Template:Interviews3
Nisio Isin: Author of Monogatari Series, Katanagatari, etc.
Hirohiko Araki: Author of Jojoâs Bizarre Adventures.
Interviewer: MYST
Points in common between Arakiâs and Nisioâs works
Interviewer: So apparently, Araki-sensei made his debut in the same year that Nisio-san was born.
Nisio: I was born in 1981.
Araki: I made my debut in the 1981 New Yearâs issue [of Weekly Shounen Jump].
Nisio: It feels like fateâŚif you can call it that, haha.
Araki: Thatâs amazing. At 24, youâve already written so much in 4 or 5 years.
Nisio: Iâm not sure how long I can keep writing, but for now Iâll keep writing as much as I can. Iâm on my 15th book now.
Interviewer: Araki-sensei, did everything go smoothly after you debuted?
Araki: Not at all, it feels like I only started polishing my skills after I debuted. They let me debut before I had any style or originality as a manga artist. I had to learn a lot then, and it wasnât until Jojoâs Bizarre Adventures that I really got started.
Nisio: I also loved your manga before Jojo, like Mahou Shounen Biitii, Gorgeous Irene, and Baoo Raihousha. Your manga all feel like my roots, thereâs so much Iâve learned from them.
Araki: Oh yes, your novels do seem to have some points in common. Iâve started reading from Kubikiri Cycle [first book of Zaregoto Series] and havenât read your latest books, but your characters all seem modern. It might also because a lot of them are geniuses, but they all think theyâre superior and donât respect others. It was interesting how the main character tries to confront those geniuses despite feeling inferior.
Their dialogue sounds like advertising slogans. I like that. Like those lines at the beginning of each chapter. The main character keeps banging out lines like that. That was very fresh and interesting.
Nisio: Thank you. My hands are trembling. Iâm so happy that youâve read my books.
I think Jojo is a wonderful manga, and I wish I could have all of humanity read it. Itâs so good that it makes me want to recommend it to other peopleâŚsomehow it feels like I have to go out of my way to say how much I like it.
Making characters seem powerful using powerful lines
Nisio: Earlier you said that I write lines like advertising slogans, but I think thatâs partly because of your influence. Itâs more than a verbal tic, itâs a single line that encapsulates a character. A line that only that character could sayâŚ
Araki: I try to include a characterâs personal philosophy in what they say. Their unique way of thinking.
Nisio: That might why youâre different. Even in another story, no one else could say those lines. Even if somebody else used your lines, they wouldnât become famous quotes. âRoad roller!â only leaves an impact because itâs Dio who says it.
Araki: You have some great ones, too. âThereâs always someone better, but at the top theyâre all below you.â and a lot of others. Those are really good. They make you think. I think everyone likes those. They make you stop and think âthatâs trueâ.
Interviewer: Theyâre cool and hook you in, and theyâre convincing.
Araki: Lines like that make characters seem more powerful. It makes you wonder what would happen if that character was the culprit. Itâs hard to stop reading.
Nisio: Jojo had a big influence on that. The enemy characters in Jojo all have depth.
Araki: Yes, I was going for that.
Nisio: There are no throwaway characters. Especially after Stands come into the story, there are Stands that seems weak but can be strong depending on how theyâre used. Like (Stand: Bad Company. Only 10 cm tall, but 500 in number!) might just be the strongest.
Araki: Thatâs right, haha. Well for manga in the eighties, the enemies always keep getting stronger and stronger. But there has to be a limit somewhere, and it gets tremendously exhausting.
Nisio: Like when they go âthe one you just defeated was the weakest of us.â
Araki: To break through that, I tried to have characters that are strong from an alternate point of view, or who are only strong in a single aspect.
Nisio: So like âThereâs no such thing as strong or weak.â
Araki: Itâs so exhausting to write manga where the enemies keep getting stronger and stronger. Itâs like, âtheyâre already this strong, and theyâre still getting stronger!?â and every week you worry about what youâre going to do. And then you get to the height of the bubble and itâs like, what now? Itâs a very scary writing method. Itâs fine if you do it once. When the strongest enemy gets introduced, youâll get so popular that the publisher tells you not to stop. But as a writer, you canât go any further.
Nisio: I wonder who started this inflation of power. It must have been a really crazy idea at first⌠Whoever it was, using this technique is like reaching a dead end or slash-and-burn farming. I think Jojo was a revolution in that area.
Araki: It was more like an escape route than a revolution, haha. But I think thatâs how people work.
Itâs like how someone with a strong punch isnât necessarily strong.
Nisio: Someone you could beat depending on your strategy, I guess.
Interviewer: If youâre fighting Bush and he has nuclear missiles, you still might beat him with a bat. For example, Hara Tetsuo wrote Fist of the North Star so that whoever says the most powerful lines wins.
Nisio: That makes sense.
Araki: That seems like something youâd be familiar with.
Nisio: Novels are only words, after all. The main thing is dialogue. So characters that say powerful lines do become stronger.
Araki: Iâve also noticed something unique about your characters. Theyâre mentally strong somehow. Theyâre complete geniuses, but also lacking things or searching for things. Thatâs something refreshing, and it makes the storyâs world interesting.
Nisio: Thank you. I have no words. Speaking of characters, I like Part 4 of Jojoâs Bizarre Adventures because it has so many unique characters. I like Tonio the most, but itâs such an all-star cast.
Araki: Thank you. I hear that the writer Otsuichi-san [mystery/horror writer] also likes Part 4 the most. I wonder if itâs a generational thing.
The appeal of Jojo and its impact on Nisio Isin as a grade schooler
Nisio: When I read your manga for the first time, it was when Ebony Devil, that doll from Part 3, slices off a hotel workerâs face with a razor. I remember it being really scary.
Araki: That must have been tough to read as a kid.
Nisio: Of course, I didnât understand what Stands were, and that made it even scarier. I was creeped out by this weird armored warrior but thought Joutarou was really cool. I didnât understand the logic or style of it so it was completely mysterious, but I could tell that it was in a different vein from the other manga being published at the time.
Even now, Jojo hasnât fallen behind to imitators. Nowadays Shounen Jump has more manga with Stand-like abilities, but Jojo still sets itself apart. Itâs not that itâs the original, but thereâs something clearly different about it.
Why Nisio Isin became a writer
Araki: What made you decide to be a writer? How did you get started writing?
Nisio: To be honest, I originally wanted to be a manga artist. But I quickly realized that I couldnât draw. No matter how I practiced, I wouldnât get better. Then thought that since writing get printed, it doesnât matter if my handwriting is bad or anything. So in a way, Iâm writing the novelization of a manga thatâs in my head.
Araki: So you might get your novels adapted into manga?
Nisio: Thatâs true. There are many scenes in my head that I have an image of. Like someone standing in front of the sound effect âă´ă´ă´ă´ă´.â I think Kadono Kouhei-sensei said something similar. [author, mainly known for Boogiepop series]
Araki: So you start with an image and replace it with words. The desire to write feels like something that comes welling out, but I wonder how that works.
Nisio: When you read something good, it makes you want to try it. Of course, reading your manga gives me motivation. Itâs something like that.
Araki: Like âI could make something a little betterâ.
Nisio: When you see something wonderful, you canât help but want to try doing it.
Araki: Thatâs true. Drawing is like that for me, like when I see a drawing that makes me wonder how it was drawn. Itâs like a riddle I want to solve.
For example, there are manga artists who can draw lines in unbelievable directions. Normally you go from up to down or right to left, but theyâre clearly doing it differently. Like Hara Tetsuo. I donât know how he draws those lines, if he does them upside down or what.
For painting too, I wonder how someone made a color and things like that. It fires me up somehow.
Interviewer: Did you solve Haraâs riddle?
Araki:Not quite. I tried to draw beautiful smooth lines like him, but it wasnât the same.
Nisio: Iâve thought something similar when reading your manga. When I read Rock-Paper-Scissors Kid for example, I was surprised at how you could portray Rock Paper Scissors. I thought that I couldnât casually play Rock Paper Scissors anymore. To me, youâre not just a manga artist, youâre an artist.
Araki: I canât really see that, haha. Iâve always felt lacking as a person somehow, and I want to become a full person. Iâm not sure exactly what a full person is, but Iâve always wanted to become one since I was young.
Interviewer: Nisio-san, when you finished your Zaregoto Series after 9 volumes, youâve said that âafter finishing this piece of work, Iâm not a rookie anymore.â Araki-sensei, with which manga did you feel like youâve finished a job?
Araki: I donât think there is one. My publisher keeps telling me I should write something new besides Jojo, but it feels weird to start something new before finishing Jojo. So I might keep writing it.
Nisio: For your entire life?
Araki: I donât know.
Nisio: As long as there are Jojo stories, at least.
Araki: Thatâs true. But Iâm writing about human relationships, so it never ends. Until humanity dies out.
Interviewer: How about when you stopped feeling like a rookie?
Araki: That would have to be when new manga artists come out. Before I knew it, the only one whoâs been in Jump longer was Akimoto Osamu [author of Kochikame, the longest-running series in Weekly Shonen Jump, running 1976-2016], and I thought, âHuh, thereâs only Akimoto-sensei?â, so I definitely couldnât think of myself as a rookie anymore.
Interviewer: Thatâs quite some time since you debuted. [8 years?]
Araki: Yeah. I was trying to write with a youthful feeling. But then at like parties, when I looked around everyone was younger than me, and I went âWha-?â. They would say âwe canât get started until you drinkâ, and I thought âOh, this is badâ. Nisio-san, a time like that will come for you, too. Itâs a lonely feeling. It really is nice to have some elders around.
Defeating enemies without inflating power levels
Nisio: Before, I said that Part 4 was my favorite, but sometimes itâs Part 1 or Part 2âŚ
Interviewer: You like all of them, haha.
Nisio: I like how the enemies were defeated in Part 1 and Part 2, before Stands were introduced. They were mental, tactical battles, and it might just be because I like mystery books, but I love those kind of strategical tricks. Even after Stands came into the story, the mental battles were the most captivating.
Araki: Ah, yes. In shounen manga, thereâs this pattern of beating enemies using willpower. I couldnât accept it. I thought, âAre you really going to use willpower here?â. There is that amazing strength people that have during fires. That makes sense, but I still couldnât accept it. Like, âIf youâre going to do it with willpower, show it in your attitude.â I wanted some kind of logic behind it.
A long time ago, Shirato Sanpei-sensei used to write ninja manga (such as Sasuke, Ninja Bugeichou, and Kamui Gaiden), and they donât defeat enemies with ninjutsu or magic in those. They used these kind of tricks, things with logic behind them. Like digging a hole in the ground and setting off gunpowder. It made me go âwowâ. That influenced me.
Nisio: Like this thing you have to explain.
Araki: It wonât seem interesting unless thereâs some kind of reason.
Nisio: In Part 2, did you just come up with the idea for the battle with Wamuu to be on chariots?
Araki: No, I think I was inspired. In shounen manga, I like when the battles are one-on-one in some kind of arena. This arena could be a narrow clifftop, or one where you lose if you leave the arena, and itâs fun to make a lot of rules. I think thatâs where the idea for that chariot battle came from. Having some restrictions, so itâs not everything goes.
Nisio: In Jojo, the fights are one-on-one, or at most two-on-two, arenât they?
Araki: Thatâs true. If thereâs too many people, itâll become like one of those old war manga. That seems tiring to just to write, so two-on-two is the most for me.
Backgrounds in manga vs. having to describe in novels
Interviewer: As a writer, is there anything youâre jealous about Araki-sensei for?
Nisio: Iâm very jealous that unlike novels, you can draw backgrounds in manga. Itâs hard to portray backgrounds in novels.
Araki: But even if you donât write anything, the reader can imagine something.
Nisio: Drawings have incredible persuasive power. There are things that you can draw, but when you write about it, it turns into an explanation.
And then, you go âoh, I wrote an explanationâ and feel intense regret⌠It wonât be a slogan anymore. I have this obsession that once I write an explanation, itâs all over, and itâs hard to deal with. So when I have insert illustrations in my books, it makes me feel that I canât match the strengths of visual information.
Araki: I once read a story about a beautiful picture. There wasnât any description about the picture. But the readers can imagine something. If you wrote a manga with that story, you would have to draw the picture. Even if it was Da Vinciâs Mona Lisa, it would just be a copy. Itâs something that gets ruined if you draw it. But if you donât describe the picture like that story did, if you just say itâs amazing, then the reader will believe it.
Nisio: Purposefully not writing something.
Araki: I think itâs better if you donât write about it.
Nisio: Iâve used a technique of writing something thatâs impossible to visualize a few times. I think thatâs the only way to explain something that isnât there⌠You can write about things that you canât even draw.
Oh yeah, Iâve used that technique in Shin Honkaku Mahou Shoujo Risuka, which is illustrated by Nishimura Kinu-sensei. I wrote about a âjacket like a safety pin.â It was supposed to be clothing from a fantasy world, and then Nishimura-sensei ended up drawing it. I thought âoh, it got drawn.â
Araki: Thatâs impressive. Iâve also drawn a few insert illustrations. There was a character who has an arm injury throughout the book. So I drew an injured arm, but then at the end it said that the injury was on the left arm, and I had drawn it on the right arm. I thought, âdo I have to redo the whole thing?â
You really have to read carefully. Insert illustrations are hard to draw, too. Thatâs why itâs impressive. Figuring out what a jacket thatâs looks like a safety pin is likeâŚ
Nisio: When I know that there will be insert illustrations, I try to make it easier for my illustrators to draw them.
Araki: The illustrations for Zaregoto Series have an atmosphere to them too.
Nisio: Take-san is the one drawing them. I remember at first, when I was talking to my editor, I asked for them to be âJojo-ishâ, haha. That was supposed to be about the level of realism or reality in the illustrationsâŚand then they came out like this.
Araki: Itâs nice to see that the Jojo-ish part came through. When you line up the 9 volumes like this, you can really see an improvement in skill. I like these pop-style backgrounds, too.
Which writer is the biggest Jojo fan?
Araki: Nisio-san, which authors do you like?
Nisio: Iâd have to say Kadano Kouhei-sensei. Heâs famous for being a Jojo fan. Heâs the biggest Jojo fan among writers.
Nisioâs editor: Just a while ago, when I told him that you were going to see Araki-sensei, he went silent for a few seconds and coldly said, âOh, is that it soâ, haha.
Nisio: A long time ago, when I read an interview between you and Otsuichi-sensei in Yomu Jump [magazine associated with Weekly Shounen Jump], I was so jealous that he got to meet you.
Araki: Otsuichi-san was writing for Shueisha [company publishing Jump], after all.
Interviewer: Nisio-san, if you were going to write a novelization of Jojo, what would it be like?
Nisio: I would write about Part 2, or maybe Part 1. Where the enemies are vampires and perfect life forms.
Araki: Not violence.
Nisio: I would choose not to use Stands. That way there wouldnât be anything in common with Otsuichi-sensei is doing. [Otsuichiâs Jojo novelization is set in Part 4]
Araki: You donât want to do the same thing as him?
Nisio: I really donât to do the same thing as anyone else. If I did, it would turn into a contest with Otsuichi-sensei. What if I lose? If winning makes you the bigger Jojo fan thatâd be terrible.
Interviewer: You canât stand losing, not as an author, but as a fan?
Nisio: They might say âyou call yourself a Jojo fan, but thatâs all you can write?â or âyou donât love Jojo enoughâ, and make fun of me, haha. So if that happens Iâll say âOh, my favorite part is Part 1â to get away.
Interviewer: For Part 1 and 2, thereâs the issue of viewpoint. Whose perspective would you write from?
Nisio: Part 4 is Kouichi-kun. For Part 1, itâs Speedwagon. Part 2 wasâŚdid he have a name? That pickpocket boy at the beginningâŚah, I canât remember. This is bad.
Araki: He was there, haha.
Nisio: Otsuichi-sensei and Kadano-sensei are laughing right now, haha.
Interviewer: When did you understand how Stands worked?
Nisio: I somehow figured it out as I was reading. Like how when Stands get injured, their users also get injured. There was an explanation of what Stands were at the beginning of one of the volumes, and it all made sense after that. That was really helpful.
Araki: Itâs a good thing I wrote that, haha. Most people said they didnât understand Stands.
Nisio: I liked the battles with the Dâarby brothers. Thatâs how I learned how to play poker. I was in elementary school and didnât know the rules of poker, so I didnât know what kind of battle that was, haha. So I went to a bookstore and browsed through a poker rulebook.
Araki: Oh really? When I was writing that I assumed everybody knew how to play poker. It seemed like everybody at least knows poker.
Nisio:I was in elementary school, after all. After that I really wanted to play poker, haha. I wanted to say things like, âI bet all six chips.â
Interviewer: Youâve learned a lot from Jojo.
Nisio: Thatâs absolutely true. I want to keep learning more and more.
Araki: Thank you. I can tell how strong your feelings are.[1][Translated by Sword Translations]
SJ: How did you start drawing? What were your early influences that made you want to become a manga artist?
Araki: I grew up in the 1970s and during that time there were many manga artists with various artistic styles. It was the renaissance of manga and I was completely engrossed by it.
SJ: How did you become a full-time professional manga artist?
Araki: When I was in high school, around when I was 16, I entered a manga contest and made it to the final round. My work was praised so I decided to become a manga artist. I made my debut when I was 20 years old with Poker Under Arms, a 31-page short. It was awarded the Tezuka Award.
SJ: Between Baoh (your first manga) and JoJo, your artwork makes a dramatic change. Why did you change your style? What kind of training or practice did you undergo?
Araki: Muscular actors such as Sylvester Stallone and Arnold Schwarzenegger were extremely popular back then and that is where I got my influences. At the time, I was creating a story with a theme focused on the "physical body," so my drawing style changed to a more muscular look.
SJ: What inspired you to create JoJo?
Araki: I was thinking about creating a manga with the theme of attaining the ultimate body. In the end, the theme evolved into the celebration of life, family and bloodline: from parent to child, and then on to the children's children.
