化の話は



Q72 キャラを描くのに䞀番重芁な郚分は


荒朚「絵ですか   口ですね」


荒朚「色っぜくないず嫌なんですよ。目より口のほうがものを蚀うず思うんですよね。ちょっず、モナリザじゃないですけど、スマむルで違っおくるんですよ。目はこんな(モナリザの真䌌をする)もんでいいんですけどちょっず   (埮笑んで)モナリザになるんですよ。埮劙ですね」

Q73 『静・ゞョヌスタヌ』の再登堎は


荒朚「これはマニアックですけど   ないです(笑)」

Q74 『ディオ』の再登堎は





Q75 ゞョセフはただ生きおる


荒朚「はい、あの   ちょっずボケおいるず思うんですが、生きおいるず思いたす」



Q76 魔少幎ビヌティヌの本名は





船越「Buichi Terasawaですか」


Q77 空条承倪郎を挔じるずすれば誰


荒朚「ええっず   解らないですね。でもむメヌゞで描いたのはクリント・むヌストりッドがむメヌゞ。あの走ったりしないずころが」

Q78 もしも自分がスタンド胜力者だったら


荒朚「䜕だろうなぁ   時間を止めおみたいですね」



Q79 第6郚で単行本が䞀巻に戻った理由





Q80 第7郚の構想は



船越「よかった    (カメラ目線で)これはもう本圓に皆さんご安心䞋さい。第7郚は始たりたす」





船越「スタンドっおいうのは   これはもう『うしろの癟倪郎』ずいうような蚀葉が、僕も䞀瞬ダブったんですけれども」






荒朚「そう、ああいう匱点っおいうかな、ああいうずころが面癜いんですよね。ドキドキするっおいうか、そういうのがないず面癜くないっおいうか党郚匷いものばっかじゃ 描いおいおサスペンスが成り立たなくなっおくるんですよ。だからそういうのを先茩を芋習っお䜜っおいるっおいうのはあるんですけど。 「その暪山光茝先生のマンガだずね、孊生服を着お砂挠に行くんですよ」








船越「先ほど、ゞョゞョの話にも出たしたけど、だいたい第䞉郚たでは構想がスタヌト時にあったずいう   これはもう第䞉郚は日本に持っおこよう、ずいう所たであった蚳ですか」






船越「䜕で倖囜の人を䞻人公にしようっお思われたんですか そのタブヌを犯しおたで」







荒朚「あ、そうです。やっぱそういうのも線集者っおいう人の圱響みたいなもの、あるんですよ。線集者の趣味もずか入っおくるこずがあるんです。゚ゞプトに行こうっお 蚀ったの、線集者なんですよ。倧奜きなんだもん。あの象圢文字ずか読める方で、もう行きたくおしょうがないの」






船越「ディオのお話になるんですが   やっぱりゞョヌスタヌずいう血統があっお、こっちの察極に数十幎を貫いお綿々ずディオずいうのが、どうも読者の我々にずっおは垞にい぀もディオの圱が぀きたずっおいたす。六郚に至っおもディオの骚たで出おきたした。なのに先生は再登堎はないずおっしゃっおいたんですけど」





船越「第郚だ   (笑)」



荒朚「ゞョセフ   矛盟点は」

船越「あのね、リサリサは50歳の蚭定で出おきたしたよね 肉䜓は二十代でした。あれは䜕故かずいうず、波王があの肉䜓を保぀んだ、老いのスピヌドを緩めるんだずお描きになりたしたよね先生」


船越「䜕故   リサリサよりもゞョセフのほうが僕は波王のパワヌは䞊だず思うんですよ。䜕故、ゞョセフは人間ず同じスピヌドで歳をずっちゃったんでしょうね」

荒朚「やっぱちょっず、気の持ちようずいうか(笑)」 船越「倱瀌いたしたした(笑)」


船越「先ほど、䞀番ポむントになるのは口だっおおっしゃっおいたしたよね これがむンパクトがあったんですよ」



荒朚「䟋えば男描くんでも、女性の顔を芋ながら描くずきがある。スタむルずか、ポヌズの取り方ずか   」




荒朚「どう描くんだろうな   やっぱ最埌が口ですね」







(茪郭、錻、眉毛、目の順でサッサず描いおいく。やや巊向きの顔で、右目、巊目の順。目はフチ、目玉の順) 船越「やっぱり先生は仗助が奜きなんですね」





荒朚「こういう感じですかね   」







(服を少し描いお、単行本でも人気のラフ画が完成。早い) 船越「先生、口ずいうのはあえお圱響を受けたずしたらこの口元はどこがルヌツですか」






船越「はああ   なんかむメヌゞが党然違いたした。もっず雑然ずした䞭で生たれおいくのかなず思っおいたんですけど。先生の几垳面さが」

荒朚「そうですか いや   たぁ   はい(笑)」




荒朚先生の絵に、䞁寧にペン入れをするアシスタントの皆さん。 (最終話、神父が地面に倒れこむPAGEが映る)  この日は第六郚ストヌンオヌシャン最終話の仕䞊げ。  『ゞョゞョの奇劙な冒険』はここから生たれおいるのです。


船越「これでいよいよ第䞃郚が始たるずいう、私達は嬉しいニュヌスを耳にさせおいただいたんですけども   」


船越「でも、先生の䞭にはもう   」





荒朚「取材ができない、っおいう。あず身近でないず、リアリティっおいうか、䜕でもある発明ずか、䜕でもある䞖界になるずちょっずたた違っおくるんじゃあないかず思う んですよ。やっぱリアリティですね」





゚ピロヌグ Q81Q100

Q81 おすすめマンガベスト3


荒朚「『バビル䞖』ず   そうだな梶原䞀階の   うヌんやっぱ『巚人の星』かな。柔道䞀盎線もいいんですけどね」




Q82 「やられた」ず思ったマンガは



Q83 尊敬するマンガ家は



Q84 週刊連茉で心がけおいるこずは



Q85 長く続ける秘蚣は



Q86 仲の良いマンガ家は


荒朚「えっず   いないですね(笑)。特に。いるっお答えおもいいんだけど、そんな䌚っおいないんだよなぁ。みんな忙しくおさぁ(笑)」



Q87 パ゜コンは䜿う







Q88 着メロは



Q89 䞀番䌚いたい女優さんは




荒朚「ナタリヌ・ポヌトマンに䌚いたいですね。『スタヌ・りォヌズ ゚ピ゜ヌド1』のアミダラ姫。あれ、いいですねぇ(笑)」




Q90 無人島に持っおいくものは



Q91 䞀番高䟡なものは


荒朚「䜕だろう   仕事堎かなぁ」

Q92 尊敬する人は


荒朚「尊敬する人    僕は画家のベラスケスが」


「ベラスケス」(15991660) スペむン セビリア生たれ。フェリペ4䞖の宮廷画家ずしお掻躍)

Q93 今埌、挑戊しおみたいゞャンルは



Q94 『少幎ゞャンプ』どこから読む



Q95 マンガはい぀たで描く


荒朚「50ぐらいですかね。そんな長く描けるのかなぁ(笑) 少なくずも週刊連茉はちょっずできないんじゃあないかなぁ。スポヌツ遞手ず同じ様な感じがありたすけど」



Q96 老埌の過ごし方は



Q97 もし願い事が叶うなら


荒朚「ええっ    䜕だろうな   あんたりないですけど。別にないです」

Q98 マンガ家に向いおいる人はどんな人





Q99 マンガ家ずしお倧切なこずは



船越「玠敵な   」

Q100 あなたにずっおマンガずは




(船越、荒朚ず固く握手し぀぀) 船越「ありがずうございたした。玠敵な創刊号にさせおいただきたしたお蔭様で。これからも楜しみにしおおりたすので、くれぐれも䜓調を 厩さないように   䜓調を厩すず䞻人公がピンチになっおしたいたすからね(笑)。ご掻躍をお祈りしおおりたす。ありがずうございたした」



船越「いかがでしたでしょうか。週刊少幎『』創刊号ずしおは玠晎らしいものが出来䞊がったず線集長ずしおは自負するずずもに、あらためお荒朚先生に感謝したいず思いた す。荒朚先生のお話を実際に䌺うこずができお、ゞョゞョのルヌツにも觊れるこずができお、さらにゞョゞョの䜜品䞖界が広がったような気がしたす。第䞃郚が本圓に今から埅ち遠しい、そんな思いでいっぱいです。是非、荒朚先生、老埌のお茶のみ友達の䞭に私を加えおいただきたいず思いたす。それでは皆さん、たた次号でお䌚いしたしょう」[21]


Published May 7, 2003
👀 Hirohiko Araki, Paolo Vedovi

A short report about the JoJo in Paris exhibition transcribed from an audio interview with Araki.


Q1: "So, why did you decide to open a solo-exhibition?"

I think that manga has various appeal, but I also think that it appeals to painters and artists as well, which is an area I wanted to explore.

Q2: "Why did you choose to open the exhibit in Paris?"

The reason I didn't want to inform any of my Japanese readers about the exhibition in France is because I want people who haven't read my manga to see my art.

Q3: "What were your thoughts on the solo-exhibition?"

Coming to Paris, I saw people of various ages and races, and it felt like I was in a painting without borders. I'd like to think it was very successful with my audience.

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


今回、個展をされた理由は 挫画には色んな魅力があるが、画家・絵描きずしおの魅力もあるず思うので、その蟺を開拓しおいきたい。

堎所にパリを遞んだのはなぜですか フランスでの原画展を、日本の読者にあたり教えなかったのは、「挫画を読んでいない人に絵を芋お頂きたい」。

個展をされたご感想は パリでやっおみお色んな人皮や幎代の方に来おいただいお、「絵に囜境はないんだな」ず感じた。客の入りの方は倧盛況。[22]


A longer interview published on June 15, 2003 in the Quarterly S magazine.

What made you decide to hold a solo exhibition in France? I think it’s pretty uncommon for an author to take the lead.

Araki: Most of my readers are people in their teens or early twenties. But there was one instance where a 9-year-old girl came up to me to tell me how good my art was, which made me feel happy. Even though she hadn’t read my manga before, she still had an appreciation for my art.

This experience made me wonder how older people would react if they saw my art, too. It also made me wonder how audiences overseas might view my art compared to folks in Japan. And so, I got in touch with someone and decided to hold an exhibition in France.