SJ: The JoJo series has strong horror elements. In some ways, seems like a horror manga inhabited by shonen manga heroes. How did you develop this style? Did you ever consider drawing a straight-forward horror manga instead of a shonen manga?
Araki: No. I prefer creating manga that is suspenseful rather than horror.
SJ: The JoJo series takes huge plot twists when it switches from Jonathan to Joseph, and Joseph to Jotaro. When you began the series, how far in advance did you have it plotted? Did you know you would jump 100 years in the future and introduce "Stands"?
Araki: Yes, I plotted ahead when I first started the series. The main characters would fight a common enemy, a formidable enemy, as if inheriting their ancestors' unfinished business from the past.
SJ: The voyage from Japan to Egypt in this JoJo series is full of details and local color. Is it based on a journey which you made yourself?
Araki: Yes, I always travel to the locale and recreate the locations based on the trip.
SJ: Your characters have incredible clothes, hair and fashion. Their clothes are so unique, they are almost similar to superhero costumes (although much better-looking). How do you come up with ideas for their appearances?
Araki: I make sure the clothing enables you to recognize a character even when they are drawn small. I use sculptures from the Roman Era or fashion models as reference when drawing them in standing poses.
SJ: JoJo seems to have an American and European influence, not only in the settings and characters but also in the artwork. Why did you choose to tell a story with British, American and Italian main characters? Do you consider yourself influenced by non-Japanese comics?
Araki: I was influenced by the Italian lifestyle, their way of thinking, fashion and their design sensibility. I love all historical painters and artists so I consider museums a sacred place.
SJ: What is your advice to readers who want to become comic artists?
Araki: I think it's important to express something that is your own. I also think it's important for people to be able to identify the artist by looking at his or her artwork.
SJ: "Stands" are an extremely original idea and have influenced many other manga artists who use "spirits" or "partners" in their manga. How did you get the idea for this power? Is it based on the idea of "possession"?
Araki: The concept of Stands came from Guardian Spirits. I wanted to express in my artwork how every character always has a spirit with him and they each have their own special powers and characteristics.
SJ: Many, but not all, of the Stands have a robotic/mechanical appearance. Others look like ancient idols or prehistoric artwork. How do you design Stands? Is there any deeper meaning to the appearance of Stands?
Araki: I envisioned the Stands to have a mechanical and a spirit-like look but not completely. African masks are a perfect example and that's where I got my influences.
SJ: Do Stands have a "will" or "intelligence" separate from their owners? Can they act against their owner's will? Do the same Stands reappear over history with different owners?
Araki: I don't see why such special Stands can't exist. It's possible.
SJ: When Stands first appear in JoJo, they are named after Tarot cards. Later, they are named after Egyptian gods. Within the world of JoJo is the idea that it's the other way aroundâthat the cards and gods are secretly based on the Stands from ancient times? Or, within the world of JoJo, is the Stand/Tarot/Egyptian god connection just a convenient naming system made up by the characters such as Avdol, Dio and Enya?
Araki: There is a mystical element to ancient and archaic times. I thought it was perfect when expressing what a Stand is.
SJ: After you stopped using Tarot cards and Egyptian gods for Stands, did you consider coming up with any other kind of group naming system? (Such as the "Minor Arcana" of the Tarot?)
Araki: I thought 22 tarot card characters [the so-called Major Arcana of the TarotâEd.]would be enough when I initially started, but as the story progressed it wasn't, so I had a hard time naming the characters.
SJ: The JoJo series all have unique settings, both in time and place: 1880s Britain, 1930s Europe, near-future Florida. Even the Josuke storyline, which is set in Japan, is set in an extremely distinct city, instead of a "generic" Japanese city, like many manga. How do you choose your settings? Do you enjoy designing and drawing backgrounds?
Araki: My settings are always places to which I have been personally, and I always recreate the cities and places based on what I felt from being there. Morioh from the fourth series is based on the city where I was born, New Town of Sendai.
SJ: While most shonen manga characters usually overwhelm their enemies with strength and courage, the characters in JoJo are often caught in traps and tight situations (often literally caught in small spaces), where they must use cleverness to defeat their enemies. Does this reflect an interest on your part in mysteries and logic puzzles?
Araki: In order to create suspense, I think it's necessary to approach it like you are constructing a mystery novel. I always keep in mind the characters must act based on logical thinking.
SJ: I hear that you are a fan of F-1 racing. Have you ever considered drawing a manga about it? Do you still watch it on TV?
Araki: I like watching F-1 racing but I don't have a driver's license so I doubt I'll be able to draw a racing manga.
SJ: Do you listen to a lot of music? What are you listening to at the moment?
Araki: I'm currently listening to rap artist Kanye West and country singer Tim McGraw.
SJ: Your current series, Steel Ball Run, doesn't star any of the same main characters as the JoJo series, but seems to involve "Stands" (although they aren't called "Stands"). Is it set in the same "world" as JoJo? Are you a fan of the Western genre?
Araki: Speaking of the Western genre, my childhood hero was Clint Eastwood and everything stems from that. My debut manga was a Western manga. Steel Ball Run is a parallel universe from the world of JoJo.
Renowned artist and ageless wunderkind Hirohiko Araki (Jojo's Bizarre Adventure, Baoh, Steel Ball Run) recently gave a lecture at Tokai Junior & High School in Nagoya City, Aichi Prefecture, as part of their Saturday Program series, as transcribed/compiled by @JOJO, Japan's premier site for Jojo-related news. Due to its length this entry will be broken into 2 parts.
The lecture hall was filled to its 1,500 person capacity. There were so many people that there was a delay while people moved in and out of the hall, and the lecture began 15 minutes later than planned, at 12:45.
12:45: The Lecture Hall
After a student MC introduces Mr. Araki and his body of work, he abruptly pops up on stage, at which time the hall erupts into a deafening round of applause. Mr. Araki, quite nervous at the reception, immediately has a slip of the tongue, saying "I'm a little honored to meet all of you today." "I'm a little..no..quite messed up. I feel like I've met an entire lifetime's worth of people today." Although he claims that he is not a performer, and asks not to expect laughs, he claims "I'm just going to meander along today," scoring some unintentional laughs.
Reason For Accepting The Invitation
Araki, who marks his 25th year as a manga artist this year, used to dislike (from well over a decade ago) being told "I used to read your comics!" "I was a fan when I was young!" etc, since it stirred fears within him that perhaps he was getting old, and becoming irrelevant. But in the past 5 years or so, he has had a gradual change of heart, and has begun to enjoy and appreciate the accolades he gets, especially from older people and people in esteemed positions in society. Also, when he was younger he may have been writing manga to benefit himself and his publisher's bottom line, but now he has a slightly different point of view and wants to give back to people, especially younger people. That's when he got an invitation from Saturday Program, and, figuring it would probably just be a classroom of 30-40 people, he said "sure, I'll do it." However, he arrived today to this circus, and thought, "this wasn't what I signed up for." (audience bursts into laughter)
Motives For Drawing Manga, Family, Days of Youth
Young Araki lived with his father, an office worker, his mother, a stay-at-home mom, and younger identical twin sisters. Those sisters were quite a handful: for example, if there were 3 snacks, the sisters, upon arriving home first, would eat all 3, and then proceed to conceal any traces of evidence. Growing up, young Araki, thinking that there weren't any snacks, "would think 'man, I'm hungry' and go chew on something like a really old piece of kamaboko." (audience bursts into laughter). And when his sisters' evil doings came to light, a fight would erupt; and this would occur on a daily basis. (yet more laughter) He would often feel such a sense of exclusion and ill-will towards his sisters that he didn't want to come home. He used to find relief in spending time along in his room, reading classic manga from the 70's and his father's collection of art books, which he supposes was his motive for drawing manga. He figures that had he not started drawing manga, he "might have gotten out of hand and killed my sisters." (laughter)
Days of Submissions and Rejections
He attended a prep school through junior high and high school, but a friend complimented him on the manga he drew (apparently he drew his first manga while he was in 4th grade), which made him think that if his very first fan thought he was good, he might want to become a manga artist. So, he began to secretly draw manga when his parents were not looking. He first began submitting his work during his first year of high school; however, all of his submissions were rejected. At the same time, a rash of artists who were the same age (Yudetamago) or younger than him (Masakazu Katsura) continued to make big splashes with their debut. But Mr. Araki could not understand why he was rejected, and decided to finish off a submission on an all-nighter and go on a 4-hour trip to pay a visit to the editors in Tokyo, and to ask them for an explanation. At first he intended to visit Shogakukan, which published Shonen Sunday, but he was intimidated by the size of their building, and decided to take his submission into the smaller Shueisha building next door. It was noon when he visited, but one rookie editor (about 6'2", or 185 cm, tall) happened to be there, so he showed him his work. However, the editor, after reading the first page, promptly quipped "your white-out's leaked (you haven't fixed it)": he was criticized every time the editor flipped through each page; Mr. Araki, already exhausted from having been up all night, felt like he was going to pass out. However, after he was finished, he was told that it might be good, and was immediately told to fix it up for the Tezuka Awards in 5 days. That submission was "Buso Poker (Armed Poker)", which won was the runner-up prize at the Tezuka Awards.
The Jump Editors At The Time Were Really Scary
At the time, Mr. Torishima (Akira Toriyama's editor, and inspiration for the Dr. Slump character Dr. Mashirito) would take submissions out of their envelopes, glance at the folder, promptly go "I don't want to see this style!" and order a rewrite. Apparently, he wanted people to draw in such a way that looking at the cover was enough to make people want to read the manga. The editorial department as a whole was always on edge at the time. But he also mentioned in the latter half of his lecture that manga editors were like golf caddies; they provided objective information like "why don't you hit this way" or "you're X meters away from the green" and that he appreciated them. He also said that people who wanted to become manga artists had to get along with editors.
Drawing Manga, Araki-Style Part (1): 10 Meters
Drawing styles which are so distinctive that you can look at a person from 10 meters away and go, "oh hey, he's reading that manga" are incredible: Araki managed to make his debut, but didn't feel like he had that unique style. And so from 1981 onwards he started thinking about how he could achieve that distinctive style, something that would make people think "oh, that's him!"
Drawing Manga, Araki-Style Part (2): The World's Most Simple Drawing
(Showing a blank piece of paper) If you told your art teacher "this is a drawing of 'snow" he would be very upset at you, but in manga you could say this was "the flash from a nuclear bomb" or "my soul is barren" and that would fly. And here Mr. Araki drops a bomb: "There are people who get paid for stuff like this." (audience bursts into laughter) "It's amazing, really. You know, like....I guess I could get in trouble for mentioning names." (more laughter) [Note: probably in reference to Shaman King, which printed a blank 2-page pullout to supposedly express an "incredible move"] "And coloring the page all black, and saying "he went to hell." Sort of like in the last few chapters of Death Note." (audience goes into hysterical laughter, applause) Mr. Araki tried to patch things up by claiming that he was joking, but could not help further mentioning how much per page said-artists were probably paid for those particular pages.
Drawing Manga, Araki-Style Part (3): The Ultimate Character
Araki introduces modern abstract art such as Barnett Newman's drawing of an orange square on a piece of canvas, Agness Martin's drawing of nothing but a pencil line on white canvas etc. And then he drew the following, calling it the ultimate simple, ideal character in manga anybody could draw:
Oh no, we're gonna get sued! "I might get in trouble for displaying this in public, so." (audience bursts into laughter)
He also introduced things like the smiley face and Morizo and Kiccoro (Mr. Araki thought that Akira Toriyama had designed them), and explained that he respected these types of drawings that anybody could recognize, and that it was what he aspired for. "It's incredible. It's the ultimate style."
Drawing Manga, Araki-Style Part (4): Gauguin
Gaugin's art, while having depth, also did things like contain certain colors within certain areas, paint the ground pink and the trees blue etc. Araki loved Gauguin's art ever since he was a child, and has been deeply influenced by him. When Jojo became an OVA, one of the animators asked Araki, "What color is Jotaro?" however Araki had no such concept. He colors everything based on calculation. For example, in Volume 54 Giorno's clothes are pink, but in Volume 63 they are blue. Also, regarding the color cover illustration, he explains that placing the color blue beside pink exudes more power. He says that he gets his inspiration from 80's art, shading techniques in Western art, classical paintings and gets inspiration for his various poses from sculptures. All of this research, blended with Araki's own personality, result in Jojo's art style.
Drawing Manga, Araki-Style Part (5): Aim & Direction
(Araki shows a diagram mapping the world of manga, broken into 4 quadrants with the X-axis labeledă"Using classical methods to portray reality" and "Impressionist markings and symbolic fantasy" and the Y-axis labeled "Treating introspective themes such as inner emotions as the central focus" and "Putting weight on the plot structure. "Suspense" and "creating a sense of the world")
If you don't think about "where you stand," you won't have any sense of direction even after you become a mangaka, wandering from idea to idea, not knowing what you want to write about and ending up becoming one of those people who asks their editor, "What should I write?" In the case of Jojo, Araki is trying to pursue reality by portraying things with classical methodology, but he gives precedence to emotion and inner thought over plot structure, trying to portray the protagonists' destiny, so he ends up in the bottom-left quadrant.
Drawing Manga, Araki-Style Part (6): The Theme is "Mystery"
Araki was fascinated by mysteries ever since he was a child, fantasized about deserted islands and believed that King Kong and Nessie existed, and so writes his manga with "mystery" as the central theme. In Jojo, Araki wondered what "superpowers" really were, and if he could portray "energy" itself, which lead to Parts 1&2, and the Stands in Part 3, which were like guardians who could "destroy boulders and stuff." They would "stand" by their master and would be called "stands." Apparently Part 3 began immediately after Part 2 with no interval in between.
Drawing Manga, Araki-Style Part (7): Like an RPG or Board Game
At the time, the "pyramid (tournament) formula" (A would fight & defeat B, then fight stronger character C, and on and on) was all the craze in Shonen Jump. But, Araki wondered, how strong could they get? Wouldn't the entire system collapse as soon as you reached the top, much like the economic bubble of the 80's in Japan? It wasn't like there could be an infinite number of levels of strength. So, he decided to create an RPG/board game-style system where characters traveled to different places to fight enemies, as seen in Jojo Part 3, where the protagonists traveled across Egypt while battling enemies
Araki's lecture ended here and proceeded to a Q&A with students, which may or may not be posted here as Part 3.
13:38: Araki-sensei's Talk Ends Here
From now on the lecture will be a discussion between Araki-sensei and the students of Tokai Junior & High School. Since there were a lot of questions, they'll be summarized and presented together in a certain order.
Question for Araki-sensei! (1): "When You Were Young, What Was Your Source of Inspiration?"
"Manga, movies... I didn't have any collections; neither did I have any 'solid' objects like plastic models. I enjoyed drawing pictures. I was a boy who wanted to live in a world of fantasy with movies and novels.
(When asked what influenced his works) "After achieving success, respecting my sempai was the most important thing for me. It all started with Da Vinci - reading about such people was very important for me. I learned about the things they mastered, and through their discoveries, I found my own answer.
As for manga I read when I was a boy, the most significant one was Kajiwara Ikki/Nagayasu Takumi's Ai to Makoto (Love and Truth), the scene where the protagonist is stabbed by a knife... although the manga ended in the next issue (a January New Year's double issue), it was still a rather extraordinary experience for me. When I was in middle school, I joined the kendo club because of Tetsuya Chiba's kendo manga Ore wa Teppei (I'm Teppei)."
Question for Araki-sensei! (2): "The Model for Morioh Town, Sendai City"
- Morioh Town is a town in JoJo, while Sendai is Araki's hometown.
"Sendai, when I was a kid, was an old and historical city. Since the '80s, construction began on a new residential district. The new houses were beautiful, but strangers from who-knows-where were scary, and those personal experiences have been tied together with the town itself."
"Well, I don't think there are any homicidal maniacs, but..." (Everyone starts a roar of laughter). Of course, Araki-sensei likes his hometown very much, but he was intimidated by the rapid increase in stragers, maybe Morioh Town was made based on his "disdain" of that situation. Of course, using the real name of the city in his manga may anger people, so Araki-sensei changed the name to something else.
- Also refer to Kahoku Shinpou: Araki Hirohiko's "Buried Gold Requires Daily Expedition" and Araki Hirohiko's talk-essay "My manga are the 'outcries of my heart'"
Question for Araki-sensei! (3): "What About Love and Passion?"
Although he went a boy's school, he had a girlfriend. "There's not much to add, since it's what causes the most problems in today's relationships" (everyone starts a roar of laughter).
- By the way, Araki-sensei is married, and according to an interview from "Weekly Shounen Jump", Araki met his first love during his first year in high school, and his preference for the opposite was "a woman who is not ladylike."
Question for Araki-sensei! (4): "What Model Did You Base Your Protagonists On?"
"Eeeeh?" Araki-sensei appears worried. There was no model, but there were influences from "muscle movies" such as "Rambo" and "Terminator." Jotaro Kujo (a character from JoJo) feels like Clint Eastwood: he doesn't run, his movements are minimal and he's a silent person. "On the other hand, the Stands are fast." The personalities of protagonists' from each part are different. After drawing Part I, I wanted to do something I haven't done before. (1st Part: Serious --> 2nd Part: A crazy person)
What is the relationship between Irene of Gorgeousâ Irene and the Irene who made her appearance in the last part of "JoJo 6" (Stone Ocean Volume 17)?
"I was just having a good time, there is no deep meaning behind it, I'm sorry." (Everyone laughs).
Question for Araki-sensei! (6): "About the Ability of 'Time'"
The most powerful technique: "Time". Stopping it, returning to the past, watching the future... if there were people who can control such a thing, they'd be invincible. For a main character with powers that aren't invincible, I want to have people wonder how such a character could win. The ability to control physical things, such as gravity, is also very powerful.
From Araki Hirohiko/Shibasaki Tomoka's Osaka University of Arts, College Manga Vol. 4:
Araki: About time, when I think about it, it's incredibly powerful. You can do things like repeating the same morning over and over, stopping time while jumping, and the people who become visible only at a particular time, etc. But if I used that concept every time, someone would say: "Is JoJo only about 'time'?" So... (laughs).