I’m surprised myself. But to answer your question, it all started because of a little girl.

Oh, I see. As the gallery owner, what was your first impression when you were asked to hold a solo exhibition? I’ve heard this gallery usually exhibits works from prestigious artists such as Renoir and Chagall, so this must’ve been quite a new challenge.

Vedovi: Firstly, as someone who deals in abstract art, I’ve always been fascinated by manga and anime, which are only now seeing worldwide attention.

I also admire seeing the works of other Japanese artists, such as Takashi Murakami and Yoshitomo Nara, and have wanted to exhibit something similar to them for a while. So when the offer came, I felt like I could connect immediately with the artist. I think it was fate that we were able to meet.

Also, during this time, I was a big fan of Arnaud Faugas, a famous abstract artist who paints cartoons. I believe his success is largely in part due to the way he uses different animation techniques in his illustrations. The colors he uses are also very cartoonish. I think my interest in those aspects of his art is what led to my exhibition with Araki.

Is that to say you get a particular feeling looking at Japanese manga and anime that you don’t get from Western art?

Vedovi: For a long time, French people have viewed manga and anime as something only meant for children. However, both Takashi Murakami and Yoshitomo Nara have created wonderful works of art that are now recognized in France and Europe. That’s why I consider manga illustrations to be another form of abstract art. I think this is the artistic notion of all Europeans, not just the French.

So, although JoJo is available in French, the readers who buy it are mostly people in their teens or early twenties. But they would never read it if it didn’t have any artistic quality. I think it’s because of this artistic quality that manga is accepted into the hearts of kids.

It seems that Mr. Vedovi sees your art as abstract. What do you think about this from the perspective of an artist?

Araki: In my case, I’m more influenced by the style of classical Western paintings rather than abstract art. For example, I like to study the color composition used by artists such as Velázquez and Gauguin. I then incorporate parts of that into my manga. So I don’t really have any interest in abstract art.

Manga artists have many roles, such as scriptwriting, photography, and acting, but I’d like to think of them as artists, too. Or at least, that’s what I like to focus on. That’s just the kind of manga artist I am. It’s not like I dislike abstract art or anything, it’s just not something I’m interested in. I’m more interested in the classical side of art. So you could say I’m more of a 

Is that so (laughs). You said that you like to look at classical paintings to study the fundamentals of their colors. Do you feel the same way about that, too, Mr Vedovi?

Vedovi: The way Araki uses colors in his works is very beautiful, so I get the feeling that he’s seen a lot of impressionist paintings. However, abstract and contemporary paintings are a genre of art that utilize a lot of dynamic movement, atmosphere, and color in their composition, and I feel like Araki also uses that well in his works. His art manages to have both dynamic movement and beautiful colors, which I think gives it a dream-like quality.

Certainly. The poses for Araki’s characters are very unique, and even the black-and-white pages of the manga have some interesting compositions. I think that’s what makes Araki unique, but do you look at those aspects in the same way?

Vedovi: I’m impressed at how extremely well done the drawings in every panel are.

In Japan, a problem people face nowadays is how to take their drawings and transform them into their own thing. In that regard, Araki-sensei is an expert. What do you hope to see from people working on Japanese manga and anime in the future?

Vedovi: Since the end of the war, Japan has been greatly influenced by the United States in terms of art, such as anime and manga. But in the future, Japanese anime will have a global impact on the world. I feel like everyone is becoming more and more aware of it throughout the world; I’m sure everyone here is aware of it, too. So from now on, I think it will become something very easy for young people to get into.

Well, that’s very interesting. It’s hard to grasp that from the standpoint of an artist working in Japan. Even if you told me that Japanese manga and anime are popular outside Japan, it doesn’t quite connect. It’s very fascinating to hear what others think about Japan, especially people from overseas.

Vedovi: We’re all trapped in the preconceived notions of the past. I think it’s important for the new generation of young people to broaden their horizons on a global scale, free from any standpoint, and do the things they want in a free society, including drawing anime and manga.

By the way, since it is Araki-sensei’s exhibition, what do you personally think is the most interesting part of Araki’s art?

Vedovi: Above all else, beauty. The pursuit of beauty is something that is gradually disappearing from society. We’re also stepping into a new era that has never existed before. He’s creating a new era that is completely different from the manga and anime that I saw as a kid. That’s what I’m interested in.

On a personal note, I have a 6-year-old boy who already uses the word manga. This means that a Japanese word has already entered the French vocabulary, that’s how widespread anime and manga have become. To begin with, my son is already a big fan of Araki-sensei’s JoJo.

Is that so? So JoJo has readers all around the world.

Vedovi: That’s right. And there are a lot of them, too.

Then it would be good to have exhibitions in other countries, too, not just France.

Vedovi: My parents own a world-renowned gallery in Brussels, Belgium. So maybe next time I’ll be able to show Araki’s works in Belgium instead. I’d like to do that.

I see you’ve already made plans for the next time (laughs).

Araki: If Mr. Vedovi wants me to do another exhibit, I’ll do it. Even if it means going to the other ends of the earth (laughs). I’d be very happy.

Well, I’m looking forward to your next exhibit (laughs). By the way, do you have any ambitions for how you would like to draw in the future?

Araki: I always draw my art with themes, like courage. I want to be able to give encouragement to my readers, I don’t want it to go in a negative direction. That’s the only thing I try to keep in mind.

Both a 9-year-old girl and a 6-year-old boy are fans of your work (laughs). Thank you very much for your time today.
[Translated by Morganstedmanms (JoJo's Bizarre Encyclopedia)][23]


荒朚飛呂圊 個展 in PARIS 『ゞョゞョの奇劙な冒険』で圧倒的人気を誇る荒朚飛呂圊がパリで個展を開催した。 第六郚ストヌン・オヌシャン線も完結したばかりで、さみしい思いをしおいたファンには嬉しいニュヌスだ。 今回は情報誌初の独占取材でフランスの個展情報を玹介しよう。

今回の個展は荒朚さんたっおの垌望で実珟したずいう。 荒朚さんは「僕は䞖界に䞀枚しか存圚しない『絵』ずいうものにひかれるんだよね」ずいう。確かに、぀ねに独創的で魅力あるむラストを描き続けおきた䜜家である。今回はそんな『ゞョゞョ』䜜品をもっお、フランスでの個展。圌のむラストは西掋絵画の䌝統ある画廊の人にどう受け止められたのだろうか 挫画ずいうフィヌルドから新たなゞャンルぞ挑戊を挑む荒朚さんず画廊のオヌナヌ・ノェドノィ氏に話を䌺った。

――今回フランスで個展をされるにあたっおきっかけはどんなこずだったんですか 䜜家さん䞻導で、ずいうのは珍しいず思うのですが。

荒朚 僕のマンガずいうのは十五歳くらいから二十代の人が読むものだず思うんだけど、ある時九歳の女の子が僕に察しお「絵、じょうずね」っおいっおくれたんですよ。それがね、嬉しかったの。マンガを読んでもいないのに、僕の絵にだけ興味を持っおくれおいたのね。それず幎寄りの人もやりなさいよっおいうわけよ。それで、「そうなの」っお感じおやろうず思っお。でも日本人よりも海倖の方はどういう颚に芋るんだろうなず思っお、その埌いろんな人ず知り合っおフランスでの個展になったの。自分でも驚いおはいるんですけど、きっかけは小さな子䟛。

――なるほど。では、画廊のオヌナヌずしおは個展の開催䟝頌があったずきにどのように思われたしたか こちらの画廊はい぀もはルノアヌルやシャガヌルなどを展瀺しおいる老舗の画廊だず䌺ったので、ずおも新しい挑戊だったのではないかず思うのですが。

ノェドノィ たず私は抜象絵画の画商ずしお、今䞖界的に泚目されおいるマンガやアニメに非垞に興味があったんです。そしお村䞊隆さんなどの絵を拝芋しお非垞に憧れを持っおいた。そしお䜕か新しいこずを始めたいずいう気持ちがあっお、お話が来たずきにすぐ繋がりが持おるような感じがあった。だからそれが運呜の繋がりだったんだず思いたす。たた、同時期にトヌマス・アルノヌの、この人は有名なアニメの抜象絵画の画家なのですが、その人の絵を私は非垞に奜んで芋おいたした。でも圌が成功しおいるのは、アニメのテクニック、アニメの原画のむラストを出しおいるこず、色遣いもアニメのものにしおいるこずが原因だず思うのです。そうした圌の持ち味に非垞に興味を持ったこずが、やはり荒朚さんの展芧䌚に繋がったんだず思いたす。


ノェドノィ 今たでのものの考え方でいけば、フランス人もマンガやアニメは子䟛の読むものず思っおいたのです。ですが、村䞊隆さんにしおも奈良矎智さんにしおも玠晎らしい芞術を発衚しおらっしゃる。そのこずがフランスやペヌロッパでも認められおいる。それはやはり芞術ずしお認めたずいうこずで、それに私も共感するずいうこずです。だからマンガのむラストレヌションも抜象絵画の䞀端に入るずいう颚に私たちは思っおいたす。それは私たちだけではなく、ペヌロッパ人の芞術感芚だず思いたす。もちろんフランスでも若い人たちはマンガを奜みたす。ですから『ゞョゞョ』がフランス語版で出おいたすが、買っおいる読者は十代から二十歳くらいの子䟛たちかもしれない。でも圌らも芞術性がなかったら絶察奜たないんです。芞術性があるからこそ子䟛達の倢の䞭でもそれが受け入れられたず思うので。


荒朚 自分的には抜象絵画ずいうよりも西掋の叀兞技法に圱響を受けおいるので、䟋えばベラスケスずかゎヌギャンの色の配眮が倧奜きで研究しおるずころがありたす。それをマンガに取り入れおいるずころはある。だから抜象絵画ずいう抂念はないです。むしろ取り入れお融合しおいるフュヌゞョンの感芚はあるかな。マンガ家はたくさんの圹割を持っおいお、脚本家やカメラマンや俳優などがあったりするけど、画家みたいなずころもあるのかなっお思う。僕はそういうずころに力を入れおいるずいうか、そういうタむプの挫画家だず思うので。でも抜象絵画は奜きで芋おはいたすけど、抂念は僕にはあんたりない。むしろどちらかずいうず叀兞的な方に意識はいっおるから、なんずいうか・・・・・・ネオベラスケス