Shibasaki: Is it because you're interested in the representation of time?
Araki: It's an interesting and powerful concept. To what extent is it changing? Is the other side of the earth being affected by it as well? And things like that.
Shibasaki: What is the maximum affected range when time is stopped?
Araki: All the way out into space. Speaking of which, what kind of energy would that be?
Question for Araki-sensei! (7): "Joseph Joestar"
And now the 'forbidden question': "Why, as an old man, is Joseph such a lustful man?" "Although JoJo was a story that ended naturally after Part 3, I asked myself: 'Should I draw a 4th part? There shouldn't be anymore Jojo!'" (Everyone laughs). Since I didn't know what would happen in the future, even though I wanted to keep his personality, the personality did match up with his age (Joestar is an old man in Part 4).
Question for Araki-sensei! (8): "Lineage"
When asked about the reason why he's only focusing on the story of the "Joestar family", according to Araki, going back, back, way back, all the way to the origin of the family lineage, his character's lineage gives him a feeling of pride - the wonder and the mystery that exists within the "lineage". "I put more importance on such things than others (said with a serious tone)".
Question for Araki-sensei! (9): "If You Can Describe Manga in A Single Word"
Troubled by the question, Araki replied: "My combined feeling would be 'the salvation of the heart'? I think it's very important."
Question for Araki-sensei! (10): "Western music and its influence"
Using names from Western music to name his characters and "Stands" is a "simple hobby" for Araki. It's also a way to pay his respect towards rock artists. "But the fact that nowadays there aren't many names of bands to use is becoming a problem". (Everyone starts a roar of laughs). The imitative sounds of Jojo is also influenced by music (This was said on "Weekly Shounen Jump"as well). While on the subject, according to SOUL'd OUT, their music is influenced by JoJo. So while "JoJo" is influenced by Rock, it is also influencing "Rock"!
Question for Araki-sensei! (11): "About the Change in Design"
When asked about his designs that continue to change, Araki replied that since he's not trying to draw using classical techniques, the designs won't be the same, and usually experience rapid changes. "I'm not concerned about the old drawings (assertion)." Though the readers may get confused, I wonder if they will forgive me".
- It has also being reported that in Hirohiko Araki's collection of short stories, Gorgeousâ Irene, the illustration of Irene that was drawn for Ultra Jump in 2003, was originally a character drawn in 1985 as an entirely different person. At that time, the comment from UJ PRESS was: "I can't draw in my old style anymore".
Question for Araki-sensei! (12): "You Stopped Drawing Your Self-Portrait"
Often fan letters would ask: "Please take out that character from the manga", but since the character is almost complete, I don't want to take it out, and that is all. Although "Baoh the Visitor" ended as though it will later continue, but...
Question for Araki-sensei! (13): "If you can describe JoJo in a single word"
To a question that he hates to answer, Araki-sensei's answer was: "'The enigma of human beings', it's something I wanted to draw". As a human who works with a theme that will last for an eternity, that's all. Moreover, the manga is also being drawn for people who have committed crimes, it will make them think: "How did I become like this? Is there a meaning in this existence?" It's a "eulogy of human".
Conclusion
And so the time has come, the last words from the moderator, and the falling of the curtain. The clock says it is 2:05 PM on June 24, 2006. An event of about 1 hour and 20 minutes long, but to Araki's fans, without a doubt it was a "golden personal experience." Escorted by applause heavy as thunder, Araki-sensei disappeared behind the curtain with a smile on his face.
- End -[Translated by Neuroretardant (Parts 1 and 2) and Aldo (Part 3)[2]]
"When I was young in the early 70's there was a huge amount of manga that I liked. My favorite ones being those with stories dealing about sports, horror, and even sci-fi. Therefore I was inspired by all of this to create my own stories. I'm not sure but still I consider having been inspired a lot of by the works of my elders and I reckon my work wouldn't be what it is "without them. Anyhow I'm still attached to the past of manga and there is still today influence by the authors I'd read as a teenager."
"What I've been trying to do when I started manga was to make evolve the drawing which was somehow too flat, but from the 80's on mangakas started to inspire from Michaelangelo's work. The generation of mangaka I belong to was inspired much by the artists like Michaelangelo or some French painters in order to create characters whose physical aspects was more striking."
(On Tetsuo Hara, I suppose) "The fact that our drawings look alike is very easy to explain. We started at about the same period in the early 80's and it was then too that movies starring Sylvester Stallone or Arnold Schwarzenegger started to come to Japan and all these action movies were big hits there. Actually I reckon we wanted to make manga starring macho characters, with big muscles and fighting all the time, a bit like the heroes of the action movies."
"Before the 5th part I reckon, the story was too long so I'll try to make them shorter now."
"The new generation of mangaka is about 10 years younger than me, so they've read Jojo in their childhood, and so it's normal that it has inspired them."
"What I've been trying to do when I started Jojo is to implement a powerful and invisible force which would overcome my characters during the fights. So the idea of stand came to me by thinking of shintoism, which teaches us that our ancestors are always by our side to protect us."
"It's a real pain in the ass for me trying to show the good side of some of my bad guys as it's always very hard. I'd rather go for a more stereotyped approach where I create a hero who will fundamentally be good and to make it balanced, oppose him to a truly evil being."
"About the anime, nothing is planned so far but maybe in the future the 5th part will be adapted to TV too." (!?)
"I've no experience as a prisoner myself but I've visited jails and made researches on the subject to make my scenario credible and I've no real message to pass on except maybe the condition of mangaka regarding to their editors. Every week I've to hand in 20 new pages to mine. I work simply, on Friday I imagine what's next in the story and write the scenario, then from Saturday to Tuesday I create the drawings, so normally I've two days off a week, but I mainly use them to imagine the stories of weeks to come."
"I deal with the main drawing but my assistants are the ones who deal with the details. And if I can be here today it's only because I've just finished the 6th part so I'm entitled to a few holidays. But the rest of the time I'm very busy." [3]
[Translated by IKKI]
Your thoughts about your 25th anniversary as an author?
I think that it was a very quick 25 years. But when I look back at my work...it's kind of like the stuff around the Phantom Blood era is the work of someone else. Yeah, that's what I honestly feel. So, when I read it I can kind of read it objectively; I can read it as though I was a fan.
Do you read back on your old work?
Not very much, but if there's a game or something released like now, I'll read back and think "Ohh, so I was writing this kind of stuff?" Once the Stands started coming out, I often forget about some characters. Someone will mention a guy and I'll be like, "Who was that again?" and I'll read back and say "Ohh yeah there was that guy." Kind of like that. The readers know more than me.
Next year will be the 20th anniversary of JoJo.
Well, they let me debut on the New Year's of '82 but that still felt a bit vague to me. I couldn't really imagine myself as a manga artist; it wasn't clear on what kind of manga artist I was going to be. It was like I just was incidentally awarded the Tezuka Award, it wasn't really like I was aiming to win it. So that was kind of when I began training. And...when I look at the other Jump artists manga, they all had their own distinct styles. So the period when I was thinking about what style and what kind of manga I should draw was right before JoJo. I sort of feel that I finally became a pro with JoJo; it was like everything opened up in front of my eyes.
How was "JoJo" born?
I liked movies and at the time Sylvester Stallone and Arnold Schwarzenegger were popular. They're both muscular characters and their bodies are covered in muscle, which made me think to myself "I wonder who the strongest person in the world is?" This question was basically the beginning of the idea of JoJo. Themes such as immortality, seeking life, justice and things that humans innately seek spawned from this and eventually lead to the creation of Part one. So basically stuff to do with immortality and super macho guys and how strong they can get; that was what I was pursuing. Also, I had gone on a trip to Italy about 2 years before that and you may already know but, the art in Italy kind of strives for human beauty. When I saw the original artworks, it made me want to do the same.
The origin of the name "JoJo"
I wonder if it's okay to say this..? Umm, the place I used to hold meetings with the editor was at a local family restaurant in my neighborhood called Jonathan's. We were thinking of making the name "Jonathan" Something, and you know how a name can be two S's like Steven Spielberg? I wanted something like that so I thought "Well if it's Jonathan then it'll start with J so...Joestar should be okay." But that was really adventurous for a Shonen manga because it was taboo to have a foreigner as a main character; it was that kind of era. It was a big adventure so I was really grateful to my editor at the time.
Regarding the birth of the arch nemesis, Dio
He's full of confidence, very arrogant and he's aiming to become a God, or top of the world. Because of this, I used the Italian word, 'Dio,' that is used to refer to a God, as well as the 'Dio' that plays Heavy Metal. I like Heavy Metal and Rock so I used those as a reference to make characters. They're also characters that I created to signify 'black and white' or good and evil.'
Part 1:Phantom Blood
What were your initial ideas?
Back when I started drawing part one, I liked stories that went over several generations like 'East of Eden' and the show 'Roots' that they did on TV. The lead character changes but it kinda continues; it's something like an American periodical drama or periodical novel. And I don't think it was very Jump-like in style but I thought that it might be good to go where nobody else had before.
There's also a manga that I really respect called Babel II by Yokoyama Mitsuteru which has fights that follow rules. I also wanted fights that followed rules in JoJo, so the Ripple was one of those things. Also, you can't see psychic abilities right? Like if you concentrate your mind and something breaks, you can't really see it. But it's a manga so I thought I should be able to draw it and try and make it easy for readers to know what kind of psychic powers they were, which is how I came up with the ripple. It kind of spread from that like how ripples slowly spread, no pun intended. (Slowly is 'jojo' in Japanese)
When I look at him now, I think Jonathan is too much of a good boy. If I was to draw him now, I'd probably show more of the weaknesses of his heart too.
Part 2: Battle Tendency
Was Joseph's personality affected by Part one?
One more thing that you weren't supposed to do in those days was to let your main character die. That was another forbidden act. We had a discussion as to whether that will happen first and it was eventually decided in a meeting that we'd kill the main character. Because of this, I had to drastically change the story's characters and portray events that I didn't show in part one in part two and then similarly portray events I didn't show in part two in part three. That was my plan. I had a story devised up until part three, but because the story convention required Part 2 to be different to Part 1, I created Joseph. He does share similarities to Jonathan though in that he is also a muscle type.
Was it always your plan to revive Dio in Part 3?
I really wanted to draw him being dead for awhile and then coming back to life, but if I was to do that I needed something to happen in between (Part 2). Yeah.
Part 3: Stardust Crusaders
How was the process of changing from Ripples to Stands?
I tried portraying the ripple through pictures and I also tried portraying the psychic ability of Stands with pictures too but, how should I say it... I wanted to have punches from here (away from body). I had a meeting for it where I was asked, "What are you going to do next? You can't use the Ripple anymore." But when I said, "Well, a punch comes out of here (referring to the front of the body) and breaks stuff," they'd be confused and wouldn't understand me. So I was like, how should I say this...? Well, there's a thing like a guardian spirit and...it comes out and attacks." That's how I explained what the new ability would be and nobody would understand what I was on about. I told them that I think I could create alot of characters this way; I could make like a green colored punch or a sharp thing spawn and make them fight. Unlike the ripple, I can do lots of variations. That's how I started with Stands, though I originally thought that people who read it at first wouldn't know what's going on. Stands gave me alot of trouble when it came to explaining them, but I really felt that I could keep inventing new characters and ideas this way forever. It was like I dug up a gold mine. No one else thought it was gold, but I was like "Wow, look what I dug up!"
Part 4: Diamond is Unbreakable
What were your ideas from Part 4 and onwards?
Part 3 was a story that had the shape of a role playing game. It's like a board game where you go here and there. There's a book called "Around the World in 80 Days," which I made Part 3's story with that as an influence. If that's the case, then enemies have to be types that come and attack Jotaro themselves, though they might be waiting for them too. So when I was thinking of ideas I thought of people that were willing to wait in their positions for a long time: like people that live in houses and attack when customers arrive, people with personalities like trapdoor spiders. I had a lot of these ideas left over and so I thought that I could probably use all of them within a single town. There were various incidents back then such as a serial killing incident that sent huge shockwaves across Japan. The feeling of your neighbor possibly being a serial killer was the perfect atmosphere, so I used that idea when positioning lots of Stand users around the town. That's basically how Part 4 was born and you can see how it's different from part 3. Making Part 3 different to Part 2, and making Part 4 different to part 3...is the way JoJo was made.
Up until Part 3, the setting was in an imaginary, mythical kind of world but for Part 4 I drew an everyday world so I feel more closeness to Josuke, which is why I like him the most. I found it really fun to write, it was like he became a friend of sorts. Jotaro, however, is someone that you admire, like a hero from a mythical tale. But Josuke seems more like a friend or a senior.
Josuke is supposed to be the child of a lover but...?
Yes, he is. If I could write more of Part 4, I'd like to explore that more specifically. You would probably develop some complicated ways of thinking if you were a child of a lover and Josuke was also meeting his dad for the first time in a while, so I'd like to write more in depth about that. If I had the opportunity to write that, I would really like to. Part 4 isn't really finished yet. If I decided to continue it, I could as much as I want.
Part 5: Vento Aureo
Why did you make the hero Dio's son?
Oh yes right. In part 5, he's not really a blood relative...well kind of. I find great importance in the upbringing and background of the characters. Stuff like what kind of place they were born, and what their parents were like. If I know that then it makes it easier to understand and write. That's what I do it for, so I find bloodlines very important. It might seem like a bit of a stretch, but that's how Part 5 started. During Part 4, the editor said to me, "Are you able to draw sadness?" But life is a sad thing though isn't it? He asked me if I could draw that, and initially I said that it wasn't really my style but during Part 5, I suddenly felt to urge to draw just that. Like the sadness of being ostracized by society but still having a sense of justice. That was what I tearfully wrote for Vento Aureo.
Part 6: Stone Ocean
You once said that you can't draw females.
Back then, it was an era when it was unthinkable to have a female character taking punches and in JoJo, arms can go flying if you're not careful. I felt that I wasn't able to draw that with female characters and the readers wouldn't be able to keep up. As I grew older, the difference between genders became less important, and I started to feel that I could actually draw a tough female. What I came up with was Stone Ocean, whose takes place in a prison setting.
About the end of Part Six
The last boss in JoJo has to be made incredibly strong. And I already made Dio stop time, so I figured the readers wouldn't be happy unless I thought of something even stronger. That factor had become a bubble-like situation and so I thought what would happen if you sped up time really fast, and ended up going full circle. Your brain goes strange when you think about infinity.
What are your thoughts regarding time?
It's mysterious isn't it? If you think about time, it feels mysterious and possibly the ultimate power if you could control it. My thought process involved coming up with this ultimate power and then thinking up how on earth you'd defeat it. Even while writing JoJo I myself often thought, "Oh...they're going to lose this one, they can't possibly win." But thinking about how it will be done is how I go about making this, so even now I still think about the question from Part 1, "Who is the strongest person in the world." I find that there's a great deal of romance there.
Manga Artist Hirohiko Araki
About drawing old characters.
I really find it hard being asked to draw previous characters. I wonder why that is..? I just get really tired. First, I have to try and draw the essence of my older style and then I have to fuse it with my current style, which made drawing the cover of this game really tiring. Though I did end up drawing it anyways after telling them that I can't draw older characters.
Second, artwork always changes; for example, I said before that muscular characters were really popular in the 80's but that wasn't really the case anymore in the 90's. I think it's strange to keep drawing muscular people if that's the case. So when I started on a new chapter back then I made Giorno Giovanna quite thin to be like a normal sized person. From around the time of Josuke, I decided to change from a mythical kind of person to a more ordinary size. That's the kind of way that artwork changes. Well, that's what I think. Also, I don't know about my art getting better. You could say that I was bad at the beginning though. I don't really try to keep it like my older styles; they're pictures that I've drawn in a classical kind of method, so I don't really mind if it changes.
About the game's cover
Well I first imaged it as having the ripple, but I was requested to have Dio and Jonathan fighting with the stone mask but I basically tried to bring the stone mask to the front more. The stone mask is like the game's emblem or the game's mark, so I put water and ripples over the background to lessen its impact. Usually, the main character is right at the front for package illustrations but I kind of made it the opposite of that.
About the poses.
The poses are influenced from Italian sculptures. I really like the way the bodies are twisted and it makes me want to turn them into a drawing. Also, you might not understand unless you're a person that draws, but the pelvis moves up and down and that's what I find fun. Like doing this... and stuff like if you move your wrist than you move up here. (Hand gestures) It's fun to draw while you theorize about that. Well for example, I'll show you here...If you put weight down on your right leg like this, your left shoulder drops and stuff. Or if you raise this hip, you go like this; it all moves oppositely. If you raise one hip then a shoulder goes down. If you concentrate on it you'll notice it, I found that about the human body very interesting and I really find it fun putting that into a drawing.
Also, it's not related but I actually enjoy drawing skin getting peeled. So I had alot of fun when drawing Koichi turning into a book. Not because it's grotesque but I think it's because I have to theorize what it might be like. It's strange. Also, things like what would happen if you bend a finger this way. You can make it possible by drawing. I think those are the kind of things I like, though I like drawing the poses too.
About the unique 'sound words'.
Oh, right. They're influenced from horror movies and rock music. In progressive rock and horror music, they use synthesizers and an instrument called a mellotron and sometimes I really want the tinkly kind of sound it produces for some scenes. Also stuff like "Chwween" and "Kyun Kyun Kyun!" You know how they often have noises like that in horror moves? I get the feeling of wanting those in my work. So I just write them out using letters and they naturally become the sound words I use, and I'm not really conscious of it.
Is the model of Kishibe Rohan yourself?
Everyone I meet for the first time thinks that I'll be like Rohan, so it's a bit of nuisance. I once thought about just acting like that character but that is something I aspire instead and I'm sorry if I break anyone's dreams, but I'm not really like that. Everyone comes into my house a little bit frightened. Sorry, but I'll use this to change my image now.
Do you lick spiders like Rohan?
Well, I do sometimes try eating some unusual things. If they tell me that it's edible cooking then I'll eat it, but... (Laughs)
Themes Embedded in Araki's Work
The theme of JoJo that continues for 20 years?