ノェドノィ 圌の䜜品の色の䜿い方が非垞に矎しいずいうこずから、やはり印象掟の絵を非垞に芋おらっしゃるなずいう感じはしたす。でも抜象絵画、いわゆるコンテンポラリヌの絵画もゞャンルずしおずおも構図に動きがある、雰囲気がある、色も非垞に倚く遣う。そしおやはり圌の䜜品の䞭にも非垞に動きを感じる。動きがあるず同時に矎しい色遣いがある。そこが䜕か倢を膚らたすように私には感じたす。


ノェドノィ 䞀぀䞀぀の、䞀コマ䞀コマの絵のデッサンが非垞によくできおいるずいうずころに感動がありたす。


ノェドノィ 日本の終戊埌ずいうものは、マンガの瀟䌚、アニメの瀟䌚、そういった芞術面でもアメリカから非垞に圱響を受けおこられた。しかしこれからの瀟䌚では日本のアニメずいうものが䞖界に圱響を䞎えおいく。日本のアニメヌション、マンガの瀟䌚ずいうものが䞖界に知られおいるずいうこずはみなさんが感じおらっしゃるわけです。そのように認知しおいるでしょうから。だからこれからは若い人たちが非垞に出やすい圢で発達しお行くんじゃないでしょうか。


ノェドノィ 我々はやはり今たでの既成抂念に囚われおいる。新しい若者たちが自由な立堎でもっお䞖界的に芖野を広げながら、自由な瀟䌚で䜕かをするずいうこずが、アニメやマンガを描くずいうこずも含めお、新しい意芋になっおくるんじゃないでしょうか。


ノェドノィ たず矎しいこず。矎しさを远求するずいうこずがこの瀟䌚からだんだんなくなっおきおいる。たた、新しい、今たでなかったような゚リアに螏み蟌んでいるこず。私が子䟛の時に芋たマンガ、子䟛の時に芋たアニメずいうものずは党然違った新しい瀟䌚を創造しおらっしゃる。そういうこずもわたしが興味を持っおいるこずです。個人的なお話になりたすが、私には六才の男の子がいおその子がもうすでにマンガずいう蚀葉を䜿っおいる。ずいうこずは日本の「マンガ」ずいう蚀葉がフランス語化しおいるずいうこずなんです。それだけ日本のアニメ、マンガが浞透しおいるずいう颚に理解しおいたす。そもそもわたくしの息子は荒朚さんの『ゞョゞョ』の倧ファンなんです。 ――そうなんですか 読者は䞖界䞭にいるずいうこずですね。

ノェドノィ そういうこずです。たくさんいるずいうこずですよ。


ノェドノィ 私の䞡芪はベルギヌのブリュッセルにある老舗の画廊なのです。ですからたぶん次回はベルギヌでも公開させおいただくこずになるかもしれたせん。そうしたいず私は思っおおりたす。


荒朚 ノェドノィさんからいわれるず。プロポヌズがあったら地の果おたで行っおもやりたすよ笑。すごい喜んで。

――じゃあ、次回展芧䌚を楜しみにしおいたすずいうこずで笑。ちなみに、今埌こういう颚に絵を描いおいきたいずいうような抱負みたいなものがありたしたら。 荒朚 僕はい぀も「勇気」みたいなものをテヌマに絵を描いおるんです。やっぱり読んでる人に元気を䞎えたいかなっお。ネガティブな方向には走らない、そこだけ気を぀けお行こうず思っおいたす。






 そんな䞭で、挫画・アニメの絵を「新しい抜象画」ずしお䜍眮づけたいずいうノェドノィさん。今回の個展に関しおだけでなく、新たな時代の流れをこのように考えおいるそうだ。「新しい䞖代の代わり目だし、新しい抜象絵画の時代はマンガの瀟䌚じゃないかず思いたす。それに察しおはわたしの目は狂っおいないず思うのです」  老舗でありながら新たな挑戊を忘れない。それは、挫画家でありながら絵画ずしおどう芋えるのかにチャレンゞした荒朚さんず響き合うスタむルではないだろうか。

ゞョルノずゞョリヌン 描き䞋ろしの二䜜品

 画廊の正面に食られたのが四八ペヌゞ※↑に掲茉したゞョルノの新䜜むラスト。このペヌゞ※↓に掲茉したゞョリヌンの䜜品ずは察になる、描き䞋ろしの二枚だ。八四×五九センチずいう倧きなサむズで描かれたゞョルノは画廊の玄関の矎しさず盞たっお存圚感充分。もちろん、道行く人が足を止めお芋入るシヌンもあり、幎代も若い女性からスヌツ姿の䞭幎男性、おばあちゃんなどさたざた。ちなみにゞョリヌンのむラストは、ゞョルノの䜜品の「真䞋」に展瀺。画廊の地䞋非公開に蚭けられたスペヌスに食っおあり、䞀階の床に空いたガラスごしの小さなスペヌスから芗くずいう構成だ。これはガラスを鏡に芋立おおた面癜い構成で、荒朚さんらしい遊び心のある挔出。  䜙談だが、ゞョルノにそっくりず蚀われおいたオヌナヌのノェドノィさん。荒朚さんいわく「あんたり䌌おるから、それで気に入っおくれたのかな」ず冗談をいうシヌンもあった。




 そしお、垰りには芳名垳に感想を蚘しおいたが、そこにはもちろんゞョゞョキャラが。フランス語版は第䞉郚たでしか発売されおいないずのこずなので、日本の読者には懐かしい承倪郎などが描かれおいた。 [24]


Published June 1, 2003
👀 Hirohiko Araki


AnimeLand: Could you enlighten us on the genesis of JoJo?
Hirohiko Araki: Originally, there was this idea of the succession between generations, a father/son heritage. Then I wanted to show traveling heroes who would fight to defend humankind. The idea of successive generations was inspired by The Godfather saga (Brian de Palma) or East of Eden (Eliat Kazan): family stories, where the action is happening across several generations. At a very young age, I had been touched and inspired by these movies that all became classics.
A.L.: Did you have some idea of what each part would be in advance, or did your original ideas change as time passed?
H.A.: At the very beginning, everything was set around fights, ratios of power. Then, as time passed, everything became more “spiritual”, with a greater place made for ideas like friendship. At the graphic level, the first series showed off very “macho-man” type heroes with over-proportioned muscles. Then the characters became slimmer, more elegant too.
A.L.: What do you think about the Western translation of JoJo: does the term “bizarre” look appropriate to you? And if yes, what aspect of your work does it reflect?
H.A.: Indeed, the Japanese title would translate closer to “amazing”, or “marvelous”. But really, what I wanted to express in this manga is something really different, something strange, bizarre. So, in the end, the translation is rather spot on (smile). I think this feeling is reflected in some respects or situations in the manga: the unforeseen turnabouts, the way the facial expressions change, distort themselves, the hidden personality of some characters

A.L.: How did the idea of the "Ripple" and then "Stand" come to you?
H.A.: For the Ripple, the idea was that of an indirect force, a force striking from a distance like in the water for instance: if I hit the surface of a calm water, I indirectly affect the surroundings thanks to the residual ripple. For its part, the Stand is something a Westerner may find difficult to envision. It finds its origin in Shintoism: the spiritual essence of our ancestors protects us, in fact each and everyone of us is permanently protected. Without being a Shintoist myself, I know the Japanese culture and philosophy well for being born into it, so I am influenced by them in my creative work.
A.L.: You seem to like gore and often draw characters having the ability to regenerate from wounds. Is it an homage to this cinema genre, and to "The Thing" from John Carpenter?
H.A.: Oh I like this genre a lot, but also comics and TV series. John Carpenter, De Palma
 their work interest me a lot, I study them a lot, I saw them all. Now, about The Thing, one shouldn’t forget that the first volumes of JoJo go back to the 80s, I probably had the idea before seeing this movie.
A.L.: They say that you are a big fan of Western culture, be it classical or modern?
H.A.: Yes, I have a big interest in art, in impressionism, in contemporary art, or illustrations? I study all of it too, and it greatly influences my work.
A.L.: In your mind, does it explain the success of JoJo in the West?
H.A.: Well, to become a mangaka, you must study a lot, learn many different things: in a way, you must know everything, from Jangaya to Spielberg.
A.L.: Each JoJo has some similar characteristics: an impeccable morale fiber, temerity, selflessness, a perfect physical appearance, a great strength. Have you never been tempted to give life to an anti-hero?
H.A.: No. For me, a hero must be clean, just, at least that is the idea. He can have a mean look, be dangerous, go through difficult times, but his heart stays pure, and never will he do something dishonest. He’d never attack a woman or a child, that’s his main trait.
A.L.: Jojo is also one of the few manga to draw the death of its hero in a gory way. (see Zeppeli's death who was cut in half).
H.A.: To protect someone, a real hero must sacrifice himself, even if his death makes no doubt: That is also a heritage from Japanese philosophy. A hero doesn’t seek money, he becomes what he is to save someone else, he’s honest, charitable. The more horrible his death is, the worthier his sacrifice is.
A.L.: About morality, we have the impression of “moral” battles, more than real battles in JoJo.
H.A.: It is a symbol, linked to the way the hero manages to vanquish evil. Basically, there are three types of character in JoJo: the good, the bad and the undefined ones (at least momentarily, an aggressive character can reveal himself as a good one). Even the “bad” characters have a reason for acting, there is always a reason justifying their misdeeds. And we should present the circumstances that pushed the individuals to turn to the dark side to the reader.
A.L.: JoJo also reflects your passion for magic, illusionism

H.A.: Yes, I never miss a magic show in Japan! Lance Barton, David Copperfield: you know, that trick where he makes a motorcycle disappear
 It interests me a lot, I make a big effort to decipher how they do all that! It also gives me inspiration.
A.L.: Just like the creation of Zeppeli’s character?
H.A.: Yes (laughs)!
A.L.: And do you practice magic?
H.A.: I know a few tricks, and I know how to make a coin disappear. (laughs)
A.L.: JoJo’s Bizarre Adventure has been compared to Hokuto no Ken: what do you think about it?
H.A.: Tetsuo Hara is one of my friends, we often dine together. He completely revolutionized the way the human body was represented in manga, thus he also influenced me in this level.
A.L.: Do you talk about your respective works when you see each other?
H.A.: In fact, being both professional mangakas, we avoid talking about our jobs.
A.L.: Can you see that Jojo is full of nods to Hokuto no Ken?
H.A.: In the first chapters, yes, because of the masculine bodies and the gory effects
 But not now.
A.L.: About your work on the heroes’ appearance, what are your influences outside of manga?
H.A.: I constantly read anatomy books or écorchés, to study the structure of bones and muscles. I have been very impressed by the Palazzo Vecchio museum in Florence, Italy. I bought books about it on the subject.
A.L.: Sculpture too? There are works in this museum showing poses that’d remind people of your work

H.A.: Yes, definitely, and I like the Rodin museum here in Paris. I’ve assisted to posing séance here, and it touched me a lot.
A.L.: To finish, it seems there are several levels of reading in Jojo, and everyone can appreciate the manga in their own way depending on the age. To whom do you prioritize JoJo for?
H.A.: Currently in Japan, I am asked to write stuff for a younger audience (less than 15 years old), in a cute, “kawaii” way
 It really flies over my head, in fact. To write something good, you must above else be able to understand it and to appreciate it.
A.L.: Interestingly, JoJo’s Bizarre Adventure seems to please the French female readership whereas it was destined to a male readership. What can justify that in your mind?