To not negate human beings. What I mean by that is is to have positive thinking characters that don't stress about things going wrong. They're not allowed to stress. They believe strongly in what they do. Even if its a bad guy doing bad things, those actions are very important to him and he'll use that to move one step forward. Then in response, the hero comes to defeat that. When they both step out forwards they'll then conflict. That's what I find interesting. I don't think it's interesting as a Shonen manga if the hero feels some sort of empathy for the villain. For example, with the character Yoshikage Kira, he's a serial killer but I think that he had his own proper reasons for doing so, such as the poor environment of his childhood, his relationship with his mother and his father always ignoring him. But if I write that you start to feel sorry for Kira, and so despite being such a horrible villain, when Josuke fights him, I think he'll kind of feel sorry for him. But then Kira says that he's fine being that way and moves one step up. That's what I like. That's the reason why I really like Kira. Although he may have had a bad childhood and turned into a serial killer, I always hope that he tries his best at being one. I can't really say that out loud much though. I'm secretly a fan of his. So living with a positive outlook like that is the theme of JoJo. It's a 'celebration of humanity.' To make humans positive. There may be conflicts because of that but that sort of thing is a theme.
Will that remain to be the theme?
Yes, probably. I said this before but I think that if the villains weak, it'll definitely be a boring story. They may be that way in real life but its better if its not in a manga like this. Yes...so I don't think it'll change.
A final message to the fans
From the xxxHolic Guidebook, new edition.
Araki: My meeting with CLAMP was quite interesting. Though I don't know if it's all right to say this.
Nekoi: It's fine, please go ahead. (laughs)
Araki: By coincidence they frequent the same beauty salon as my wife. So apparently she was chatting with the beautician saying "My husband draws manga," and they told her "We have other clients who are manga artists too."
Nekoi: That's right. Then I heard that Araki-sensei's wife was there and basically it turned into a huge deal.
Araki: We live quite close so said "Why not come over sometime if you like?" and that's how it started.
Nekoi: But really, I've only met Sensei four or fives times in total up to now. And it was always the four of us as a group, so I think this is the first time we've had a one-to-one conversation. I'm really nervous.
Araki: Come to think of it, at first I believed CLAMP were male. I thought it was a man pretending to be a woman in order to draw in a girlish style. And then I heard rumors that it was several people collaborating and not just one person, and I thought, What the hell? There were too many pieces of information flying around, I couldn't make sense of it. It was pretty mysterious.
NEKOI TSUBAKI'S FASCINATION WITH ARAKI'S SLIGHTLY ALIEN WORK
Nekoi: It was really very early on that I encountered Sensei's work and thought "Wow, I love this person's manga" - with Cool Shock B.T.
Araki:: B.T.! I got into so much trouble with the editors for that one. They said right off the title was impossible, there's no way you can run a manga called "Devil Boy" in Shounen Jump, and that the main character was evil. I had to explain that it was essentially a rehash of Sherlock Holmes and in the end somehow I convinced them.
Nekoi: That's amazing, it was that difficult then. I couldn't have imagined but there was something alien about it I found as a child, I think, and that fascinated me.
Araki: Really though, the 70s were a period in the manga world where you had to develop to set yourself apart from the crowd. That was the tide, to go where no one else had gone before. I worked hard on that, so it makes me very happy to be told someone liked it.
Nekoi: I loved it!
Araki: Thank you very much! But, to think those readers back then have become what they are now... it's amazing. They even criticized my work. (laughs)
Nekoi: Please don't say things that sound so awful!
Araki: They crowded up and were like "Why did you do such a thing to Jotaro there?!"
Nekoi: But, anyone would do that if they had their favorite manga artist in front of them! You don't know if the chance will ever come again, right? So you want to run up and make them tell you everything!
THE BLACK-AND-WHITE AESTHETIC ADMIRED BY ARAKI
Araki: If I had to say what interests me the most as someone in the same line of work, it would be how you divide the work among the four of you. I've heard you don't use assistants so⌠In any case I would venture that xxxHolic is mainly drawn by Nekoi-san, is it not?
Nekoi: I wonder if that's so... perhaps that's not the case? (laughs)
Araki: It must be Nekoi-san, surely. The kimono styles, the atmosphere of the art has that feel to it... I don't suppose you can tell me?
Nekoi: No, it's quite all right, I'll answer.
Araki: Ah, you can tell! I thought this might be CLAMP's greatest secret. (laughs)
Nekoi: I'll go with the conclusion. The female characters in xxxHolic are drawn by Mokona.
Araki: Eh! Yuuko-san and Himawari-chan and everyone?!
Nekoi: That's right. I draw the male characters, the yokai, and any spirits that aren't in human shape. And animals. The covers and color pages are Mokona and I together. The overall flow is blocked out by Mokona from Ohkawa's script, after which I check it, and that's how things typically advance. If we get stuck on anything we go back to Ohkawa and ask, "I don't quite understand this part, what is it supposed to be?" and then we fix it. Once everything is settled, Satsuki, Mokona and Nekoi each draw our parts separately.
Araki: You're really systematic. How did you establish xxxHolic's global aesthetic?
Nekoi: There's a concept for the cover or opening art each time, and that's decided by Ohkawa. The story and worldview are all Ohkawa. She's like the overseeing producer.
Araki: There's something of an Art Nouveau element to it, design wise.
Nekoi: There's a Japanese-ness to it, and Chinese too.
Araki: The gothic atmosphere that permeates the work is a large part of its charm. All that flat black is great.
Nekoi: We decided not to use tones this time.
Araki: Yes, it's good to have a clear divide between black and white. That's something I can't do. I can't bring myself to color something in as a flat surface. I have to crosshatch and make it stand out in 3D. Something like a school uniform, it's frightening to color it in⌠if I bring it down to a basic aesthetic level, perhaps.
Nekoi: But if I had to choose I'd pick Tsubasa's tactile feel. (laughs)
Araki: I see. But you can also draw in a gothic style. That's amazing! All of xxxHolic has a flat, decorative feel to it, like Japanese prints or Alphonse Mucha.
Nekoi: Ah, Mokona likes Mucha.
Araki: I thought so. It comes across. And the base color of the tankobon covers is never white.
Nekoi: That's true. It's always gold or silver, and then color printed over it.
Araki: The feeling that there's an overriding concept at work is what makes it special. I think it's cool. With the JoJo series I wanted to use the classical method as a base and then introduce modern elements in the singular. For instance, drawing in a realistic style but coloring in completely impossible colors. Or completely impossible poses.
Nekoi: Impossible poses... but the fans imitate the poses? The "JoJo poses."
Araki: True, true. That's the thing, I aim for impossible but then am like, "Huh? Well, I guess it's possible after all..." (laughs)
WHERE IS REALITY? THE DAY THE KAPPA APPEARED IN TOONO
Araki: Does CLAMP ever travel for research purposes?
Nekoi: Almost never. We know that drawing from imagination can't approach the solidity that comes with research, that level of reality where people can say, "Turn the corner right there and you'll see my house..." But if you take the scenery from xxxHolic, for example, the place where Yuuko-san exists is an enclosed courtyard really. Aside from that I think depicting fantasy in a fantastical way is also a matter of technique. Well â one of our early stories did have an Indian flavor to it.
Araki: I understand. For my part, you see, I'm currently drawing a journey as my main theme. I started wondering about the psychology of someone who's been walking for three days straight. So I went and walked the Kumano pilgrimage road, which is a World Heritage site, to see what it was like.
Nekoi: Wow. And did you understand anything from it?
Araki: Yup. After three days, first of all you want to throw away everything you're carrying. I even wished I could throw away the cel phone they told me to carry in case I came across a bear. And when I saw the shrine at the end of the road, I felt thankful from the bottom of my heart. I honestly and unironically thought, "Thank god I came this far without getting hurt." It cleansed my heart, perhaps? I understood then that the road was put there in order to give people that experience.
Nekoi: That's a World Heritage site for you.
Araki: xxxHolic takes place in a magical alternate world, doesn't it. What I get hung up on is, What are those yokai-like things?! The ones shaped like young girls and the ones shaped like animals, and the monster types, are they all part of the same existence?
Nekoi: Er...the properly-formed yokai and the monster-like ayakashi are different things actually. But then, if you put them all together one can't say much other than "Well, that's the kind of world it is."
Araki: The "Stands" in JoJo can be conceptualized as a reification of hidden talent, with their source being a sort of energy that's been in the earth since ancient times. So there are no real monsters or yokai in my story. I've never really been able to get the existence of such things. I looked at Mizuki Shigeru-sensei's drawings and thought they were lovely, but when I saw something like a "bean washer" in the picture I would just think, What's up with that? I couldn't see any reason for that creature to exist. Purely for the sake of washing beans?
Nekoi: That's true. It's the sort of world where you go take a bath and there's an "akaname" in there.
Araki: Exactly. What the heck is it? Is it an enemy? An ally? What does it want? If you can't figure out that much how are you supposed to fight it! Is what I think.
Nekoi: That's a Jump-like way of looking at it. (laughs)
Araki: With that in mind, the other day I went to Toono, in Iwate. In order to gain a better understanding of yokai.
Nekoi: Waaah! Such lengths. (laughs)
Araki: "I'd like to draw yokai tooo" was what I was half-thinking. (laughs) So I went to the Kappa River there, the one that's famous for kappas, and stood on the riverbank spacing out. And as I was standing, there was this middle school-aged boy there at the same time, and he bursts out with, "Hirohiko's in the Kappa River!" Like, "Big bro, look, there's a Hirohiko in the Kappa River!"
Nekoi: *dies*
Araki: And even I for some reason thought for a split second, "Gah, I have to get out of here!" At that moment I finally understood what it must feel like to be a yokai. (laughs)
Nekoi: You understood what it feels like to be a yokai, huh... (laughs) I bet it's passed into legend by now. His brother came and said, "There's no such thing, you're lying!" And he said, "It was really there, I saw it!" And there was a huge disturbance, and years afterward you'll hear the story of the kappa Hirohiko in the river.
Araki: So there, I think that might be what yokai really are.
FIGHTIN' PRESIDENTS AND DRAMA AT HIGH NOON
Araki: If it had an Indian flavor... do you watch a lot of movies? On DVD or whatever.
Nekoi: I watch films in the usual way, because I'm always following fads. I liked "Jurassic Park".
Araki: I like stuff like that too. Like "Jaws". But recently I've really been into Michael Mann's films: "Heat", "Collateral" and so forth. I like the sense one gets that the characters are driven by fate, but they don't hesitate over their actions. They hurtle toward their destiny in a way that goes beyond considerations of good or evil. It makes me weak at the knees. They're not movies you're supposed to cry at but I get tears in my eyes anyway. I think, "Oh, you people!" Do you have anything like that?
Nekoi: I'm faddish but I did like "Independence Day".
Araki: The story's pretty astonishing in that one. In order to fight with aliens, they get into a flying saucer that was buried on earth by aliens in the past. The human strategy was like ripping off the opponent's fundoshi in sumo. The designs all came from other SF works. And on top of it all the President himself flew the saucer to fight. When I saw that I decided the party would be battling the President in Steel Ball Run.
Nekoi: Really?!
Araki: Yeah, I realized a fighting President is awesome. Was there ever anything like it?
Nekoi: It's very American. Although maybe Americans themselves don't realise it. And it was a German who made it. I think he made it with the intention that that's what Americans would like to see, and it really hit home. I like it too! (laughs)
Araki: What about Japanese films? I don't go to the theater but I watch a lot of DVDs. I saw "Sekachu" and so on.
Nekoi: Wow, you saw it?
Araki: Yes, it was good.
Nekoi: Was it!
Araki: Yes. I'm the type who cries at everything. That's right, lately I've gotten hooked on daytime soaps. Ever since "Shinju Fujin" I can't go without checking in with the latest developments. She became his lover with the aim of getting her hands on his fortune! It's awesome!
Nekoi: (laughs)
Araki: The dialogue gives one thrills down the spine. They say such dangerous and suggestive things the viewer's left panting. Like, is it all right to show that? But there they have it on television, at high noon.
Nekoi: It feels like you watch it to enjoy the names.
Araki: Exactly. A lot of manga artists seem to watch soaps, because time-wise it's just when one's getting out of bed. Morita (Masanori) sensei told me he also watches them. (laughs)
CLAMP'S MYSTERY VERSUS ROHAN KISHIBE'S SKIN: AND ONWARD, LEGEND
Araki: Many of CLAMP's mysteries were made clear to me today, so for my part this has been a meaningful hour spent. Thank you very much.
Nekoi: The pleasure's all mine, thank you very much. Though I would have liked to talk more about JoJo.
Araki: But today we're talking about xxxHolic.
Nekoi: Don't you think we should reveal more of JoJo's mysteries too, even for the sake of the reader?
Araki: Oh, I think it'll be quite enough if you say "He's so cool and looks just like Rohan Kishibe âĽ." (laughs)
Nekoi: Oh yes, that's true. He's so cool and looks just like Rohan Kishibe. *laughs* And you look younger and younger in the photos that get published these days.
Araki: That's because I'm a Ripple user. (laughs)
Nekoi: Please do become a new legend in Toono, I'd love to see it.
Araki: Leave it up to me. (laughs)[6]
Interview with Hirohiko Araki
Of course, especially since Giorno and his friends have such unfortunate fates, I had to make sure their backstories were illustrated well. To tell you the truth, I wanted to draw even more pages for them.
I get the impression you may have also wanted to draw Kakyoin's past from Stardust Crusaders?
Yes! I wanted to draw Kakyoin's as well. However, I was on the fence about whether to do it at the time. I didn't think it'd be acceptable to recount his childhood in the middle of the last battle, so I just made it into a monologue. When I think about it now, I could have spent a chapter of the series (or about 19 pages) drawing just Kakyoin's childhood, but during that era of Shonen Jump, it felt wrong not to have a battle every week. It was like some kind of Shonen manga spell was cast on me.
Since you established Giorno as Dio's son, I was expecting the story to expand on that...
I never had any intention of doing that, actually. Even during "Diamond is Unbreakable", people were speculating if Kars would show up, but this is not the type of manga series that would go in that direction, and I'm not the type if person who would write that. If that happened, to me, it'd be over. I am of the opinion that if readers ever think to themselves,"I expected that to happen!" then I've failed. There are many manga out there that would go in that direction, but if I did that, it's over.
It's a manga that doesn't go according to the reader's expectations, right?
Even as a kid, I never thought predictable manga was interesting. That's exactly it.[Translated by MetallicKaiser (JoJo's Bizarre Encyclopedia)]
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[7]
Question: What kind of editor do you have?
Araki: Theyâre something like a cheerful partner to me. Theyâre extremely important. I absolutely could not create manga alone. Coming together and discussing with my editor is of utmost importance.
By the way, until now I worked with more than 10 editors, but the most recent one tends to not tell me his opinion on things. I get a little angry when he does that. He says that whatever I say is good, and I tell him that saying whatâs good is his job.
Question: Have you ever changed your work because of an editorâs opinion?
Araki: Of course. He gives me his tastes and preferences. For example, initially Dio was not going to be defeated in Egypt, but the Editor liked Egypt. I said, âIsnât Egypt dirty?â He said, âNot all of it.â So, we ended up going together. I really didnât want to go though haha.
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CDă¸ăŁăąăăďź
ăCatwalkăăSOUL'd OUT(Sony Music Entertainment, 2006)
ăMUSIC IS THE KEY OF LIFEăăSUGIURUMN(MIDI Creative, 2000)
ăLIFE GROUND MUSICăăSUGIURUMN(MIDI Creative, 2002)
TăˇăŁăďź UNIQLO CREATIVE AWARD 2006ďźĺŽĺŁ˛ďź
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[9]
If you could use a Stand power, whose Stand would you choose and what would you want to do with it?
Araki: Well, which one do you choose, Shokotan? Can I call you Shokotan?
Shoko: Of course! He calls me "Shokotan"! I'm so glad. My dream is to marry Jotaro-sama and have a child with him. He'd probably say to me, "Yare Yare Daze" and spit on me. That's my dream. Sorry, the question was about stands, wasn't it.
Araki: So, Star Platinum?
Shoko: I want to receive 'ora ora' from him.
Araki: (Laugh) Hmm...I think I would choose Rohan Kishibe's Stand. I want to know what people are thinking by opening their minds.
Shoko: You work with various people, so that would be useful.
Araki: Yes, I want to discover the unknown sides to them.
Shoko: It's scary though, it seems like you are already able to use that Stand, I guess.
Araki: (Laugh) Well, yeah. And your choice is Star Platinum, right?
Shoko: I want to be beaten up by him.
Araki: I hope your dream will come true.
Shoko: (Laugh) I am a completely bizarre person.
What type of woman does Jotaro-sama like?
Araki: Type of woman? Uh, I don't think he is interested in women that much.
Shoko: I think he would say, "Yare Yare Daze," to a girl like me, right?
Araki: He definitely would. That is his charm.
Shoko: He would also say: "You are annoying."
Araki: (Laugh) That would be great.
Shoko: That's what I want! I want to have a child with him. How can I make him love me?
Araki: He might say that you're annoying, but he'd still love you, I think.
Shoko: I like it! It's tsundere. Does he prefer a girl who's neatly dressed or one with a short skirt?
Araki: Eh, he is more of a straightforward guy. He will enjoy the time with you, though he might say that you're annoying.
Shoko: Really? Then I will do my best! I think I should go to a disco.
Is Jotaro's school cap a part of his head?
Araki: Yes, it's true.
Shoko: Is it? Why is the cap a part of his head?
Araki: Well, because he never takes off his cap.
Shoko: The cap is part of his body?
Araki: Right. When drawing Jotaro, I felt it was OK to combine him and his hair since he never takes it off.
Shoko: That's a unique idea.
Araki: Indeed. By doing so, Jotaro looks more elegant. I want readers to recognize him from the back, not just his forefront.
Shoko: So he isn't actually wearing a cap. The cap is completely part of his body.
Araki: That is right.
Shoko: Only Araki-sensei could come up with such an idea. It's me who wants to use Rohan's stand to see inside of Araki-Sensei's imagination.
There is a rumor that one scene in the 20th volume of JoJo's Bizarre Adventure predicted the 9/11 attack in New York 11 years before it actually happened. Did Boingo really predict 9/11?
Araki: Yeah, that actually surprised me. I don't know why I drew such a scene.
Shoko: You clearly wrote the word 911 and the laughing plane.
Araki: I don't even know why the plane is laughing.
Shoko: You didn't intentionally draw the scene?
Araki: Well, I don't know. I don't remember. I drew that scene as part of the story, but I don't know what it means. I learned about it recently, but I think it's just a coincidence.
Shoko: Your stand can predict the future. Your Stand predicts the future AND keeps yourself young. (Laugh)
How can one defeat Star Platinum: The World, the most powerful stand ever?
Araki: Eh...Jotaro can be defeated only by Jotaro himself or by the child of Jotaro and Shokotan.
Shoko: You allow me to have his child? So Jotaro-sama and I have a child and he won't be invincible.
Araki: Correct.
Shoko: That's a great idea!!
Araki: Actually, it's impossible to defeat his stand at the moment. Star Platinum can halt the flow of time, so to defeat him, you need to let time flow again.
Shoko: So you would need to possess a power to control time itself? Sounds great.
What do you keep in mind when drawing pictures in color?
Araki: Well, the combination of colors is important. Like what color should be placed where.
Shoko: What is your favorite color?
Araki: My favorite color? Green...or moss green with some white. The mix of dark moss green and white is my favorite.
Shoko: But the color you actually draw with and the color that is printed are somewhat different right?
Araki: Yeah, you're right. So the important thing is not only the color itself but its adjacent colors.
Shoko: When you were a child, what were you drawing?
Araki: I was drawing things like Hakagata Mitsuru, a character from Kyojin no Hoshi. I'm a big fan of Ikki Kajiwara. I was curious how Joe Yabuki's hair looked like when we saw him from the forefront, right side and left side.
Shoko: Ordinary kids draw Joe only from the right or left sides, but you were not a normal kid.
Araki: (Laugh) Yeah.
What type of woman does Araki-Sensei like?
Araki: EH..? This question is hard to answer.
Shoko: Your wife may be watching this show.
Araki: I like a woman like my wife.
Shoko: A good answer. What do you like about your wife?
Araki: As soon as you meet her, you will see that she loves gags. She will often say gags like Shokotan's giza thing (means "super").
Shoko: She uses "giza"?
Araki: When I said to her "Giza Ohayu-su" (Super good morning), she told me I was doing it wrong.
Lecture
Introduction (Starting with a joke on why he accepted the offer because he has a hard time with lectures.)
Tohoku University Version: "As someone from Morioh-cho, there was no way I could turn down an offer from the hometown university." (A wave of excitement in the audience.)
Aoyama Gakuin University Version: "My daughter is going to take the entrance exam for this school next year and if she manages to get in, I don't want people to tell her, "So... your father refused to come last year, didn't he..." So, I had to accept the offer. (The audience laughs).
âChildhood memories
"As a little boy, I liked to chase mysteries. Like the mysteries of UFOs and ghosts, I always wondered why Picasso painted such strange paintings. My curiosity got the better of me and at the age of 5, I slipped head first into a lake while looking at the fishes. My parents say I've already died one time. When my mother found me, I was drowning at the bottom of the lake. She grabbed my legs and swung me upside down to revive me."
"During the Winter in Sendai, you could see animal tracks in the snow when the morning came. As a child, I used to enjoy following these tracks. One day, while following the tracks, I fell into a 'manure pit' that was underneath the snow. I managed to turn around and grab the edge the moment I fell, which saved my life, but one more step and I would've been a goner. When I went back home, my parents wouldn't let me in because of the smell. Despite it being the middle of Winter, they sprayed me down with a hose. I felt closer to death from that than the manure pit (laughs). After that terrible experience, I developed a more cautious personality. I started letting other people try new foods first, see how they react, and then eat it myself. When Plasma TVs came out, I saw as other mangaka rushed to get one and thought to myself, 'In 2 to 3 years, it'll probably be cheaper and have more features.' Several years have passed and I still watch on a CRT to this day (laughs)."
âHow to write a worthwhile manga
"This lecture's name is a little much, but it's called 'How to write a worthwhile manga'. Essentially, how do you get your manga printed? If you can't get this step done, you'll never make it big. When I look at the state of the world recently, I see lots of politicians who want fame and power so badly that they suck up to people and take them out for dinner, and make loads of money from it. Or they focus only on sales numbers and destroy the environment. They ignore their employees and act recklessly. The manga world is very similar in that people only want manga that will sell well, which can lead to lots of pitfalls that not only the publisher, but also the author can fall into. The author might want people to read their manga so desperately that they make some crucial mistakes in the name of selling copies. For that reason, one needs a 'map' of sorts. If you plan on climbing an uncharted mountain, you at least need a map to find the base of the mountain. If you don't even have that, how are you even supposed to find said uncharted mountain? If you at least have the 'base map', even if you run into some difficulties climbing, you can always return to the safety of the base of the mountain. You can always go back there if you find yourself in a slump. That's why we absolutely need a 'golden map'!"
"'A man needs a map to cross these wilds. A map inside his heart.' (Steel Ball Run Volume 4)
â Art
"The first thing the reader meets with is your art. There are lots of art styles that different people choose to pursue, like classical art, maybe something cool, maybe a fantasy style, or something realistic. However, the most important thing is for someone to be able to see your art from 15 meters away, and go, "I know that character!". That's what I think the true mark of good art is. When I was new to writing manga, that's how I felt when I saw manga like 'Ring Ni Kakero', 'Captain Tsubasa', and 'Fist of the North Star'. Even recently there are manga like 'One Piece' that I can recognize even from far away. Even when you see a particular Picasso painting for the first time, you can immediately tell, 'Hey, this is Picasso". You can tell it's mickey mouse even with just the shadow of three circles. It's not just classical artists like Michelangelo, but even newer artists like Barnett Newman, you can tell it's him even if it's just some orange on a canvas. Ultraman, Spiderman, Michael Jackson, you can recognize all of them with just one look. Even on a tiny screen, Michael Jackson is unmistakable. In that sense, I feel that the goal of art is to draw something that people can recognize easily. Of course, being a great artist is a very nice asset, but it's not really all that important."
âCharacters
"The next thing that jumps out at the reader after art is the characters. A hero is a person that fights alone. Even if they have allies, in the end, heroes that fight alone move me the most. A hero isn't someone who says, 'I'll leave it to you' (laughs). Even if they're a weirdo that's been cast out from society, they keep on fighting from the shadows. That's the basis of a real hero. Characters are split into 'good' and 'evil'. In terms of evil, whether it's DIO or Kira, it's always a lot of fun to write them. It feels like my stress just flies away (laughs).
Even the evil characters have their own philosophies though. Kira just wants to live a quiet life, for example. I think that's something that readers can really relate to. It's really fun to think about the details of the bad guys' characters. For example, how Kira collects his nails to check his health, or how DIO is really into girls, but he doesn't mind guys either. It's fun to think of stuff like that (laughs). On the other hand, it's difficult to write the good guys on the Joestar end of things. Depending on how you write things like a sense of justice or courage, readers might start to think, 'What a little goody-two-shoes', and end up hating the character. Still, though, heroes and villains support each other (in the narrative), so you need to endure the difficulty and write them. Like how white paper needs black ink, you need both black and white for characters, as they fall apart without one another.
To me, a manga without any good guys just feels sort of empty. There are people with beautiful hearts in the real world, so writing something like that in your manga should be your goal. If you don't have a main character that embodies things like hope, good, and justice, and all you write is evil, your manga might get popular for a little bit, but if you truly wish to make something that stands the test of time, you need that universal piece of humanity called 'good'. A terrible setting would be something like a duo of Mr. Stupid and Mr. Dumb, who do things like leaving their weapons and phones and home. You shouldn't write stories like that. They should obviously have those on them, plus, if they start doing things like running up to the second floor when they should just run out of the building, readers will get sick of them. It's fine for them to have weaknesses like being afraid of bugs, but no matter what, heroes should be fighting alone for the sake of the world."
âStory
"Story is the thing that combines your art and characters and makes use of them. There are four major points (introduction, development, turn, and conclusion). Some manga authors will say that 'as long as you have some characters, the story will work itself out'. That being said, even with good characters, a manga without a story will never be one of the greats. Characters need a solid story in order to shine.
(1) The main character is suddenly thrust into a bad situation. (2) The character tries to overcome that hardship. (3) They do their best, but the situation somehow gets worse. (4) Finally, a happy ending.
This structure isn't just limited to battle manga, but it even applies to things like romance manga. For example, the love interest of the main character has a boyfriend -> it turns out she's dating the main character's brother. Like that, things get worse, until there is finally a happy ending. That kind of structure is tried and true. Manga that don't even try this map will not be received well. However, once you know this formula inside and out, it's ok to deliberately break the rules a little bit to create new art.
There are sometimes happy endings where the main character loses. For example, they lose, but save their friend, or they die in order to leave something for their descendants, or they die for a beautiful soul. These kinds of endings are sad, but I still view them as happy endings.
Also, my goal is to pull in readers with step one of that structure. If the reader gets bored before finishing that, obviously they'll never even see step two (laughs).
This was my thought process for the one-shot Rohan spinoff I wrote for Jump SQ : I get nosebleeds a lot. In the spring, I blow my nose because of pollen, and blood comes out. In the summer, my nose bleeds because of the heat. In the fall, my nose bleeds from the dryness, and in the winter I eat too much chocolate and my nose starts bleeding. What if the blood just kept on pouring out? I thought that would be terrifying, so I made a note of it and turned it into the one-shot manga."
âTheme
"Bringing everything we've talked about all together is what we call theme - the philosophy of the author. First, you tie the characters and story together.
The art exists to connect those two together, and wrapping all of that up is the author's philosophy. Theme - your perspective on life. For JoJo, that theme is the greatness and beauty of humanity. The one thing you should absolutely not do, though, is lecture your readers. If you start lecturing them, they'll think "why should I listen to what *you* have to say?", and stop reading. Your theme should be in the background. You can express your theme through small things, like characters' actions, characters' final lines, that sort of thing. When new manga authors have their work looked at, lots of them only focus on their theme, that's no good, alright? It's not smart to write main characters that go on and on about "this is what I'll do!" while fighting. I think that hiding your theme in the background is the basis of creative writing."
âQ&A Section (Araki and two others answer students' questions.)
A - Araki
Q - Student asking question
O and K - The two other people being interviewed
(Q) Congratulations on 20 years of serialization for JoJo's Bizarre Adventure!
(A) Thank you very much.
(Q) How does it feel to hit 20 years?
(A) I'm really grateful that all the young actors and musicians are celebrating. If I had gone twenty years without anyone saying anything, I might have gotten a little lonely.
(Q) Is there anything that sticks out in your memory after all these years?
(A) There are quite a few things, but when I first started making stands, the people around me often said "the readers don't understand this", and I wasn't getting popular at all. At that time, there was only one editor who stuck by my side, and gave me the courage to keep going.
(Q) In Steel Ball Run, Gyro doesn't use a stand, but rather a steel ball.
(A) It's like his version of hamon. He's a Zeppeli after all (laughs).
(Q) What were some big changes that happened when you switched from weekly to monthly publication?
(A) I had to write 80 pages weekly, which was getting really hard on my body as I entered my 40s. Plus, there is a lot more wiggle room in terms of how many pages a chapter is for monthly publications, which makes it a lot easier to draw what I want to.
(Q) Do you ever feel stuck when writing?
(A) Sometimes my lower back hurts so much that I feel stuck (laughs). I always try to pay attention to the mysteries I see in my daily life. I find that that keeps the ideas flowing very well. The artist Paul Gauguin went to Tahiti in search of mysteries, mysteries are the root of ideas.
(Q) When you're thinking of stands, do you figure out the abilities based on the artists' names? Or do you name the stands after you gave them their abilities?
(A) I find something that fits my idea, and try to use it in a way that doesn't get me into too much trouble (audience laughs)
(Q) What's your favorite stand?
(A) Shigechi's Harvest. Back then, I collected stuff like CD coupons, and when I dropped them under my bed or something, I thought "man, Harvest sure would come in handy here" (laughs).
(K) Why did the part four characters like Hazama and Tamami suddenly go from tall to short?
(O) Didn't they end up at like 60cm? And Koichi must've been around 55.
(A) For design reasons dude (laughs). It was a weekly publication so I couldn't really go back on it. I could have kept it consistent if it was a monthly publication.
(In a later conversation about this, Araki says that "It reflected Koichi's state of mind. at first, Tamami looked scary, so he seemed bigger to Koichi".)
(Q) Were the landmarks in Morioh based on something? For example, Angelo.
(A) That's right. Angelo was based on some rock in Matsushima.
(Q) You've had stories set in Italy and America, where do you want to have the next story take place?
(A) I want to go back to Morioh after all. When I finished writing that Rohan one-shot, it felt like I was home. I want to keep writing about it.
(Q) What are some strange experiences you've had?
(A) This was quite recently, but I was taking a shower at a sports gym, there was a middle-aged guy with a tail. I was shocked and reported it to the staff, but they just looked at me like "is this guy crazy?".
(K) Just like Dio's dinosaur transformation (laughs).
(A) Also, a cat in my neighborhood got hit by a car, and then suddenly shot up and (mimicking running sound) 'ta-ta-ta-ta' - ran away. "Wow, this guy must be invincible", I thought. I was seriously impressed, so I told the author Sako Toshio about the incredible cat. He told me, "the cat just didn't realize that it had been killed yet". But surely enough, the cat was still there the next day, so it must have been immortal after all (laughs).
(K) Notorious BIG...
(Q) Let me guess, next the cat fused with some grass?
(A) Hey, I really did see it, just so you know! (audience laughs)
(Q) What do you consider to be the backbone of JoJo?
(A) Definitely bloodlines.
(K) Avdol's bloodline's sure got it rough.
(A) Avdol, huh... (audience laughs)
(Q) The three of you seem really close, how did you come to know each other? Is it because of JoJo poses after all?
(The three of them spent some time doing JoJo poses during the event)
(A) Around two years ago, I heard rumors of something really cool, and saw it on my computer. Somebody was doing some kind of earth art in front of Osaka castle, it almost looked like they were trying to start a new religion or something (audience laughs). It was a kind of art I had never seen before, it felt like it was from a different world. After that, I started having him come to parties and stuff.
(Q) What character are you most attached to?
(A) Josuke Higashikata. The characters up to Jotaro felt like legends, but Josuke felt like I was writing a friend. I really enjoyed writing the scenes where Josuke and Okuyasu were chatting.
(Q) Is there anywhere you really want to go when you visit Sendai? (Araki's hometown)
(A) I'll definitely have to get some cow tongue. Our town wasn't really known for its cow tongue while I was growing up, but someone must've made it really famous since then (laughs).
(Q) What do you think of young manga authors being influenced by JoJo?
(A) Imitation is the sincerest form of flattery, so I would love people to keep imitating me and developing the world of manga.
(Q) Is there anyone you see as your successor?
(A) I'd have to go with Dai Amon (audience laughs)
(Q) Are you really ok with his material?
(A) He comes over to apologize pretty often (audience laughs)
(O) I've got every volume he's released (laughs)
(Q) On the opposite side, is there anyone who has influenced you?
(A) I'm influenced by all of the older manga authors, but especially Yokoyama Mitsuteru's "Babel II", where he expresses things in a way that supersedes emotion. He writes pure suspense, without dwelling on feelings. Also, Ikki Kajiwara's "Star of the Giants" really showed me how to write a good line. The confidence that characters have with their lines is definitely because of Ikki Kajiwara.
(Q) I was really surprised seeing the line "press-fest", where did that come from?
(This is referring to the scene where Scarlet Valentine asks Lucy Steele to sit on her face and give her a "press-fest".)
(A) My wife will sometimes charge at me and say "It's press-fest time! It's press-fest time!" (audience laughs)
(K) Gyro's "mozzarella cheese song" was pretty good too (laughs).
(A) Serious stories need some differences in pacing and tone, so I like to put the readers at ease before thrusting them into terror (laughs).
(Q) I also liked the 4 2 0 joke as well
(Referring to the part where Gyro makes 4, 2, then 0 with his hands, which can be interpreted as "excuse me" in Japanese.)
(A) That kind of conversation is important. Josuke and Okuyasu also had a similar dynamic. That kind of casual conversation is very important in order to actually convey how close the two characters are. You can really tell that they would never betray each other.
(Q) Do you have any plans to mix it up by writing something like a love story?
(A) I could definitely put some romance into JoJo, but the scene where they meet would have to be special, like one of their fingernails comes off or something (laughs).
(Q) Is there anything else you'd like to say to these young students?
(A) College students eventually graduate and go out into the world. If they have that basic map and stray from it, they can always come back to safety. However, if they stray without having the map, they might become lost and reckless. Today, I wanted to teach you that through the lens of manga.