H.A.: Well, maybe because my heroes all are beautiful boys! (laughs)
[Translated by Nabu (JoJo's Bizarre Encyclopedia)]


ARAKI Hirohiko : Exposed
AnimeLand : Pouvez-vous nous éclairer sur la genÚse de Jojo ?
ARAKI Hirohiko : En premier lieu il y avait le concept de succession des générations, l’héritage pÚre/fils. Ensuite, je voulais mettre en scÚne des héros voyageurs qui se battraient pour défendre l’humanité. L’idée des générations successives m’a été inspirée par la saga du Parrain (Brian DE PALMA), ou A l’Est d’Eden (Eliat KAZAN) : des histoires de familles, dont l’action se déroule sur plusieurs générations. TrÚs Jeune, J’ai été touché et inspiré par tous ces films devenus des classiques.
A.L. : Aviez-vous une idée de ce serait chaque saison à l’avance, ou votre idée premiÚre s’est-elle modifiée au fur et à mesure ?
A.H. : Au tout début tout était axé sur le combat, les rapports de force, puis, au fil du temps, tout est devenu plus “spirituel”, avec une grande place faite à des valeurs comme l’amitié. Au niveau graphique, les premiÚres séries mettaient en scÚne des héros trÚs “machos” aux muscles surdimensionnés. Puis les personnages sont devenus plus fins, plus élégants aussi.
A.L. : Que pensez vous de la traduction occidentale du titre de Jojo (1) : le terme bizarre vous parait-il approprié ? Et si oui, quel aspect de votre travail reflÚte-t-il ?
A.H. : En effet, le titre japonais se traduirait plus par “amazing” : étonnant, merveilleux. Mais justement, ce que je tenais à exprimer dans ce manga est réellement quelque chose de différent, d’étrange, de bizarre. Donc, en définitive, la traduction est plutÃŽt juste (sourire). Je pense que cette sensation se reflÚte dans certains aspects ou situations du manga : les retournements de situation imprévus, la façon dont l’expression des visages change, se déforme, la personnalité cachée de certains personnages

A.L. : Comment vous est venu l’idée de l’Onde, puis du Stand ?
A.H. : Pour l’Onde (ou Hamon), l’idée de départ était celle d’une force indirecte, une force qui frappe à distance, comme dans l’eau par exemple : si je frappe une surface d’eau calme, j’affecte indirectement les alentours grâce à l’onde résiduelle.
Le stand, quant à lui, est peut-être quelque chose de difficile à appréhender pour un occidental. Il trouve son origine dans le shintoïsme : l’essence spirituelle de nos ancêtres nous protége, en fait chacun de nous est protégé en permanence. Sans être moi-même shintoïste, je connais bien la culture et la philosophie japonaise pour y être né, je suis donc influencé par elles dans mon travail de création.
A.L. : Vous semblez beaucoup apprécier le gore et mettez souvent en scÚne des personnages possédant la capacité de se reconstituer aprÚs blessure. Est-ce un hommage à ce cinéma, et au The Thing de John CARPENTER ?
A.H. : Oh, j’aime beaucoup ce genre de cinéma, mais aussi les comics, et la télé. John CARPENTER, DE PALMA
 leur travail m’intéresse énormément, j’étudie beaucoup tout cela, je les ai tous vus. Maintenant, concernant The Thing, il ne faut pas oublier que les premiers volumes de Jojo remontent aux années 80, j’avais probablement eu l’idée avant de voir ce film.
A.L. : Il parait d’ailleurs que vous êtes un grand fan de culture occidentale, classique ou moderne ?
A.H. : Oui, je m’intéresse beaucoup à l’art en général, qu’il s’agisse d’impressionnisme, d’art contemporain ou d’illustration. J’étudie tout cela également, et ça m’influence dans mon travail.
A.L. : Cela peut-il expliquer, à votre avis, le succÚs remporté par Jojo en occident ?
A.H. : Eh bien, pour devenir auteur de manga au Japon, il faut étudier énormément, apprendre beaucoup de choses trÚs différentes : en quelque sorte, il faut tout connaître, de JANGAYA à SPIELBERG.
A.L. : Tous les héros de Jojo ont certaines caractéristiques communes : morale impeccable, témérité, don de soi, plastique parfaite, force incommensurable. N’avez-vous jamais été tenté de donner vie à un anti-héros ?
A.H. : Non. Pour moi, un héros doit être propre, juste, du moins c’est l’idée que je m’en fais. Il peut avoir l’air méchant, dangereux, il peut traverser des moments difficiles, mais son coeur reste pur, et jamais il ne ferait quelque chose de malhonnête. Jamais il ne s’attaquerait à une femme ou à un enfant, voila son principal trait.
A.L. : Jojo est également un des seuls manga à mettre en scÚne la mort de ses héros de façon trÚs gore. (voir la mort de Zeppelli, coupé en deux).
A.H. : Pour protéger quelqu’un, un vrai héros peut avoir à se sacrifier, même si sa mort ne fait aucun doute : c’est là aussi un héritage de la philosophie japonaise. Un héros ne cherche pas l’argent, il devient ce qu’il est pour sauver autrui, il est honnête, charitable. Plus sa mort est horrible, plus son sacrifice prend de la valeur.
A.L. : Parlant de valeurs morales, on a d’ailleurs l’impression d’assister à des affrontements “moraux”, plus qu’à de réels combats dans JoJo.
A.H. : C’est une symbolique, cela a trait à la façon dont le héros arrive à vaincre le mal. Il y a trÚs basique ment trois archétypes de personnage dans Jojo : les gentils, les méchants, et les personnages indéterminés (du moins momentanément, un personnage apparemment agressif pouvant se révéler être un gentil par la suite). Même les personnages “mauvais” ont une raison de mal agir, il y a toujours une raison qui justifie leurs exactions. Et il faut présenter au lecteur les circonstances qui ont poussé ces individus à se tourner du mauvais coté.
A.L. : Jojo reflÚte également votre passion pour la magie, l’illusionnisme

A.H. : Oui, je ne rate jamais un show de magie, au Japon ! Lance BARTON, David COPPERFIELD : vous savez, par exemple, ce tour ou il fait disparaître une moto Ça m’intéresse beaucoup, je me donne du mal pour essayer de comprendre comment ils font tout ça ! Cela me donne également de l’inspiration.
A.L. : Comme pour la création du personnage de Zeppelli notamment ?
A.H. : Oui (rires) !
A.L. : Et vous, pratiquez-vous la magie ?
A.H. : Je connais quelques tours, je sais faire disparaître les piÚces de monnaie (rires)
A.L. : Jojo’s bizarre adventure a souvent été comparé à Hokuto no Ken : qu’en pensez-vous ?
A.H. : HARA Tetsuo est un de mes amis, nous dînons souvent ensemble. Il a complÚtement révolutionné la représentation du corps humain dans le manga, il m’a donc influencé également à ce niveau.
A.L. : Parlez-vous de vos travaux respectifs quand vous vous voyez ?
A.H. : En fait, étant tous deux des professionnels du manga, nous évitons de parler boulot.
A.L. : Et peut-on dire que Jojo’s est émaillé de clins d’oeil, à HNK ?
A.H. : Dans les premiers épisodes, oui, au niveau des corps masculins et des effets gore
 Mais plus maintenant. A.L. : Toujours en ce qui concerne votre travail sur la plastique de vos héros, quelles sont vos influences, hors manga ?
A.H. : Je consulte en permanence des livres d’anatomie, des écorchés, pour la structure des os et des muscles. J’ai été trÚs impressionné par le musée Palazzo Vecchio à Florence, en Italie. J’y ai acheté des ouvrages sur le sujet.
A.L. : La sculpture également ? Il y a des oeuvres dans ce musée démontrant des poses trÚs caractéristiques de votre travail

A.H. : Oui, tout à fait, et j’aime également beaucoup le musée RODIN, ici à Paris. J’ai assisté à des séances de pose, cela m’a beaucoup touché.
A.L. : Pour finir, il semble qu’il y ait plusieurs niveaux de lecture dans Jojo, et chacun peut selon son âge, apprécier ce manga à sa façon. A qui destinez-vous Jojo en priorité ?
A.H. : Actuellement au Japon, on me demande d’écrire des choses pour un public plus jeune (moins de 15 ans), dans un esprit trÚs mignon, trÚs Kawaii
 Mais tout cela est trÚs loin de moi, en fait. Pour écrire quelque chose de correct, il faut avant tout être capable de le comprendre et de l’apprécier.
A.L. : Chose étonnante, Jojo’s Bizarre’s adventure semble beaucoup plaire aux lectrices françaises, alors qu’il semblait destiné avant tout à un public masculin.
Qu’est-ce qui peut justifier cela, à votre avis ?
A.H. : Eh bien, peut-être le fait que mes héros sont tous trÚs beau garçon ! (Rires)

Remerciements pour la traduction à M. OGII Michael-Akira, organisateur de l’exposition. [25]


Missing translation
Published July 2003
👀 Hirohiko Araki






19䞖玀のむギリスに端を発する、誇り高き玳士ゞョナサン・ゞョヌスタヌず、叀代遺跡から発掘された石仮面の力で吞血鬌ずなったディオ・ブランドヌずの善ず悪の闘いが、その埌も延々、シリヌズを重ねるごずに䞖代ず囜を超えお続いおいく  䞀床読んだらやめられない、超ド玚の冒険倧河ドラマ、である。








『ゞョゞョ』の䞖界は、ただただ続く! [26]


SJR DU 27 2004.jpeg


Part 1

Before we talk about Kira, let's talk about the town of Morioh.