Lecture
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Źăč˛ ăăă¨ăăăăăăźă¨ăłăăăăăžăăč˛ ăăŚăĺéăĺŠăăă¨ăăĺĺŤăŤä˝ăăćŽăçşăŤćťăŹă¨ăăçžăăĺżăŽçşăŤćťăă§ăăăŽăŻăć˛ăăăăŠăăăăăăăźă¨ăłăă ă¨ćăŁăŚăžăă
ăă¨ă ďźé çŽă§čŞč
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âťă¸ăŁăłăSQăŤćăä¸ăăăć°ä˝ăŽé˛äź´ĺ¤äźăŤă¤ăăŚăăĺăŻăăéźťčĄăĺşăăă§ăăćĽăŻčąç˛ă§éźťăăăă§éźťčĄĺşăăŚăĺ¤ăŻćăăŚĺşăăŚăç§ăŻäšžçĽăăŚĺşăăŚăĺŹăŻăă§ăłăéŁăšéăăŚĺşăăŚă¨ăăćăăăăăăăć˘ăžăăŞăăŁăăćăăŞă¨ćăŁăćăŤăĄă˘ăăăăŽăäťĺăŽčŞăżĺăăŽăăżăŤăŞăŁăăă§ăăă
âăăźăăŤă¤ăăŚď˝ăăšăŚăçľąćŹăăŚăăăŽăăăźăďźä˝č
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by @JOJO(Thanks!) ăžăăăŁăŠďźä¸ťäşşĺ Źďźă¨ăšăăźăŞăźăçľăłă¤ăă
ăăăă˛ăŁăăăăŚčĄ¨çžăăçşăŤçľľăăăă
ăăšăŚăĺ
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ă羜寞ăŤăăŁăĄăăăăŞăăă¨ăŻčŞč
ă誏ćăăăă¨ă誏ćăăă¨âăĺăŞăăăŤč¨ăăăăăŞăâă¨čŞč
ăŻĺźăă¨ćăăăăźăăŻčĺžăŤăăăšăăăŽăăăŁăŠăŽčĄĺăéăăŚćăăăăćĺžăŽĺ°čŠă§ăĄăăŁă¨ćăă¨ăăăŽç¨ĺşŚăć°äşşăŽĺŻŠćťăăăă¨ăăźăă ăćăăŚăăäşşăĺ¤ăăăăăăăŽăŻéăăŞăă§ăăăâäżşăŻä˝ă
ăăăăă ăźăďźâă¨ăč¨ăăŞăăćŚăŁăŚăă丝人ĺ
ŹăŻăšăăźăăăăŞăăăăźăăŻčĺžăŤé ăăŽăĺľä˝ăŽĺşćŹă ă¨ćăŁăŚăžăăă[11]
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ďźĺ çďźăăăă¨ăăăăăžăă
ďźĺŚďź20ĺ¨ĺš´ăčżăăăăŚăŠăăŞćć ¨ăăăăăžăăăă
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ďźĺŚďźĺśä˝ăŤčĄă芰ăžăăă¨ăŻăăăžăăă
ďźĺ çďźč °ăçăăŚčĄă芰ăžăăă¨ăăăăžăďźçŹďźăçć´ťăŽä¸ă§ĺ¸¸ăŤčŹăćčăăŚăăă°ă˘ă¤ăă˘ăŻćš§ăăžăăăçťĺŽśďźă´ăźăŽăŁăłďźă ăżăăăžă§čĄăŁăŚçľľăćăăŽăčŹă ăăăăăăŞčŹăăă˘ă¤ăă˘ăŻĺşăŚăăžăă
ďźĺŚďźăšăżăłăăčăăćăŻăă˘ăźăăŁăšăă¨ăŽĺĺăăč˝ĺăéŁćłăăăŽă§ăăďźăăă¨ăč˝ĺăŤăăŁăĺĺăĺžăăć˘ăăŽă§ăăďź
ďźĺ çďźă˘ă¤ăă˘ăŤăăăăăăăŽăć˘ăăŚăăŚăćăăăŞăăăăŞçŻĺ˛ă§äťăăŚăžăăďźĺ ´ĺ ççŹďź
ďźĺŚďźä¸çŞĺĽ˝ăăŞăšăżăłăăŻăŞăă§ăăă
ďźĺ çďźéăĄăźăŽăăźă´ă§ăšăăăăŽé ĺăŻďźŁďź¤ăŽăŻăźăăłĺ¸ă¨ăéăăŚăŚăăăăăŽä¸ă¨ăăŤč˝ă¨ăă¨âăăźă´ă§ăšăäžżĺŠă ăăăŞăâăŁăŚďźçŹďźă
ďźďźŤďźďźé¨ă¨ăăă°ăŠăăăŚéç°ăççžăŻćĺ躍éˇăéŤăăŁăăŽăŤĺ°ăăăŞăŁăăŽă§ăăă ďźéŹźďźăăăćĺžăŻ60ď˝ď˝ăăăăăăŞăă§ăăďźĺşˇä¸ĺăŻ55ď˝ď˝ăăăă§ă
ďźĺ çďźăăśă¤ăłä¸ăŽççąăŁăďźçŹďźăéąĺă ăăç´ăăŞăăă§ăăăćĺăŞăç´ăăăă§ăăă âťăăăŤă¤ăăŚăŻĺžăŽäźčŠąă§ăăăăŻĺşˇä¸ĺăŽĺżçăĺć ăăăŚăăŚăćĺăŻççžăćăăŚĺ¤§ăăčŚăăăă§ăăă¨ăă
ďźĺŚďźćççşăŽĺćăŻă˘ăăŤăăăăŽă§ăăăăă¨ăă°ă˘ăłă¸ă§ă岊ă¨ăă
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ďźĺ çďźă¤ăćčżăŞăă ăăŠăăšăăźăă¸ă ă§ăˇăŁăŻăźăćľ´ăłăŚăăăăăăŞă¸ăľăłăŤĺ°ťĺ°žăçăăŚăăă§ăăăăăăŻăŞăăŚăăŽäşă ă¸ă ăŽäşşăŤĺ ąĺăăăâăăŽäşşé ăăăăăăăăŞăăâă¨ăăçŽă§čŚăăăžăăďźçŹďźă
ďźďźŤďźăăăŁăŚDioăŽćçŤĺăżăăă§ăăďźçŹďźă
ďźĺ çďźăă¨ă厜ăŽčżćă§çŤăčťăŤă˛ăăăăă§ăăăăăŽçŤăŻăăă¨çŤăŁăŚăżăżăżăżăŁăŚčľ°ăŁăŚăăŁăăă§ăăăâă˘ă¤ăăä¸ćťčşŤă ăŞăâăŁăŚ ćĺżăăăŽă§ă柍çťĺŽśăŽčżŤĺ çăŤâăšă´ă¤çŤăăăăă§ăăďźâăŁăŚčŠąăăăăăĺ çăăăăćťăă§ăăŽăŤć°äťăăŞăăă§ăăăăŁăŚă ă§ă揥ăŽćĽăăăžăăăăăăăăă¤ă羜寞ăăŽçŤăŻä¸ćťčşŤăŞăă§ăăďźçŹďź
ďźKďźăăăźăŞă˘ăšBIGâŚă
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ďźĺŚďźćčŚăăŚăă¨ăä¸ćšăŻă¨ăŚă茪ăăăăă§ăăăŠăçĽăĺăŁăăŽăŻăŠăăăăăŁăăăŞăă§ăăăăăŻăă¸ă§ă¸ă§çŤăĄă§ăăă
ďźĺ çďźä¸ć¨ĺš´ăăăăŤăĺă§ăšă´ă¤ăŽăăăăŁăŚčăăŚăă˝ăłăłă§čŚăăŚăăăŁăŚă大éŞĺăŽĺă§ăăŁăŚăăŽăăăŞăăăăăĺ°çďźă˘ăźăšďźă˘ăźă ăżăăăŞćăă§ăăăăŤć°čĺŽćăżăăăŞćăăăăŚďźĺ ´ĺ ççŹďźăäťăžă§ăŤăŞăç°ä¸çă¨ăăăăć°ăăč¸čĄă¨ăăŚĺăŻćăăŚăăŚă ăăźăăŁăźăŽćă¨ăăŤăăăăŁăŚćĽăŚăăăŁăŚăăă§ăăă
ďźĺŚďźä¸çŞćçăŽăăăăŁăŠăŻăżăźăŻďź
ďźĺ çďźćąćšäťĺŠă§ăăćżĺ¤Şéăžă§ăŻçĽčŠąçăŞć§ăăŽäşşçŠă ăŁăăăŠăäťĺŠăŻĺéăćăăŚăăć°ăăăŚăĺćł°ă¨äťĺŠăĺăŁăŚă ĺ ´é˘ăŻćăăŚăŚăăăă漽ăăăŁăă
ďźĺŚďźäťĺ°ăŤĺ¸°ăă¨ĺż ăçŤăĄĺŻăă¨ăăăŻăăăă§ăăă
ďźĺ çďźçăżăłĺąăŤăŻĺż ăčĄăăžăăĺăä˝ăă§ăé ăŻçăżăłăŻĺçŠăăăŞăăŁăăŽăŤăăă¤ăŽăžăŤă誰ăăĺçŠăŤăăŚăăŚďźçŹďźă
ďźĺŚďźă¸ă§ă¸ă§ăŤĺ˝ąéżăĺăăŚăăčĽćăăłăŹĺŽśă¨ăăŻăŠăćăăăžăăă
ďźĺ çďźçäźźăăăăŽăŻĺ ć ăŞăŽă§ăăŠăăŠăçäźźăăŚćźŤçťçăçşĺąăăăŚăăŁăŚćŹ˛ăăă§ăăă
ďźĺŚďźĺ çăăčŚăŚĺžçśč çăŞćšăŻăăăŽă§ăăă
ďźĺ çďźĺžçśč ăŻĺ¤§äşéăăŞăăďźĺ ´ĺ ççŹďź
ďźĺŚďźăăżăŻă˘ăŞă§ăăďźçŹďźă
ďźĺ çďźĺ¤§äşéăŻăăăŁăĄă ăčŹăăŤćĽăŚăăă§ăďźĺăłççŹďź
ďźéŹźďźĺăŻĺ ¨ĺˇťćăŁăŚăžăďźçŹďźă
ďźĺŚďźéăŤĺ˝ąéżăĺăăĺ 蟊ăŽăăłăŹĺŽśăŻăŠăŞăă§ăăă
ďźĺ çďźĺ čźŠĺ ¨ĺĄăă役éżăĺăăŚăăžăăăä¸ă§ăăăăăŤďźä¸ăăŽć¨Şĺąąĺ čźĺ çăŻćć ăćăă襨çžăăăăăŞă¨ăăăăăŤďźä¸ă ăŻăľăšăăłăšă ăăă˛ăăăćăăŚăćć ă¨ăăŻăăžăćăăŞăăă§ăăăăă¨ăă塨人ăŽćăăŽć˘śĺä¸é¨ĺ çăăăŻăťăŞăăŽč¨ăĺă㎠役éżăĺăăŚăžăăăď˝ă ďźăă¨č¨ăĺăćăăŻć˘śĺä¸é¨ăŞăă§ăăă
ďźĺŚďźâĺ§čżŤçĽăâăŤăŻăăăŻăŞăăăŽă§ăăăăăăŻăŠăăăĺşăŚăăăă§ăăăďźçŹďź
ďźĺ çďźăŚăăŽĺĽĽăăăăăçŞćăăŚăăŚăĺ§čżŤçĽăă ăĺ§čżŤçĽăă ăăŁăŚč¨ăăă§ăăăďźĺ ´ĺ ççŹďź
ďźďźŤďźă¸ăŁă¤ăăŽâă˘ăăĄăŹăŠăăźăşăŽćâă漽ăăăŁăă§ăăďźçŹďź
ďźĺ çďźćă芹ăçśăă¨çˇŠćĽăĺż čŚă§ăčŞč ăăŞăŠăăŻăšăăăŚăăăŚăăććăŤçŞăč˝ă¨ăăŚăăăżăăăŞďźçŹďźă
ďźĺŚďźâďźăťďźăťďźâďźăˇăăŹă¤ďźăŽăŽăŁă°ă漽ăăăŁăă§ăă
ďźĺ çďźăăăăäźčŠąă大äşăäťĺŠă¨ĺćł°ă¨ăŽé˘äżăăăă ăăŠăä˝ć°ăŞăäźčŠąă§čŞč ăŤäť˛ăŽčŻăăäźăăăăă§ăăăăŽďźäşşăŻ 羜寞ăŤčŁĺăŁăăăăŞăăă ăŞăŁăŚăăă
ďźĺŚďźäťĺžăććă˘ăă¨ăăăăăĺ¤ăăŁăăăŽăćăăŚăżăăă¨ăăăăžăăă
ďźĺ çďźă¸ă§ă¸ă§ăŽä¸ă§ććăăăăŽăŻă§ăăăăŠăďźäşşăĺşäźăăˇăźăłăŻçšćŽăŞçśćłă§ăçŞăĺĽăăăăăăăă§ăăăăďźçŹďźă
ďźĺŚďźćĺžăŤäźĺ ´ăŽčĽăĺŚçăăĄăŤä¸č¨ăéĄăăăžăă
ďźĺ çďźĺ¤§ĺŚçăŻăăăă礞äźăŤĺşăŚčĄăăăăăăŞăă§ăăăĺşćŹĺ°ĺłăçĽăŁăŚăŚĺ¤ăăăŽăŻćťăŁăŚăăăăăăăăă§ăăăŠă çĽăăŞăă§ĺ¤ăăă¨ć´čľ°ăăăăăăŞăăă¨ăäťćĽăŻăăŽăă¨ăăăłăŹăéăăŚč¨ăăăăŁăăă§ăă
Kaneda: A while ago, there was a story called "Let's Go Hunting" and I really liked how Josuke and Jotaro teamed up. First you have Josuke who always feels like he's about to burst into a rage but he's always reliable when push comes to shove. Then there's Jotaro who can get really mad and he'll barely lose the cool expression on his face. I thought them working together went well, I love that story. It's to be expected seeing as he's a scientist, but I'm really enthralled with how Jotaro knows so much about wild animals (laugh).
Araki: Yeah, I like partnerships. When I see artists that have partnerships, I get all jealous. Though I guess there's sort of a partnership between a mangaka and an editor. I liked the partnership of Josuke and Jotaro, too. They both have a kind of "pursuer" feel to them, don't they?
Kaneda: It was so cool when Jotaro said "You've got to be the one to shoot." and then went off to let himself become a decoy.
Araki: They have a relationship where they sort of bring out each other's strengths.
Kaneda: I think that because Josuke respects Jotaro so much, he feels a lot of pride from just being with him. It's an exceedingly good relationship, even one that almost crosses a certain line (laugh).
Editor: Sounds like she's reading into it in a yaoi sort of way. I guess she's excited by that sort of thing.
Araki: Oh, I see (laugh). Maybe it's better that I didn't write that, then.
Kaneda: Yeah! If you'd written that openly, there'd be no room for imagination and that'd ruin all the fun. I don't think anything like that would happen for the whole hunting thing, but if it turned into something like "After the hunt is over, do you wanna go to a hotel?", I feel like that'd be really overdoing it! (Laugh) Also, if something like that were written in the story, there would be a lot of people that really like coupling and would say things like "the only one for Jotaro is Kakyoin!" So it would actually, it would actually narrow the scope of the story. So I really think that stopping just short of that is much better.
Araki: That kinda sounds like "Beverly Hills, 90210". This person and this person are connected, and this person is with so-and-so, that sorta thing.
Kaneda: It's good to draw all sorts of jumbled lines like that (laugh). That way it never goes to the point of actual acts, it's more desirable to be potential.
Araki: I see.
Kaneda: Really, from a boy's point of view a team play is "admirable friendship". and from a girl's point of view it's has a different kind of admiration. And we want it to end with that double meaning. Personally, I think Okuyasu and Josuke make a good partnership, too. Both are good-for-nothing-types. Truthfully, if Okuyasu were smart, he would have a top-class Stand. I think that the user not being smart strikes a good balance.
Araki: He's a lovable character, isn't he? (laugh).
Kaneda: I think Okuyasu is the best person you'd want for your friend. But in regards to partnerships, I think Johnny and Gyro in the current Part, "SBR" are the best.
Araki: That was me tracing the story of Part 1 with Zeppeli making Jonathan grow and trying to write it a bit more deeply. This time they're a bit closer in age, and I'm really enjoying writing their conversations.
Kaneda: I just love those pointless exchanges between the two. Like when Johnny used his evolved nail bullets to brush his teeth and Gyro gave that monotone response about being jealous (laugh). I remember thinking "This is how boys communicate!" when I read that.
Araki: Yeah, boys tend to have those sorts of pointless back-and-forth conversations a lot, don't they? (Laugh)
Kaneda: You really feel their friendship in those sorts of scenes. Rather than hug each other or anything, that makes them really charming to girls.
Saitou: But they have a fixed relationship, so they're kinda hard to couple, right?
Araki: Yeah, there really isn't much room there for reading too much into it, is there? I wanted to have a deeper connection of friendship between teacher and disciple than I did in Part 1.
Kaneda: It's written so richly, so they don't even need to be coupled, I guess. People have ideas about how Johnny is paralyzed in the lower half of his body, so while Gyro generally seems very cold, there are times at night when he has to care for Johnny and that sort of thing.
Araki: Yeah, I like that (laugh). Well, maybe I'll draw a scene of them in a night-time camp scene.
Kaneda: That sounds good! I hope you do (laugh)! Also, I'm hoping that Dio gets involved in their relationship somehow...... Fundamentally, Dio is a character who started out in poverty. So then, because of his desire to be successful in life, he's not afraid of anyone and he's not afraid to dirty himself to make his way to the top. Girls love that sort of thing. Fujoshi-wise, I mean in my mind, at the point in Part 6 where the character of Father Pucci that feels seriously about Dio, I've made this theory of "Dio = Princess" (laugh). Like he started out from the status of prostitute, so he dirtied his body with lots of different men, but his soul never lost its purity. And the 16 year old Pucci was attracted by that...... Early on, there's a scene where Dio and Pucci are sitting slovenly on the same bed facing different directions and having a discussion ('The Time of Heaven', "Stone Ocean" Volume 11). I simultaneously could barely believe my eyes and went mad with joy. That's the effect you must've been going for, right, Araki-sensei?
Araki: Uh... I didn't really think it would be taken that way, I don't think. Guys do that sorta thing all the time. Just sorta crashing someplace. Like when you go drinking and it gets late, so you need to stay over at somebody's place.
Kaneda: Eh, then you're saying that Father Pucci and Dio were out late drinking?! (Laugh) Um, I'm not so sure these are the types of characters who would crash at each other's place because they missed the last train for the night or something.
Araki: Now that you mention it, I think I might've had something like that in mind when I drew it (laugh). But Dio's sort of a composed character that could go either way. He could go with a man or a woman.
Kaneda: Really?! As I thought, my interpretation was correct.... (laugh). So, Dio originally liked Jonathan, right?
Araki: Ah, did he?! (Laugh)
Kaneda: Jonathan Joestar was a man that had everything he didn't, so Dio felt that he wanted to make Jonathan his. That sort of thing. He couldn't allow Jonathan's first kiss to be with Erina, so he did it to Erina himself.
Araki: Uh, it kinda sounds comedic if you're gonna go that far (Laugh).
Kaneda: No, but Dio thought about Jonathan seriously, but at the same time homosexuality was a serious crime in England during that era, so Dio had to hide his desires for such a future deep inside.
Araki: Uh, I guess that could be.
Kaneda: And those feelings he'd suppressed so long finally resulted in him taking over Jonathan's body.
Araki: I see. Well if you look at it at that angle, it gives the story a fresh feel, I suppose. (Laugh)
Kaneda: Dio, someone so dirtied, wanted to profess "I like you" to Jonathan. But he was unable to and then Erina took Jonathan, so through bitter tears at the end he took Jonathan's body. "Now we've finally become one, Jonathan." That sorta thing. If he'd had time to smooth his words over a bit more, he would have said that he wanted to be part of Jonathan's bloodline.
Araki: That kind of sounds like the movie, "Purple Noon".
Kaneda: He wanted to become Jonathan. But I think in the end, he lost track of whether he wanted to become Jonathan or he wanted Jonathan to become his. With his noble soul that harbored such sorrow, there were men showing up that loved Dio one after another. Like in Part 3, Vanilla Ice and N'Doul and those guys. Particularly in Part 3, whenever was mentioned, they talk about his almost-transparent white skin and his bewitching charm that made it hard to believe he was a man. Even Avdol felt dizzy the first time (laugh). Even Avdol, that macho guy that liked peeing outside was attracted to Dio. So he really had an aura that attracted all types of men.
Araki: Uh, I guess that's a way of looking at it, too. (Laugh)
Kaneda: ......I'm glad. If you'd said something like "There's no way there was anything like that!" and just cut me off, I don't know what I would've done.... (Laugh)
Araki: There's no way I could write that, but I'll admit that could exist as a sort of hidden meaning. He definitely had some lust somewhere.
Kaneda: Dio's confusion of not being sure himself if he wanted Jonathan's bloodline or wanted his body or wanted his heart is really juicy from a yaoi aspect.
Araki: But someone like Dio would never offer his love 100% to someone.
Kaneda: Speaking of which, he had lots of illegitimate children, didn't he? I feel bad for Ungaro being the only ugly one. (Laugh)
Araki: (Laugh)
Kaneda: So it's a bit different from the sort of love Jonathan and such have, huh?
Araki: Jonathan and the others' love is far deeper than Dio's. They didn't run purely on desire like Dio. Dio will do anything to get what he wants, but he would absolutely never pour 100% of his love into a specific person.
Kaneda: True. It doesn't sound so much like love as it does like stealing. Well, I suppose Father Pucci, pursuing the princess he would never obtain, was really the juiciest character of Part 6.
Araki: Now that you mention it, I think I really did consciously write it that way (Laugh).
Kaneda: He wanted so thoroughly to love Dio more, so when Pucci said the line "I love you as I love God", it was a real thrill. And in response to that, I'm glad Dio said "I was afraid you'd disappear". Vanilla Ice loved Dio as well, but he died spinning around in circles like that, so you wanted to have a character express their intense feelings towards Dio in a more open way, huh?
Araki: I think if Dio had lived, it could've gone a bit more in that direction. But he's dead, so all of that will just remain in the realms of imagination.
Kaneda: But there were people like this in Dio's life, so I feel vindicated.
Araki: But I don't think Dio loved Pucci.
Kaneda: I suppose so. I think for Dio, their relationship was casual. There was a sort of feeling like "You don't know anything about my life, so don't start worshipping me like a god." I guess. "I've been the object of pleasure for hundreds of men!"
Araki: He was made the object of their pleasure? (Laugh)
[Translated by Kewl0210[12]]
Araki: But that's essentially a result of the fashion aspect, so I don't think they're fundamentally an established couple. Also, their fashion is mostly drawn referencing women's fashion, so it might be because they are a bit androgynous.
Kaneda: In part 5, everyone's wearing really sexy clothes that have holes which show their skin in various places. That must be mostly because its set in Italy, right? It feels totally natural that if it's in Italia, men can be so lovey-dovey with each other.
Araki: With the enemy characters, I think that's the case. But that's totally impossible, for example, with Narancia and Abbacchio, haha. That's definitely just friendship.
P. 30
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ĺćăťćďźć´ç§äżŽä¸é ĺçďźç°éćçž
[13]
ââ Now that you've readăThe Bookă, what do you think of it?
Arakiďź The last scene really moved me. The suspense builds up over the course of the story, the resolution is really intense, and then the ending is quite sad. It's a really rich ending that differs from the usual happy ending of a lot of stories. I think it fits Morioh and Otsuichi perfectly.
Otsuichiďź âŚ"Rich ending"⌠That's nice to hear.
ââ How do you feel about your works being turned into novels?
Arakiďź I think it's perfectly fine. An author with a lot of ability turning one of my works into a novel is extremely interesting. This time in particular I was really able to to enter the world of ăThe Bookă.
ââ Enter the world of ăJoJoă?
Arakiďź Yes, I was felt like I was able to fit into the world, or perhaps pulled in is a better way to describe it. I was able to become Otsushi-san's Josuke. I haven't read many novelizations of manga, so I may be misunderstanding some authors' intent, but there are times when I think "Well, this is a bit different from the original..." ăThe Bookă, on the other hand, feels like a properly written and ripened work. How long did it take you to finish it again?
Otsuichiďź How long... probably about 5 years? I have a huge pile of rejected manuscripts. I think ultimately I ended up with over 2000 pages of rejected manuscripts. Despite that, these 5 years feel like they've gone by really fast.
ââ Writing for 5 years and 2000 rejected manuscripts. That's quite impressive.
Otsuichiďź I wasn't using the characters of ăJoJoă freely enough. In other words, it was as if the characters I was using were like puppets, which made them feel off. It made me realize that I needed to rethink my approach and so I used these manuscripts as a way to refine my strategy for writing. I thought that I would only be able to do something like this once in my life, so if I put something in the book from the manuscripts that I wasn't satisfied with, I would regret it for the rest of my life. So, I kept my head low and went 5 years without releasing anything.
Arakiďź But I think it really paid off. It's an incredible book.
Otsuichiďź I really appreciate that you drew brand new illustrations forăThe Bookă, but I'm also very happy that I can see the characters from Part 4 in your current style.
Arakiďź It's just in my nature to worry about the little details of drawings, even if it's for a novelization. Details like adding snow in the background because of the book's setting in the winter of Morioh. Or the fact that the book's original villain is someone that Josuke and the others fight, but he's not meant to give off the appearance of an evil, strong enemy. Rather, he's supposed to be like the protagonist in this small town, so his life's background is also important. The reality of that part caught my attention.
Otsuichiďź All the illustrations you drew were even greater than I expected. This illustration you drew for the first few pages that just jumps out at you, this one is fantastic.
ââ Otsuichi-sensei, what was interesting about the writing process for the novelizationďź
Otsuichiďź I tried to put into some references that only fans of ăJoJoăwould understand. That was really interesting. It felt like I was writing a doujinshi.
Arakiďź You really got a lot of use out of those references (haha). There was a feeling that you were relaxing to an extent while writing them in.
Otsuichiďź In the beginning, I was opposed to using any of them all. But, that just made the story feel like a borrowed work. When I put in references, I felt like that strange feeling went away and so I decided to use them liberally.
Arakiďź You've been saying since a long time that you wanted to turn Part 4 into a novel.
Otsuichiďź Part 3 and 5 already have novelizations, but I feel like I would've picked Part 4 even if those didn't exist. I like it, it's strange.
Arakiďź Don't you think it's because Part 4 is similar to Otsuichi's world?ăI bet there was a lot of resentful authors when ăThe Bookă released.
Otsuichiďź I think there's a lot of authors who would've produced a really interesting story if they novelized Part 4. Seeing how certain authors read and understood ăJoJoăwould be really interesting I think... You would be able to see what part of JoJo each author liked.
ââ Are the stand powers within the book (for details, go and read it!) your original creations?
Otsuichiďź Yes.
Arakiďź Stands are certainly a reflection of one's worldview. Seen from an outside perspective, someone might think that the stand is not particularly great. If the person who made it, however, thinks "This is so cool!", then that's good.
Otsuichiďź "Stands are a reflection of one's worldview...", this is a nice phrase.
ââ What is your favorite character from Part 4, Otusichi-sensei?
Otsuichiďź Yoshikage Kira. Although he's the main villain and a serial killer, his idea of wanting to live a quiet life was extremely surprising to me. I've even incorporated that kind of thinking into my own life.
Arakiďź Kira is a forward-facing character, I intended to create a sort of 'evil hero' with him. To be honest, I couldn't write this into the manga, but there's more to Kira's background. Kira's mother abused him in a way, and his father turned a blind eye to it. He felt bad for Kira so to an extent he tried to save him. It's just, if I write this into the manga he'll become a sympathetic character and it would be hard to see him as an enemy. I couldn't write that balance, or maybe it because it was a magazine for young people. But, in Otsuichi-san's story these kind of sad parts are also included, they're fairly good.
ââ From the perspective of a novelist, what is the distinguishing point of ăJoJoă?
Otsuichiďź I think that differs from person to person, but for me it's the production. In a normal manga, a thing or a character will be appear suddenly to surprise the reader. With ăJoJoă however, first the environment will be established and then the character or thing is presented. It gives off a sort of creepy and exciting feeling. I really like that method of surprising the readers, so reading ăJoJoă is pure bliss.
Arakiďź Thank you. Although, that's unintentional (haha).
ââ From the perspective of Araki-sensei, in where lies the appeal of ăThe Bookă?
Arakiďź Within ăThe Bookă there's a lot of suspense. Also, the theme of 'heritage of fate' also shows up within the book, which I think is quite good. To be able to write a new story without straying from that theme, it's to be expected from a talented a writer as Otsuichi-san.
Otsuichiďź I started to pay mind to the phrase 'blood relationships' after reading ăJoJoă. A little while back, I started to like keywords like 'father' and 'child', and began incorporating the idea of 'blood relatives' into my own works.
Arakiďź The feeling of the Part 4 characters being placed into Otsuichi's world is another good part of ăThe Bookă. Part 4 characters like Josuke and Okuyasu being written so deeply, it might even be better than the original manga they came from.
ââ Because you can put more detailed psychological descriptions of the characters within a novel, right.
Arakiďź When I was writing Part 3 and 4, my head editor told me to write a sad story. I tried to do it, but it might've been because I was too young, I was unable to do it well. All that is in the ăThe Bookă, however. It's the completed version of all the things I was aiming to do with Part 4, it's fantastic.
Otsuichiďź That's good to hear... it gives me a sigh of relief.
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čć¨ďź ăThe BookăăŻäšä¸ăŻăźăŤăăŤ4é¨ăŽăăŁăŠăŻăżăźăĺ ĽăŁăŚăăćăăăăă¨ăăăă¤ă¤ăă§ăăăĺćł°ă¨ăäťĺŠă¨ăăŁă4é¨ăŽĺăăŁăŠăŻăżăźăăĄă桹ăćăăăŚăăŚăĺä˝ăăăăăăăăăŞăă§ăăă
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čć¨ďź 3é¨ă4é¨ăćăăŚăăé ăć ĺ˝çˇ¨éč ăăăć˛ăă芹ăćăăŚăăăă¨č¨ăăăăă§ăăăĺăăăăçŽćăăăă ăăŠăă§ăčĽăăŁăăăăăăăăžă§éăăŚăăŞăăŁăăă ăăŠăăăŽăThe BookăăŤăŻăăăăăăă§ăăă4é¨ĺ˝ćăŤçŽćăăŚăăăăŽăŽĺŽć形ăăăăĺŽç§ă§ăăăk
äšä¸ďź čŻăăŁăâŚăăăă¨ăăžăă
- As a creator, there's a certain drive to pursue things you don't know in order to improve your manga, right? Araki: Correct. For example, in my case, I like to go to the mountains and look for animal footprints. This includes examining traces of tree roots being eaten or soil that's been dug up. I'm not really into hunting, but I enjoy tailing animals up until the point before you're supposed to shoot them.
On a similar note, I also track and observe cats in my neighborhood. I know when they'll be passing through, so I'll wait ahead of time to ambush them. The cats that show up look so surprised when I do that (laughs). I really love that feeling.
- You usually do such things?!
Araki: Oh, yes. I'm also pretty happy when snakes show up (laughs). Snakes have human-like behavior. When they run away, they'll look back once to check if they're safe before leaving. That's why I think snakes have souls. They have a will. I'm interested in that kind of thing.
- I would like you to tell me about Part 4 in detail. Araki-sensei, what kind of work is Part 4?
Araki: In short, the theme of Part 4 is "building a city". It's meant to take JoJo's "mythical" story that its had up until Part 3, and drop it down into everyday life. Of course it's ordinary, but at the same time extraordinary. I wanted the "reality" in Part 4 to bring the story closer to the real world. That's why a certain manga artist, whose profession I know best, and a chef of a familiar restaurant also appear in this part.
- The year is 1999, and the fact that the stage is a "town" also brings about a sense of "reality".
Araki: You get the feeling that the town of Morioh actually exists. Part 4 had to end because Kira was gone, but I really want to draw more. I want to put something else in that town, so maybe I will draw it again someday... In Part 8 and 9 (laughs).
- I would definitely want to read it. Is there anything else you tried to come up with in Part 4 regarding ârealityâ?
Araki: I would often think about the different sides of characters that aren't really shown in the manga, but not like obscure trivia or something. For example, Josuke was truly hurt by the fact that he grew up never knowing his father. However, he covers up this pain with the pompadour man who saved him as a kid. He considers that man a hero, somebody he can rely on, and a symbol of his faith in people.
I didn't include this in the manga, but Yoshikage Kira actually has a backstory too. His mother was in essence abusing him, but his father would always turn a blind eye to it. All the trouble Kira's father goes through to protect Kira in the story is because he felt bad for what he did. That said, if I included this whole backstory in the manga, Kira would likely end up being a very sad villain and people wouldn't see him as the enemy. I couldn't include this, or rather, maybe I wasn't able to because this was a magazine for a younger audience.[Translated by MetallicKaiser (JoJo's Bizarre Encyclopedia)][14]
This year marks the 20th anniversary of JoJo's Bizarre Adventure. With the seventh part of the series currently being serialized and still going strong, JoJo is becoming the topic for hot discussion. Araki-sensei must be feeling the excitement, but what are his thoughts on it?
Araki: When I first heard that people were doing "JoJo Poses", I visited a website about it on my computer. And to my surprise, I was blown away at how amazing they all were--it was like modern art. (laughs) After that, a lot of TV personalities who were fans of my work started recommending JoJo on their shows. What I found more interesting though is that most of these TV personalities were people in their 30s. I guess its true that you become a lot more vocal once you reach your 20s. (laughs) This also made me wonder if all the boys and girls who read JoJo in school when it first came out were finally growing up and starting to show off their talents to the world.
These youngsters sure like being vocal about their opinions without listening to the older generation--they also like making hour-long programs about JoJo. (laughs)
Araki: Yes, that's true. (laughs) On a side note, Shonen Jump is a great magazine that takes very good care of its authors. To help concentrate on our weekly schedule, authors were never expected to take interviews--but I usually took them anyway. Maybe that's how I came to notice the little changes in the air around JoJo over time. Whenever someone came up to me for an interviews, I would just go out and do it. It wasn't until recently that I started doing formal requests. I never initiate anything myself.
How do you feel about the fact that you've been drawing JoJo for 20 years?
Araki: My editors often tell me to draw new works. That way, the editorial department can write big headlines about how the author of JoJo is working on a new series, which would be big news and would attract a lot of attention. My response is usually "Huh? I can't draw anything but JoJo," and then I go, "Okay, maybe I'll change protagonist," and so on for 20 years. For me, when the main character changes, it's the same feeling as starting a new series. It's a lot of hard work, as I have to create all the characters and settings from scratch. So, in a way, it doesn't feel like I've been drawing the same series for 20 years.
What do you mean by "I can't draw anything but JoJo"?
Araki: When you create a character, you start becoming curious about who their father is. I always want to know exactly who both parents are and how they were raised. It's only after I have all this information that the character is truly born. I feel like these aspects give the character a more real presence about them. This way, you get to know the father a lot more when the bloodlines are continued--maybe that's why I'm so particularly fond of JoJo.
What was it that started your interest in parents and bloodlines?
Araki: When starting out, I wanted to draw a horror manga, centered around terror and suspense. This got me thinking hard on stuff like "Who's the strongest man in the world?", "What's the scariest thing in the world?", and so on. Is the strongest man in the world just a person with big muscles and powerful punches? No matter how strong your opponent is, if you strike their weak points, you'll be able to take them down. Or so they say.
When I thought about it, what's really frightening is being attacked by something completely out of your control, like ancestral karma, even if you're innocent. Characters like Josuke and Jotaro are under siege of a grudge that happened generations before they were born that they knew nothing of. I think a world where you can't escape your fate is the scariest thing in the world, perhaps more so than death. That's why I'm so obsessed with the concept of bloodlines and lineages.
[...]
Araki: As for Part 7, which is currently being serialized, I got stuck on a lot of things after Part 6 ended. (laughs) Firstly, I can't go any further into the future than 2011. Osamu Tezuka's a manga artist who is great at depicting distant futures, like in Phoenix, but I can't do it at all. I want the setting my main characters are in to be as realistic as possible. The concept of drawing flying cars or the year 2200 is completely out of the question. (laughs) In terms of developments in civilization, I would only be able to go as recent as the cell phone. Manga that feature fantastical inventions are also far beyond me. I always strive for something more realistic. So, I decided to end the series here and go back to where it all started.