It is modeled after a new residential development built close to where I grew up. Back then, I was looking at these new buildings and felt a sort of anxiety as opposed to admiration. “Was everything really going well [in there]?”

Looking from the outside, you see all these warm lights in the houses, but you have no idea what people are doing inside. These houses that looked the same were being built and they all looked pristine and happy. Doesn’t that sort of make you feel like a Kira might be [lurking] there? (laughter)

With ‘Diamond is Unbreakable’ my theme was to build out a town. I wanted to draw the humor and spookiness that might be lurking the peripheries of everyday life. Even myself now, there might be bizarre things going on if I just change my point of view.

I was also very influenced by the novels of Stephen King. I was reading them a lot in the 80’s and 90’s, but I especially liked ‘Misery’. The stage is fixed and you just keep delving deeper and deeper within it. Back then I read a lot of King novels.

Also with Part 4, I got to bring in a lot of my own tastes into the work so that was fun. Games, shops, Italian restaurants! With Tonio's store, I paid a lot of attention to what I was drawing down to the ornaments. It was great bringing that into the fold too
 Research was also really easy—I just had to go home to Sendai (laughter) I would just go back, take a few pictures at a souvenir shop and draw them in—all within the realm of not being scolded [for frivolous travel] of course!

Also, Josuke's hairstyle, even my editor pushed back being like ‘Please draw a main character suited for the era’. But I thought it was good because he wasn’t. The way he cares about his hairstyle, it’s very ‘70’s~80’s delinquent’-like isn’t it? But when you go to the countryside, you occasionally see people like that (laughter) When I was a student, I would stay away from people like that because they scared me, but now there’s almost something endearing about them.

So it seems that when we remixed the comics, there were 7 volumes just dedicated to episodes related to Kira. I myself was like ‘Wow, did I really draw that much of him?’

One of the themes of ‘Diamond is Unbreakable’ is that Horror may be lying right behind our everyday lives. The reason for that is because I liked reading books on serial killers back in the 80’s—this is right before ‘Silence of the Lambs’ would be published and that became a trend—and I wanted to understand what the motivation of serial killers were. Why would you be born a human and do things like this? Those types of questions really interested me and the actions of these people I found really spooky.

So when I started drawing out ‘everyday life’, I had an initial assumption that a serial killer would be the enemy. A sort of different enemy from ‘Stardust Crusaders’, one that lies in wait. The ‘Stardust Crusader’ enemies came rushing in, but [I was thinking of] an enemy that would sort of lure you in
 Eventually I was thinking of drawing something like that, but I wasn’t imagining Yoshikage Kira as a specific character from the start.

The first enemies were student-level enemies like Okuyasu and Keicho, also the guitarist Akira Otoishi—at first I was thinking of student level, delinquent level enemies. The reason for that being that I didn’t want to make a sort of ‘Greatest enemy’. When you create a ‘Greatest enemy’ to be overcome, to be the goal, the readers can’t focus on anything besides that. I didn’t want that to become a weakness in the work. For every story I wrote, I wanted the attention to be on what’s happening right now.

But it seems ‘Jojo’ readers really wanted a ‘Greatest enemy’ of some sort, I guess DIO gave off too strong an impact
. so when it seemed like the end was in sight, I thought up of Kira.

The name Kira is of course from ‘Killer’—so a murderer. Its very simple (laughter) The name ‘Yoshikage’
 I wanted the first kanji of both names to be the same. Same with Jojo right? So it might be easy to remember if I aligned it around the letter ‘吉’. That's all. But it sounded right.

I drew from Kira's point of view in his first appearance. I wanted to draw something from the point of view of the antagonist. Up until this point, I only wrote the villains from the point of view of the protagonists—the villains as seen by the protagonists. But antagonist has a point of view as well, and I wanted to draw what their mental state might be. Why does Kira commit murders? And I wanted to draw that in a fashion where he stays an antagonist and doesn’t become a protagonist.

So I didn’t want to make him a very sympathetic character. When you read about the young lives of these serial killers, you often see that they lived unhappy childhoods. But if you start drawing that out, they become useless as antagonists. So I took care to cut out those parts as best I could when building his character. That took a bit of work.

For DIO, he had a thing about becoming a pinnacle over humanity right? But Kira is pursuing true human happiness. That’s why he hates trouble. He just wants to live in a world of his own interests, and that’s what makes him dangerous (laughter) But he might have an philosophy of his own
 The enemies up until that point like DIO and Kars were all aiming for the top—it might have been symbolic of the Japanese economy up until that point, like the bubble economy (laughter). Back in those days, DIO's might have been the more natural mindset and you might unconsciously sympathize more with that.

When I was drawing Kira, what people were looking for was tranquility. The idea that happiness is not about standing on top of others. Kira’s awards since he was a middle schooler were all for the #3 spot. Not #1 or #2, but #3. Not conspicuous, but still respectful. He himself has the talent to become #1. But standing out, making enemies, being chased, feeling pressure, feeling expectations he can’t handle that at all. There might be a lot of adults who think like that, but it’ll be creepy if someone was thinking that when they’re a kid right? It’s much cuter for kids to be like ‘I’m going to become #1!’ That sort of abnormality was what I wanted to draw, that sort of odd genius.

Killing Reimi Sugimoto when he was 18, that was Kira’s first murder. It’s around the same time Jotaro and his companions fought DIO. Maybe that was a sort of year when the stars aligned. A year of destiny. Josuke was saved by the man with the pompadour that year too, so a lot of things went on.

His first murder, it was probably by impulse. By chance, he saw Reimi and snuck into her house
 and that changed his fate. If not for that incident, he might not have lived a happy life without killing, but the stars steered him wrong. And from there, you can’t shake fate. His first murder went a long time without being uncovered. You read about serial killers and how they have dozens of bodies buried under the floor. You wonder how that happens without being uncovered, but that’s really scary right? Maybe its driven by the apathy of the neighbors
 With that first murder, Kira became destined to kill 48 people.

Part 2

Kira’s background of bottling up his nails
 that was inspired from a real life story of someone who preserved his nails to monitor his own condition and stress levels. That person is not a serial killer (laughter) That nail story was interesting, and I remembered it. It seemed like something Kira might do
 ‘When my nails have grown x millimeters, I’m doing great!’ ‘This is when I can never be caught!’ I feel like I do something similar
 I measure my blood pressure and read from it my condition. Sometimes I feel invincible when the readings are good. There might be athletes who do that too
 not with nails of course. Kira just does a sorta-creepy version of that (laughter)

Now for Kira’s family, do you remember that scene where you see a picture of Kira’s family, I put a lot of thought into drawing that. It’s not a fun-looking family, but it also looks sort of peaceful
 and that’s creepy. The father and mother appears close to each other, but also distant. They probably haven’t ever really had a major fight either. When you read about a serial killer’s life, you feel chills when you come across a picture of them as a child. I wanted to imbue that picture with a bit of that feeling.

Now Kira’s father, he was a strange person. Not quite a criminal, but considered odd. He probably knew his son was a murderer and went ahead hiding his crimes. Of course, Kira’s father went to Egypt and obtained the bow and arrow from Enya to protect his son. Right around then, DIO was looking for allies around the world and Kira’s father was one of those accepted as having potential by him. The same for Okuyasu's father. People who had been scouted by DIO were all around the world, and even among them, Kira’s father and Okuyasu's father may have had extra attention paid to them as they were in Japan along with Jotaro. For the mother, I haven’t drawn anything about her at all, but I think she may have done a sort of ‘abusive coddling’ towards Kira. That’ll be scary right?

Even now, I wonder if I should have drawn out Kira's relationship with his parents in more depth. But I had to cut it out with much reluctance
 or maybe I should say that I didn’t have the courage to draw that out. Like I said before, I didn’t want to detail Kira’s past too much. I didn’t want the readers to look at Kira and his father and think ‘these are actually very sad characters’. I drew out Kira’s mental state when killing, but if I started delving into the fundamental reason why he kills, Kira becomes a sort of sympathetic character
 if you start emphasizing with Kira that’s not really appropriate for a Shonen manga. I didn’t want readers to feel sympathy. That may be the hardest thing about drawing out Kira. Although I think I might have been able to add another two or three volume if I started delving into Kira’s mental state, his motivations and his relationship with his parents.

I’m really interested in familial relations
 the Joestar bloodline is about families too after all. When I draw a character, I start wondering about their parents or siblings. It might be because I was influenced by my parents and sisters a lot. When follow that trail, when you draw out an antagonist I start wondering what influences he got from his family. But if you start delving into that person’s background, you start straying from the theme. There’s so much you could draw out. Even DIO had a lot of influence from his father. But because this is a weekly serial manga, its always difficult to decide how to cut that out. I mean, you only have 19 pages to draw on a week. That’s no space at all. You basically just have to take one idea and run with it. But even then it won’t fit, so I have to think hard about how I might condense two pages down to one

Kira was cornered once and had to flee. Some people thought that might be the end of Part 4, but I was always planning on reviving him. His flight is equivalent to DIO's resurrection. You think he’s lost, but then he surges back
 around there was I really felt a sort of vitality from him. A different sort of vitality from DIO. DIO's is merely a biological vitality, but Kira was able to tap into the world of a sort of spiritual or mental strength. At that point, Kira trumped Josuke and his friends in spiritual strength. It’s because he had that resurrection that Kira became such a great antagonist. If he had given up then, he would have been a no-go.

I didn’t think at all about using Cinderella to change his appearance. When he was cornered and I was thinking hard about how Kira might escape, lighting struck me and I realized ‘hey I could just use Cinderella which I wrote about last episode!’ I’m basically thinking at a week-by-week interval and never about what happens after that. I don’t know about Jump manga these days, but it’s all about how I make this week interesting for me.

I also like that part after this where Kira becomes a ‘father’ as Kosaku Kawajiri. There’s a P.K. Dick novel about an alien masquerading as a father in a family; I wanted to draw something like that. Only the son knows that he’s an alien
 those types of stories are fun. Those episodes are written from the point of view of the son Hayato Kawajiri, and I think it was good as it changed up the pace. After that you had a few Kira point of view stories and you saw that wife falling in love with Kira. I guess it’s plausible that you might grow to love someone if they’ve actually changed, but falling in love with a serial killer, that’s sort of abnormal too and good.

At the end, the son discovers his secret and Kira discovers a new ability. That’s an extension of his resurrection. It’s impossible to stick around in Jojo with the same ability, you have to power up. The youngling who develops into something greater is a common archetype in Shonen. It’s one of the things I feel are a ‘must have’ in a story. Josuke and Jotaro are sort of ‘completed’ characters so it’s difficult to draw a development scene for them, but Koichi-kun and Hayato Kawajiri fit that type. To see Kira also grow in parallel to them is an atypical way of fulfilling a Shonen stereotype.

On ‘Bites the dust’ ability. When you start thinking around the theme of time or rather time travel there’s a lot of variations you can delve into like stopping time, rewinding time
 So its sort of like me passing on ideas I wasn’t able to use for DIO. I like the idea of time manipulation. I did something like that with ‘Golden Wind’ and ‘Stone Ocean’.

Writing the ‘Bites the Dust’ episodes were fun. It felt like I was assembling a puzzle or building a game. But because the same time was incremented so many times, I became concerned with whether the readers would follow along. I said this before too, but given that I only have 19 pages a week, I started wondering if this was appropriate for a Weekly manga. A weekly serial has build up story tension within those 19 minutes then pass it along to the next week. It’s a lot of work, but I see those as the rules I have to work within.

In the end, Kira dies after having been run over by an ambulance, and his face was obliterated and nobody could tell who he is.

With ‘Diamond is Unbreakable’ 
 with the town of Morioh, I wanted to trap it into a world of ‘eternity’. Like would the wife have been happy if she knew that her husband was no longer the same person? If she realized it, it would be a bit boring right? So I was fine with that state continuing forever and no answer being resolved. Within myself, Morioh will forever be in that state. What happened to Josuke after the series? I don’t think about that at all. Morioh is ‘eternal’.

I drew Kira also in a spinoff called ‘Deadman’s Q’. Being trapped in an ‘eternal’ world with his soul being unable to go to heaven or hell, I thought that might be a form of suffering or punishment too. The same thing with Diavolo in ‘Golden Wind’, but it might be a punishment to be trapped within eternity. In the commentary for the short story collection [‘Under Execution, Under Jailbreak’] I wrote that I was tearing up as I drew the story (laughter) I was very invested in Kira. I almost understood his feelings, if only he hadn’t committed murder
 I didn’t draw it at the time, but thinking back on it I feel that he might have been person with the burden of sadness too.

Out of all the villains I’ve drawn so far, Kira is my favorite. I like DIO too
 but more than DIO. Because he was seeking a quiet life and wasn’t a character you would see often in a shonen manga, I was very invested.

[Translated by ???][27]



























 リミックスにするず、吉良の゚ピ゜ヌドだけで冊ぐらいあるそうで「そんなに描いた ぞえ〜」っおいう感じですね。












だけどやはり『ゞョゞョ』の読者っおいうのは、そういう最倧の敵みたいのが欲しいみたいでね、が匷烈すぎたのかなぁ・・・ずいうこずで、終盀も近くなっお来たのかな ず思った時に吉良を考えお出したした。




















































































そう考えおいくず、悪圹を出しただけで、その悪圹は家族の誰かからの圱響を受けおるのかな ずかっお思っちゃうんですよね。












回負けるかな ず思わせながら埩掻しお来る・・・あの蟺はね、描いおいおホント、奎の生呜力っおいうかそういうのを感じたしたね。











・・ディックの小説だったかな 宇宙人がお父さんになっおいたずいう話があるんですけど、ああいうのを描きたかったんですよ。






































Missing translation
Published January 13, 2004
👀 Hirohiko Araki



僕は少幎時代を仙台垂小束島で過ごしたした。仲間ずは埋蔵金䌝説、UFO、心霊珟象などを毎日よく話したしたよ。飜きるこずなく  。スプヌン曲げも流行っおいた時代でした。「ゞョゞョの奇劙な冒険」には様々な超胜力が玹介されたすが、少幎時代の圱響は倧きいでしょうね。







Missing translation
Published February 10, 2004
👀 Hirohiko Araki




  挫画家 荒朚飛呂圊さん



 䟋えば埋蔵金䌝説。 䞖捚お人のおじいさんが埋蔵金を隠したずいう䌝説があっお、台原呚蟺の防空ごうを探怜しお回りたした。朚の枝で仲間だけが分かる印を぀けたりしお、本圓に楜しかった。






Akamaru Jump Aomaru April 1 2004.jpg
Incomplete translation
Published February 26, 2004
👀 Hirohiko Araki


- Is the story of "SBR" something you had thought up a while ago?

Araki: That's right. I already have a general outline of each story theme planned up to part 9.

- Huh? Are we allowed to leave this in?

Araki: Even though I say Part 9, it doesn't mean it'll be a continuation of SBR. This isn't a saga like Star Wars. The theme and narrative structure will be completely different.

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


Note: Missing full transcript.










Published July 27, 2004


It's finally open to the public... And now a courteous interview with the director

"Spider-Man 2" is already breaking records one after another in the United States, surpassing its mega-hit predecessor. It's finally released in Japan, and it's definitely a must-see movie this summer!! Thus, we present a memorable conversation between the director and a popular writer who has been a big fan of his early works!!

A new work that fully demonstrates the horror expert's charm!!

Araki: Having finished "Spider-Man 2", I can honestly say it was just as good as the first one.

Sam: Thank you. I was also shown your work, Araki, and it was quite wonderful. I was really impressed.

Araki: Oh, please (laughs). On the other hand, I do think Spiderman 2's direction was more relaxed than the previous one.

Sam: That's for sure. I felt like I was making an independent work like in the old days. It's a strange thing to say considering the budget (200 million dollar production, a record high!), but I had a lot of freedom.

Araki: I've always been a big fan of your taste in direction. For example, small scenes such as when the nails screeched from being dragged left an impression.

Sam: You're very perceptive (laughs). When I saw your work, I had a feeling you'd be the type to notice those kinds of moments. I'm proud to say now that the skills I've cultivated as a horror writer can still be put to good use here and there. I wanted the audience to be frightened with how scary the villain was, so that was a method I used to show suspense and make your heart race. Maybe that's what reminds me of my old works.

Araki: I know what you mean. Another characteristic of your works is how they depict the process of 'breaking down'. There's physical destruction too, but I think the process of shattering the character's spirit is especially evident. The same thing happened in "The Evil Dead" and "Darkman". In "Spider-Man", the main character, Peter, fell into a slump.

This summer's most talked-about film features a charismatic big shot with a unique power.

Sam: That's a very interesting way of looking at it. I've never thought about that before, but I guess I'm definitely drawn to main characters that have mental weaknesses and flaws.

Araki: Mental stress made Peter lose his web,[31] so to speak. The zombies in "The Evil Dead" were also afraid of their minds being broken from being possessed by evil spirits. In "Darkman", his mind was rapidly changing. I think that's the appeal of the films you direct.

Sam: Actually, I'm very interested in the fact that people make mistakes. Although it's a really tragic thing, it's wonderful when people are able to get back up and feel a sense of accomplishment from succeeding in something after. I think that's basically the story of "Spider-Man".

Araki: That's especially the case this time around. That's why I'm looking forward to seeing Peter's best friend, Harry (in the previous film, his father was killed by Spider-Man after turning into the Green Goblin). Most of your films have characters wearing masks, but I'm curious about why you keep removing them? It almost seems like you want to get rid of the masks (laughs).

Sam: You're right. I did the same thing in this movie as well (laughs). My intention is to show the audience the character's face and make them look into their eyes, so they can feel the pain and emotions that the character is feeling at that moment. That's why I have them torn off.

Araki: I felt that in "Darkman" as well. Though I think one of the most appealing things about "Spider-Man" is the misunderstandings from the people around him since his true identity hasn't been exposed. I'm worried that if you direct the next 3 films, you'll have a hard time (laughs).

Sam: I'm currently planning the next one in my hotel room. I'm having a very hard time. If you have any good ideas, please contact me in my room this evening (laughs).

Araki: I've got plenty of ideas (laughs).

Spider-Man is a sad romantic drama for boys?!

Sam: Even so, you seem like you'd be great as a CGI artist, Araki.

Araki: I'm more interested in drawing... (wry smile). I feel like the reason I became a manga artist was because of Gauguin and Jasper Johns. What made you interested in directing?

Sam: Honestly, I wasn't influenced by anyone's 'masterpiece' or anything. My father had a 16mm camera, and when I first saw my first 'home video', I was amazed. You could capture and recreate reality, as well as alter the order of events and mess with time. I wondered if it was possible to have such a thing in the world.

Araki: Your attraction to movies itself came from the magic of videos?

Sam: Exactly. Therefore, I think the challenge with my first film was how I could use that as a medium. What can I give to the audience with cutting, camera work, lighting, and sound effects?

Araki: Your direction has had a great influence on my works. For example, if something is reflected in a character's eye, the 'camera lens' will zoom in on it.

Sam: When details like that are depicted properly, it helps bring life to the work. You get the sense that it's actually depicting a real human memory. Your framing in particular is fantastic, Araki.

Araki: Thank you (laughs). Do you sense any difference between Japanese manga and American comics?

Sam: American comics tend to have too much detail, giving them a very chaotic look. I find Japanese manga to be a bit more clear-cut in what it's trying to express; it's very simple and elegant by nature. Story-wise, comics cater to a rather limited audience. I think it’s wonderful that manga considers a much broader demographic and involves many people.

Araki: CGI's becoming more of a thing in movies, though. It's going to be very difficult to adapt manga unless the medium starts using more wide-angle shots.

Sam: Your works are very dynamic, Araki. I think they have an extraordinary amount of originality. The fact movies influence them, that's a good thing. Though these days, I'm becoming more interested in the people and the stories themselves. I'm also beginning to understand how the technical side of things can be used as tools of expression.

Araki: Is that so? As someone who writes stories myself, I'm quite a fan of "tragic love", which was a big aspect of what I liked about "Spider-Man." It would have been great if, at the end of "Spider-Man 2," you did something like "The Graduate," where Mary Jane is a bride who gets snatched away (laughs).

Sam: That's a pretty good idea; you might see it in "Spider-Man 3" (laughs).

Araki: I did like how the movie ended on a somewhat solemn facial expression, as if the future seemed uncertain.

Sam: I made MJ have a sad expression by putting myself in her shoes. Romance is something that I personally love very much, and it seems that my interest in it melded into this film. Now that I think about, the original comics are also essentially a 'romance' story for men. American boys are too shy to read plain love stories. Is that the case in Japan?

Araki: I’ve liked those type of books since I was a kid. Rather than seeing a happy ending, Japanese people like it when they’re torn apart by fate, so it’s nice that even "Spider-Man" has the feeling of wanting to cry. Love is a painful thing (laughs).

Sam: Do you convey that to your readers through your work?

Araki: Let's just say I've had many painful experiences in real life, too (laughs).

Sam: So you're an expert on love (laughs). I don't have that much experience myself.

Araki: Oh, really (wry smile). Anyways, I'm glad I was able to talk to you today. I'm looking forward to "Spider-Man 3". You'll be directing it, right?

Sam: That's the plan. The other day I overheard the higher-ups of the movie company talking about making up to six, and I was so shocked that my heart stopped (laughs).

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


いよいよ公開 で、マ䜜家が衚敬察談

すでに党米では歎代蚘録を次々砎り、メガヒットずなった前䜜を超える勢いで快進撃䞭の「スパむダヌマン2」。日本でも぀いに公開、この倏むチの必芋映画なのは間違いない おわけで、監督ず初期䜜品からの倧ファンである人気䜜家ずのメモリアルな察談をプレれンツだぁ


荒朚: 今回の『スパむダヌマン2』を拝芋しお、ほんず、前䜜に勝るずも劣らない面さだず思いたした。

サム: ありがずう。私も荒朚さんの䜜品を芋せおもらいしたが、倧倉玠晎らしいですね。非垞に感激したした。

荒朚: いや笑。でも、この2を芋お、前回よりすごリラックスしお挔出されおるょうに感じたんですけど。

サム: それは間違いないです。昔のようにむンディペンデントな䜜品を䜜っおる感芚ずいうか。この予算史䞊最高の補䜜算220億でそれも倉な話ですが笑、自由床高かったですから。

荒朚: 现かいシヌン、䟋えば、が匕きずられお爪がギギギヌッっおいう感じずか、昔ら倧ファンの僕からするず監督のテむストがいっぱい。

サム: 鋭いですね笑 。あなたの䜜品を芋お、そういうヌ的瞬間を感知する方だろうず思いたしたが。私も今回、随所で今たでに培ったホラヌ䜜家ずしおの技術が倧い掻きおるず自負しおるんです。悪圹がどれほど怖いか、客を怯えさせたかったし、ドキドキハラハラさせる手法を芋せたくお。それが昔の䜜を思い出させるのかも。

荒朚: すごくわかる気がしたす。あず、特城的なのが壊れおいく過皋を描くずいうか。物質的な砎壊もあるけど、登堎人物の粟神が壊れおいく過皋に特に出おるず思うんですね。『死霊のはらわた』ずか『ダヌクマン』もそうだったし。『スパむダヌマン』では䞻人公のピヌタヌがスランプに陷っおいっお。


サム: それは非垞に面癜い芋方ですね。今たで考えたこずがないな。でも、確かにそういう䞻人公の粟神的な匱さ、欠点を持っおいるずころに惹かれたのはありたす。 荒朚: 粟神的なストレスで糞が出なくなったり。『死霊のはらわた』のゟンビも、悪霊に取り憑かれお心が壊れおいくのが怖いですよね。『ダヌクマン』も心がどんどん倉化しおいくし。そこに監督の魅力があるず思うんです。

サム: 実は、人間が倱敗を犯すずいうこずに私は倧倉興味を持っおいるんです。すごく悲劇的なこずなんだけれど、そこからなにかを成し遂げる達成感、立ち䞊がるこずのできた人間こそ玠晎らしいず感じたすし。それこそ『スパむダヌマン』の物語ではないかず思いたすね。

荒朚: 今回は特にそういうずころがあっお。だから、ピヌタヌの芪友ハリヌ前䜜で、グリヌン・ゎプリンず化した父をスパむダヌマンに殺されるも楜しみですよね。でも気になるのが、監督の映画っおマスクものが倚いけど、すぐそれを取っちゃわないですか 取りたがっおる気もするんですが笑。

サム: おっしゃるずおり。今回も取っおしたいたした笑。意図はあっお、芳客にキャラクタヌの顔を芋せる、目を芗き蟌たせるこずで、その時に感じおる痛みや感情を汲み取っおほしいんです。そのために剥ぎ取っおるんですよ。

荒朚: それは『ダヌクマン』でも感じたしたね。でも、『スパむダヌマン』は正䜓がバレずに呚りから誀解されおる点もすごい魅力だず思うんで。次の3を監督されるずしたら、苊劎されるんじゃないかず心配です笑。

サム: 今、たさにホテルの郚屋でも構想䞭ですが。非垞に苊劎しおたす。もしいいアむデアがあれば、今晩、郚屋たでご連絡願をたすか笑。

荒朚: アむデアならいっぱいあるけどなあ笑。

『スパむダヌマン2』2幎の月日が経ち、倧孊生ずなったピヌタヌ・パヌカヌだが、スパむダヌマンずしおの二重生掻に疲匊し、メリヌ・ゞェヌンずもすれ違いの日々 そこぞ新たな敵が党囜東宝掋画系にお公開䞭


サム: でも、荒朚さんにはCGIアヌティストずしおず仕事をお願いしたいですね。

荒朚: どちらかずいうず画に興味があるんで、それは 苊笑。僕はゎヌギャンずかゞャスパヌ・ゞョヌンズにれお挫画家になった感じがるんですよ。監督はどういうきっかけで興味を

サム: 実は、誰かの名䜜に圱響を受けおずいうんじゃなくお。父が16のカメラを持っおいお、初めおホヌムムヌヌを芋た時、すごい驚きだったんです。珟実を捉えお再珟し、しかも順番を倉えお時間をいじれるなんお。こんなものが䞖の䞭にあっおいいんだろうかっお。

荒朚: 映画そのものの魅力、映像のマゞックですか。

サム: たさに。ですから、初の䜜品はメディアずしおど䜿えるかずいう挑戊だった気がしたすね。カッティングやカメラワヌク、照明だったり音響効果でどういうものを芳客に䞎えられるか。

荒朚: 僕の䜜品にも監督の挔出の圱響がすごいありたすよ。目のUPになにか映っおガラスが突っ蟌んできたり。

サム: そういうディテヌルがちんず描かれるこずで䜜品に質感が生たれおきたすよね。リアルな人間の蚘憶に近くなるような気がしたす。でも、荒朚さんの絵のフレヌムは最高ですよ。

荒朚: ありがずう笑。日本の挫画ずアメリカのコミックで違いは感じたすか

サム: アメリカのコミックはディテヌルが倚すぎおゎチャゎチャしおたすね。日本の挫画はシンプルで゚レガント、衚珟したいこずが明確な印象がありたす。物語も、わりず限定された察象に向けられおいるのがアメリカですが、幅広い読者のこずを考え、倚くの人を巻き蟌んでいく挫画は玠晎らしいず思いたす。

荒朚: 映画のほうでCGが発達しお、より広角ワむドな画面を挫画でも再珟しなきゃず、けっこう苊劎しおたすけどね。

サム: 荒朚さんの䜜品は倧倉ダむナミック。オリゞナル性が非垞にあるず思いたすし、映画の圱響だずしおも、いいこずなのでは。私は最近、人間や物語自䜓にたすたす興味を持぀ようになっお、技術的なものはその衚珟ツヌルずいう認識が増しおたすけど。

荒朚: それはそうですね。僕は話も自分で䜜っおたすし。けっこう悲恋が奜きなんで、『スパむダヌマン』はそういう郚分もいいですよね。今回の最埌は『卒業』みたいに花嫁のメリヌ・ゞェヌンを奪うくらいの挔出なら最高だったけど笑。

サム: それはいいアむデアなので3で芋られるかも笑。

荒朚: ゚ンディングが䞍安な未来を思わせる衚情で終わるのはよかったです。

サム: MJの悲しげな衚情は自分でもそうだなず思いながら䜜っおたした。ロマンス郚分は個人的にも非垞に倧奜きで、それに察する興味がこの䜜品ず結び぀けたようなものなんです。実は、原䜜のコミックは男のコ向けの恋愛小説でもあるんですよ。アメリカの少幎は明らかな恋愛ものを読むのを恥ずかしがるんで。日本ではどうですか

荒朚: 僕は子䟛の頃からそういう本が奜きでした。日本人っお、ハッピヌ゚ンドより運呜に匕き裂かれるのが奜きなんで『スパむダヌマン』でも泣きたい感じがあっおいいですよね。恋愛っお切ないものなんですよ笑。

サム: 䜜品を通しお読者ぞそれを䌝えおるんですか

荒朚: 実䜓隓も切ないこずのほうが倚いですから笑。

サム: 愛の゚キスパヌトなんですね笑。私はそこたで経隓がないんですよ。

荒朚: いや苊笑。でも、今日はお話しできおよかったです。3も楜しみですけど、監督されるんですよね

サム: その぀もりです。この前、映画䌚瀟の䞊局郚が6たで䜜るず話しおいるのを耳にしお、心臓が停止するくらいショックでしたけどね笑。 [32][33]


Missing translation
TV Program
Published February 3, 2005
👀 Hirohiko Araki




































右小さめの人「THE DOORSが凄い奜きでしたね。」



䞭やや倧きめの人「僕はTHE ROLLINGSTONESが凄い奜きです。」































































テロップ「最埌に荒朚先生にもSOUL'd OUTを撮っおもらうこずに」








やや緊匵気味のSOUL'd OUTのメンバヌでした。



BunkoVA vol1.png
Manga Volume
Published March 18, 2005
👀 Hirohiko Araki


Recently, I've managed to calm myself down quite a bit... Well, let's just say that instead of arguing, which is something that tires me out, I prefer obeying what I'm being told. During the time I was writing Vento Aureo, I really tormented myself in regards to the matter of "self-censorship" in Shonen Manga. By "self-censorship," I'm talking about the requests from the editorial board to an author to stop drawing or, at the very least, soften certain elements of the story which haven't been deemed presentable (for example: discriminatory phrases, expressions which might appear racist, the way skin color is drawn, violent scenes or abuse on both the weak and animals, callbacks to real-life crimes, the representation of nude bodies, smoking or drinking habits, etc..) I wanna make it clear right away that what I am about to write here isn't a critique towards my editors, but simply the real sensations that I, Hirohiko Araki, felt while writing Vento Aureo.

Having reached the fifth part of the series, I desired to write a story which would deal with topics such as the deep sadness in us human beings, or the pain of being born into this world, and I wanted to do it in a stronger manner than the previous parts. Depending on the circumstances in which they are born, there are people who are lucky from the very start, but how would these individuals act if they had been born in a different place instead, one with much harsher conditions? In Vento Aureo, all the protagonists have, in one way or another, been estranged from society and forced to live on its boundaries. We are talking about an environment in which the strong eat the weak and one where evil pervades everything. In such a situation, is it still possible for these characters to find justice?

When representing the clash between good and evil, it is necessary to describe evil in a realistic way, and it's here that the power of "self-censorship" in Shonen Manga really strikes the heaviest of blows in the story that you're trying to write. Smoking, being relentless towards the weak, sexually molesting an individual, stabbing someone with a knife, cutting off heads, abusing men and women, gouging eyes out, eating brain matter: all these are examples of pure evil. To express the evil shadows of human beings a minimum of cruelty and brutality is essential.

Despite having happened sporadically in previous years, as soon as I started Vento Aureo (around 1996), the editorial board suddenly started sending me more and more requests along the lines of "fix this page", "change that line", "modify this drawing" and so on. I would like to show you precisely which dialogues and pages I'm talking about, but it would be a long list so it's better to leave that out for now. Additionally, these requests were rarely motivated (even if they were, they were never in a convincing manner), the indications given to me were typically like, "...well, it's just that there is kind of regulation, plus the deadline is close and things just go like this with the board. C'mon hurry up and fix it! You'll think about the rest right?!”

I'll say it again, this is absolutely not a critique in regards to my editors, nor am I insinuating that they developed an unprofessional attitude towards me. (Truth is that I've always been very grateful to my editors!) All I'm trying to say is that during the period I was writing Vento Aureo that sensation was there with me. It's nothing else but a simple personal impression.

With all that said, it's easy to imagine just what type of crisis I was in and how difficult it was for me to successfully express, in a satisfying manner, the themes that I was trying to develop. Moreover, I kept asking myself if by any chance a "wall" had been indefinitely built to limit the liberty of expression, if the possibilities for artistic development in manga had run out, or if the ideology of authority and non-stop profit weren't completely stripping away the sprouts of art itself. Even now, despite being in a much more relaxing condition, I can't give myself a definitive answer, but what I felt in that era naturally transpired into the actions and attitudes of my characters.

Giorno and Bucciarati, two of the protagonists, betray the organization which they are part of for the sake of 'justice'. The organization is a symbol of power and moral obligation, almost a second home for them, but they both decide to fight to follow the desire of living according to justice. Even I, as the author, while drawing these scenes felt courage swelling up inside of me. Thinking back on the sentiments of my protagonists never fails to bring tears to my eyes. If these two boys had decided to remain in the shadow of authority, maybe they would have gone on to live safe and comfy lives. Instead, despite knowing the risks, they chose the path of justice, because only in its presence would they have been certain their existence actually mattered. Vento Aureo, between great Italian fashion and all the more creative Stand battles, is a story full of suspense, but I also think, according to my judgment as an author, that it can be considered a really dark work. Having said that and considering how at times we can take on such heavy subjects, I am very proud of it. Just like with all the other parts, I hope with all my heart that you have fun reading it. Regarding the parts that I had to cut, I will talk about this in the afterthoughts of the last volume.

[Translated by LegoAlex98]

Quarterly S 2005 Summer.png
Missing interview
Published June 15, 2005
👀 Hirohiko Araki

No transcript available.

Missing interview
Published August 6, 2005

No transcript available.

BunkoVA vol10.png
Manga Volume
Published August 10, 2005
👀 Hirohiko Araki


Jotaro Kujo, the protagonist of part three "Stardust Crusaders", sets off on his journey accepting the bond that connects him to his grandfather and his grandfather's great-grandfather (Jonathan's father). There are six generations between them. In that sense, you could say their enemy, Dio Brando, represents both destiny and fate.

I don't think there's anyone who can assert they know anything about an ancestor from six generations prior. From Jotaro's perspective, he doesn't really care if his ancestor was someone who did good things or, rather, someone who made the wrong choices. He simply accepts the blood bond that connects him and his ancenstors, considering it an honor even! While I was writing this fifth part, Vento Aureo, I kept asking myself: "How would someone behave if the mere fact they were born was a source of sadness?"

Men can't choose how they come into the world. Some of them find themselves in happy families, others grow up in terrible places from the get-go. Can those less fortunate do anything if we assume destiny and fate are something already decided by gods or some kind of law that makes stars move in our vast universe? This is Vento Aureo's main theme and both the protagonists and their adversaries need to face it. Giorno, Bucciarati, Fugo, Narancia, Abbacchio, Mista. Every single one of them grew up or rather was forced to grow up, at the edge of society and family. The same can be said about Trish really.

Could they ever challenge fate, destiny, and change them? This was my most recurring thought while working on this story.

I was really down during that period for certain personal matters. What to do? If it were easy for humans to change them just with effort and will, destiny and fate would lose their meanings. It would be too easy. How could the protagonists fight against this sense of unavoidability? The answer, surprisingly, was given to me by the protagonists themselves. They don't try to change their destiny and even in their situation, they choose not to give up their spirit's purity. They firmly believe that happiness and a sense of justice are the same things.

I mean, I'm the author, and yet, while I was writing I ended up learning from my characters and this is what truly gave me courage. In these terms, thinking back, I feel I had the illusion of being accepted among them as a friend, more than just growing fond of Vento Aureo's protagonists myself.

There was one part in this fifth series I absolutely had to delete though. An episode I couldn't write at all. In my head, the story went that between Mista, Narancia, Fugo and Abbacchio, there would be a spy working for the boss and betray Giorno and Bucciarati. At first, I had decided this traitor to be Fugo, but I couldn't do it.

My state of mind was so dark that the stories I wrote were becoming more and more evil, but in my heart, I was starting to hate this behavior as time passed. Also, my heart broke just thinking about how Bucciarati would feel.

I absolutely can't understand betrayal from a trusted friend and this is why just thinking about it physically hurt me. I would have accepted any criticism saying that I "hadn't had the guts to do it" as an author, but I assure you I couldn't write that episode no matter what.

Maybe Giorno would have had to kill Fugo then and I'm sure this would have given a really bad impression to my youngest readers.

This is what lays behind that farewell scene in Venezia, with the publication of Vento Aureo's novel then I was able to have a story written about how Fugo would continue to help his companions from inside the organization.

To conclude, allow me to say something to my characters: Thank you, you are the Golden Wind that blows during the most difficult and sad moments.

[Translated by macchalion]

See Interview Archive


  1. ↑ Kappa Magazine: An Interview with Hirohiko Araki in Italy
  2. ↑ https://dijehtranslations.wordpress.com/2022/02/18/araki-hirohiko-feat-saitou-tamaki-eureka-april-1997%ef%bf%bc%ef%bf%bc%ef%bf%bc/
  3. ↑ http://blog.livedoor.jp/jojolab/archives/44263539.html
  4. ↑ http://blog.livedoor.jp/jojolab/archives/49479245.html
  5. ↑ Raika☆Room: "Feelin JOJO" final episode Araki interview
  6. ↑ http://blog.livedoor.jp/jojolab/archives/49491132.html
  7. ↑ http://blog.livedoor.jp/jojolab/archives/49492914.html
  8. ↑ http://blog.livedoor.jp/jojolab/archives/49493059.html
  9. ↑ http://web.archive.org/web/20030422235133/http:/www2.capcom.co.jp/jojo/interview/index.html
  10. ↑ http://blog.livedoor.jp/jojolab/archives/49513164.html
  11. ↑ http://blog.livedoor.jp/jojolab/archives/49521067.html
  12. ↑ http://blog.livedoor.jp/jojolab/archives/49528383.html
  13. ↑ https://dijehtranslations.wordpress.com/2016/08/07/araki-hirohiko-x-kaneko-kazuma-interview-part-i/
  14. ↑ http://blog.livedoor.jp/jojolab/archives/49536228.html
  15. ↑ http://blog.livedoor.jp/jojolab/archives/49543417.html
  16. ↑ http://blog.livedoor.jp/jojolab/archives/49556595.html
  17. ↑ http://blog.livedoor.jp/jojolab/archives/49569633.html
  18. ↑ http://blog.livedoor.jp/jojolab/archives/49577839.html
  19. ↑ http://blog.livedoor.jp/jojolab/archives/49592211.html
  20. ↑ http://blog.livedoor.jp/jojolab/archives/49592232.html
  21. ↑ http://www.edit.ne.jp/~condor/arakitv1.html
  22. ↑ http://annex.s-manga.net/jojo/
  23. ↑ JOJO in Paris: An Interview with Hirohiko Araki in France
  24. ↑ http://blog.livedoor.jp/jojolab/archives/49592296.html
  25. ↑ http://www.animeland.com/dossier/araki-hirohiko-exposed/
  26. ↑ http://blog.livedoor.jp/jojolab/archives/56841103.html
  27. ↑ https://docs.google.com/document/d/1pgcnMshVrs7ZqvtACT3PWweRpmJOXSNyu7O9qf4M21g/edit
  28. ↑ https://web.archive.org/web/20060515035818/http://www.pa.thr.mlit.go.jp/kakyoin/magazine/vol.7/07a4/07a4_01.pdf
  29. ↑ http://atmarkjojo.org/archives/56.html
  30. ↑ http://atmarkjojo.org/archives/119.html
  31. ↑ A reference to Spider-Man 2 where Peter loses his powers due to psychosomatic issues.
  32. ↑ Excerpt
  33. ↑ Fully transcribed by Vish
  34. ↑ http://jecht.jugem.cc/?eid=300