[...]
Each person has their own individual Stand ability, so thereâs an infinite amount of ways to define power. Since there's not a single idea of what power is, the logic of defeating an "impossible" or "ultimately powerful" enemy is interesting.
Araki: That side of it quite philosophical. Behind the scenes there's possibly a battle of the strength of each person's philosophy, "I believe this" versus "I believe that." When I made Stands, I thought that I would be able to have a large variety of battles, so my imagination was able to run wild.
[...]
There isn't a lot of romance in JoJo, is there?
Araki: That's because JoJo is a fighting manga. I try to center the series around horror and psychological battles, so whenever romance is involved, it becomes rather dull (laughs). It just isn't exciting. The last time I did romance had to have been the story between Koichi and Yukako in Part 4.
I guess that's the JoJo-style of romance, where even love is a battle (laughs).
Araki: When I drew Yukako, I had been married for about two years. I might get in trouble for saying this (laughs), but I think my experience being married was reflected in my work. Instead of drawing women just for the sake of it, I started trying to draw the other side of women that you don't usually get to see. I think getting married and having a family has added a lot of depth to my work.
[...]
In past interviews, you've discussed the idea of retiring at 50 and planning up to Part 9...
Araki: The amount of time I have left to sit at my desk and work is getting shorter and shorter. My joints are also starting to get sore from drawing. These physical limitations might only be associated with professional athletes, but they apply to manga artists as well. If I could, I would probably keep on drawing forever.
I tend to draw the bizarre things I've encountered in the past. Even so, there are still many mysteries about human beings, such as why they become murderers, or why they suck up to their bosses. In theory, as long as humanity doesn't go extinct, mysteries will continue to be born. Knowing this, I think I could continue working on JoJo indefinitely. However, considering my age, I think I'll probably keep going until about the ninth part.
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ââ珏ĺ é¨ă珏ä¸é¨ă¨ă˘ăĄăŞăŤăčĺ°ăŤăăăˇăŞăźăşăçśăăŚăăžăăăäšăťä¸ä¸ĺćĺ¤çşăăăă¤ăŠăŻćŚäşăŞăŠăŽć䝣ç役éżăŻăăăă§ăăăăă
čć¨ăăăăŻĺ˝çśăăă§ăăăăăä¸çć ĺ˘ăŽăăĽăźăšă¨ăčŚăŚăă¨ăăăăăłăăŤăŞăăăă˘ăĄăŞăŤăŤć čĄăăă¨ćăăŽăŻăăăăăççžăăŚăăŞăăŁăŚăäžăă°ăĺąąçŤäşăăŠăăŠă迍ăŁăŚăăŚăăă ăăŠă幹裞ăŽăŞăžăźăăăăŤăŽăăźăŤă§ăŻăăăšăżăźăťăŚăŠăźăşăă茳ăŞăăăżăăŞćłłăă§ăăăăăă§ăăăĺąąçŤäşă迍ăŁăŚćĽăŚăăŽăĺăăŁăŚăŚăăžă 大ä¸ĺ¤Ťă ăăăŁăŚéăăŞăă§éăă§ăăăăăŽçśćłăăăćĽćŹăăăŽć čĄč ă¨ăăŚĺŽ˘čŚłçăŤçşăăŞăăăăăăăč´ ć˛˘ăĺąąçŤäşăçăă§ăăăăăŞăăă¨ĺăŞăăăŻćăŁăăă§ăă輿é¨ĺăŽć䝣ă§ăĺăă§ăĺ°ä¸ťăĺĺ°ăŤä˝ăă§ăăŚăăăăŤăŤăŚăăźă¤ăćĽăă¨ăăăăă辡ăăăăăŞăă§ăăăăăĺăŻăăăăŽă ăăăŁăĄăŤčĄă!ăăżăăăŞăăă§ăăăăŽĺ°ä¸ťăćĺăŻăăăăŽă ăŁă.ăăăăăŞăă§ăăă誰ăŽĺĺ°ă§ăăŞăă¨ăăăŤä˝ăă§ăĺ ăŤćĽăăŁăŚăăă ăă§ăăăăă辡ăăŚăćĺžăŻéă§č§Łćąşăăăăăžă ăŤăăăăăŞăă§ăăăćĺžăŻéăćă¤ăŽăéăă¤ăăĺă¤ăŁăŚăăăăŻăăăăă§ăăă
ââéăŤäťŁăăăăŽăŻăä˝ă ă¨ăčăă§ăă?
čć¨ăéŁăăăăăăăĺăăăŞăăŚăççžăăă¤ăžă§ă解ćśăăăŞăăăăăżăăŞćŠăżçśăăŚăăăăăăŞăă§ăăăăăśăăăăŁă¨ć šćŹçăŞă¨ăăăŤăăăŽăăŞăčăŞăăăŽăŽĺĺ¨ăă¨ăăăăSBRăă§ăŻăăéşä˝ăăăăăăĺĺ¨ăŞăă§ăăă ăăŽĺ ăĺ°ăŞăă¨ăçŠčŞăŽä¸ă§ăŻăççžăŤĺŻžăăćąşçăŻäťăăă¤ăăă§ăă
ăšăżăłăăŻäşşçăŽč¨é˛
ââăSBRăăŻĺçšĺ帰ă ă¨ăăă芹ăăăăžăăăăçľľăŽč§Łĺ庌ăŻăăŁă¨ä¸ăăăćăăăŤé˛ĺăăŚăăă¨ćăăžăăçľľăŽăżăăăŽĺ¤ć´ăŤăŻăăŠăăŞćĺłăčžźăăăăŚăăăă§ăăă
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ââčć¨ăăăçąćăăăŻăŞăłăăťă¤ăźăšăăŚăăăŽä¸çă§ăăă
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čć¨ăĺ¤ăăăŞăă§ăăăçľćăăăŞăăă§ăăăçľćă¨ăăŚćťăă§ăăžăŁăă¨ăăŚăăĺć°ăćăŁăŚăäşşăćăăăăŤăăŁăăăŽčĄçşăăăăă§ăăăăăŽäşşăŻĺżăćéˇăăŚćťăă§ăăăăăăăŞăă§ăăăăăăŻĺăŽä¸ă§ăŻăăăăźă¨ăłăăŞăă§ăăăĺć°ă¨ăăäşşéăŽăă°ăăăă¨ăăäşşéăŻă¨ăŤăăç´ ć´ăăăăă ă¨čŻĺŽăăŚăăăă¨ăŻăéŁčźăĺ§ăăŚăăäťăžă§ĺ¤ăăăŻăŞăă§ăă
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čć¨ăăSBRăăćăăŚăăă¨ăčŞĺăćŹĺ˝ăŤă˘ăĄăŞăŤĺ¤§é¸ă横ćăăŚăć°ăŤăŞăŁăŚăç˛ăăăă§ăăă錏ăŤäšăŁăŚăăćăŽçľľăŻăčŞĺăćŹĺ˝ăŤéŚŹă§čľ°ăŁăŚăăăăŞćăă§ćăăŚăăăä˝ĺçăŤéé ˇăŞăă§ăăăăŽéăă¸ăŁăłăăšăŻă¨ă˘ă(äşĺˇ)ăŤčŞăżĺăăé źăžăăŚă珏ĺé¨ăŽĺ˛¸čžşé˛äź´(柍çťĺŽś)ăçťĺ ´ăăăšăăłăŞăç硨ăćăăăă§ăăăŠăăľăăă¨ăŤĺ¸°ăŁăŚăăć°ĺăŤăŞăŁăŚăćăăŚăăŚăťăŁă¨ăăăă§ăăăăă ăă揥ăŽé¨ăŻăăľăăă¨ăŤĺ¸°ăŁăŚăăăăăŞčŠąăŤăăăă§ăăăăă澡ĺ¤ć čĄăŻăăăăŞăŁăŚ(çŹ)ă
ââéĺťăŽă¤ăłăżăăĽăźă§ăäşăćłĺźé誏ăĺ ¨äšé¨ć§ćłčŞŹăŞăŠăčŞăŁăŚăăŁăăăŁăăă§ăăâŚâŚâŚă
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Hirohiko Araki is the author of the popular series "JoJo's Bizarre Adventure", which was selected as the second best manga in the "100 Best Japanese Media Arts" in 2006, the 10th anniversary of the Japan Media Arts Festival. Hirohiko Araki has been a leading figure in the world of shĹnen manga. We interviewed him about the path he has taken to develop his unique style and the new frontier he is taking on as a manga artist with his latest work, Steel Ball Run, which marks the 20th anniversary of the series.
The manga he used to read, the place he grew up
-When did you become aware that you wanted to be a manga artist?
When I was in junior high school, I used to draw manga and pictures for fun, and my friends used to praise me for it. From then on I had a vague idea that I wanted to be a manga artist, but it was after I entered high school that I really wanted to be one and started submitting my work. Yudetamago started serializing "Kinnikuman" right after graduating from junior high school, and I thought to myself, "There are people my age who are doing it professionally, I can't just sit back and relax".
At the time, everyone was making their debut early, but even more than that, the generation of manga artists influenced by Osamu Tezuka and Ikki Kajiwara were emerging, and manga was becoming a popular media.
I was warned by my teachers and parents that if I read manga I would become stupid. But at that time, manga was interesting because there were so many different personalities clashing.
-You are originally from Sendai in Miyagi Prefecture, how do you feel has the city influenced you?
In my childhood, about 20 years after the end of the war, there were still many legends, though not so many "scars of war". There were still air-raid shelters. There were rumours of buried treasure in the old castle town. In fact, there were mountaineers who were looking for such dubious things. There was also at least one child a year who drowned in a pond, and there were also murders. In those days, Sendai was still dark, and there were many mysteries.
-The atmosphere of chaos and the waves of rapid growth are in tension with each other...
Sendai is a city of mountains and sea, all in one compact area. I grew up in a city where you could see the new residential areas spreading out and encroaching on the mountains, and the old streets being destroyed by land readjustment. But also, strangely enough, it was a city where walking in the mountains stimulated my imagination, with its ghosts and buried treasure.
When you read Sherlock Holmes in a place like that, it feels strangely real. That's why I liked reading manga and fantasizing so much.
-What kind of manga did you like to read as a child?
I read almost everything that was popular at the time. I still go back and read "Babyl II", "Kamui Den" and "Kamui Gaiden" as they were my textbooks. I was very inspired by Mitsuteru Yokoyama and Sanpei Shiratsuchi when I was becoming a professional.
In particular, Yokoyama's style is to depict the main character's emotions in a dry way, and he is completely dedicated to suspense, so I thought to myself as a child that he was different from other manga artists. So he's hard-boiled, and his drawings are cool.
In the Shonen Jump magazine, I'd have to say "Ring ni Kakero". Also "Cobra" and "Wolf of the Circuit". And when I was a kid, I also liked "Isamu: The Boy in the Wilderness" and "Kaichojin Mihei". I used to read "Jump" from cover to cover, both weekly and monthly.
In 1980, Araki's "Poker Under Arms" was selected for the Tezuka Award, a newcomer's prize in the weekly Shonen Jump magazine, and he began his career as a manga artist. The following year, "Baoh" was well praised, and he was expected to become the next generation of manga artists. However, in order to survive in the "Weekly Shonen Jump" magazine, which at that time had many big hits such as "Kinnikuman", "Captain Tsubasa", "Fist of the North Star", and "Saint Seiya", the new manga artist Hirohiko Araki had to go through many attempts and errors.
-What was your impression when you first came to Tokyo and visited the editorial office of Weekly Shonen Jump?
I think it was just before I graduated from high school. I was submitting work to the Tezuka Award, and although I got some honorable mentions, I couldn't quite get my work selected. But in that case, there was only a one-line review, so I didn't really understand my own faults. That's why I came to Tokyo to ask the editor for clarification.
At that time, the Shinkansen line between Tokyo and Sendai was not yet open. It took me four or five hours each way to get to the editorial office, and I felt like I was competing with the editor from the moment I took the manuscript out of the bag.
There were times when the editor would suddenly say to me, "Hey, you haven't corrected the errors on your manuscript". At the time, I didn't even know we do it with white ink, so the lines I drew were sticking out.
After a few years, there were times when the editor would look at the door picture without even turning the manuscript and say, "I don't want to read this". Even though I'd been up all night for days working on it (laughs).
In other words, he told me that I was supposed to draw pictures that would make people want to see the rest of the story. The editors of weekly manga magazines read a lot of manuscripts every day, so they have a good sense of what makes a work good or bad.
-It took about a year from the time you were shortlisted to the start of your first series, "Cool Shock B.T.". Did you have any anxiety during that time?
No, not at all. I was working on a lot of things in the meantime.
Also, at the time I was drawing by myself, so I didn't have the technical confidence to do a weekly series, so I was more worried about that. At the time, about 30 volumes of Osamu Akimoto's "Kochira Katsushika-ku Kameari KĹen-mae Hashutsujo" had already been published, and I thought "How could he draw 30 volumes? I wondered.
-What was the most memorable piece of advice you received from your editor at the time?
My editor and I used to talk about books other than films and comics, for example, about Shibusawa Tatsuhiko, or "What is Freemasonry? and so on. We would talk about dark things like that (laughs).
At that time, I didn't know anything about that kind of stuff, so I asked him "What's that?" and he'd say, "What, you haven't read that book? You should buy it today and read it. If you don't read it, you'll never become a professional". He put pressure on me. So there was an atmosphere that I had to read more books.
When I read a book that was recommended to me, I would critique it with my editor. We'd say things like, "This is a great book artistically, but it won't appeal to readers," or, "What do you need for entertainment? ".
That's what we'd do at the meetings, including critiques of rival works.
-There is a lot of competition for survival in shonen manga magazines, but was there anything you thought was "great" after you started working on it?
The magazine "Weekly Shonen Jump" actually has a lot of unique aspects. I mean, it allowed manga artists with unusual styles like me to make their debut (laughs). At that time, Moroboshi Daijiro and Terasawa Buichi also drew unique works in Weekly Shonen Jump.
Weekly Shonen Jump does have some major works as the mainstay of the magazine, but everyone else's work has a different personality. I think that's what's great about it.
-On the other hand, was there anything that was difficult for you?
At that time, in Weekly Shonen Jump, not only the manga artists but also the editors competed with each other. At the editorial meetings, the opinions of the editors would clash with each other, and it had to go through these difficulties that the series would be decided.
In particular, there were times when my work was severely criticised because it wasn't necessarily healthy. For example, when I was working on "Cool Shock B.T.", I was told that just because it had the word "Ma Shonen" in the title, it wasn't good enough. With "JoJo's Bizarre Adventure", they said, "You can't have a foreign main character in a shĹnen manga".
On the other hand, there were editors who thought, " We've never done this before, so why don't we give it a try? In particular, my first editor said, "We're a major magazine, so we're going to do something minor. There's no point in doing something minor in a minor magazine. It's only when you do it in a major magazine that it becomes meaningful.
-From the second manga in your career, "Baoh", you have been writing mainly about battles, in which a wide variety of characters compete with each other for strength. From suspense to bizarre scientific theories, you use a wide range of knowledge and expressions.
I thought, " Muscular heroes aren't the only ones who are strong. I thought that even if you have a weak body, if you can overcome your weaknesses, you might be able to beat the hero. Also, for practical reasons, I knew that I had to aim for the gaps in the style of my seniors' work in order to survive.
The technique of dry suspense itself was influenced by Mitsuteru Yokoyama, but the style of "Jojo" was developed in this way.
-The style of "JoJo's Bizarre Adventure" is now the mainstream of "Weekly Shonen Jump", 20 years after its serialisation.
Maybe it's because the people who were my readers are now starting to make their debut as manga artists.
But in the early days of the JoJo series, people used to say "I don't understand it", and I used to struggle with "How can I make it easier to understand?". So there's been a bit of a rapid change, it's as if a whole generation has shifted.
Mystery, horror, action and science fiction are all part of the JoJo's Bizarre Adventure series, and the seventh in the series, "Steel Ball Run", which began in 2004, sees a change of direction. Set in the Americas in the 19th century, the story is set in a different world to that of its previous adventures, but where will it take us?
-In your latest work, "Steel Ball Run", the number of pages per issue has increased and you have moved to the monthly magazine Ultra Jump. From your point of view, has the content of your work changed?
In a weekly serial, you have to show the reader the indescribable beauty of the story in a short space of pages. With more pages, there's more room to build up the story twice, and you can do detailed emotional descriptions.
When I was working on a weekly, I would always go over the page count a bit, and I would spend a lot of time trying to figure out where to cut it. I'd ask the editor, "Which parts do you not want?", "Well, there's nothing we don't want," ,"But if we don't include that much, it doesn't fit in the story," or, "It's not good to cut it here.
With "Steel Ball Run", the stress of the page limit is gone, and I think the rhythm of the story is much better.
-What was the reason for increasing the number of pages?
I wanted to create a work that combines dynamic screen expression with a delicate emotional portrayal.
Another influence was the increase in the number of spectacular stories, such as the international drama "24" and the trilogy "The Lord of the Rings". I wanted to tell bigger stories, rather than the compact, repetitive stories of weekly serials.
That's why I'd like to have a bigger frame for my manuscript, or even a two-metre sheet of paper (laughs).
I think the reason why the number of copies of magazines is decreasing these days, and the number of comics is increasing instead, is that readers want to read the books all at once.
-The portrayal of ethics has also changed as manga has moved to magazines for older readers.
When I turned forty, I thought it was time to make a work that was also about ethics. For example, Clint Eastwood, the actor and director, is not limited to being an action star. I also thought that if I limited my target audience to young readers, my work would be too shallow.
Also, with Steel Ball Run, I'm trying to go in a more classical direction, from the story to the design. We're going back to the roots of the characters' bloodlines and history, and I' m trying to keep the abilities simple. Also, the use of CGI is increasing these days, but I try not to use it in my manga, for example.
I'm trying to include philosophy to the extent that it doesn't come to the forefront, and that change may be the reason why I left Weekly Shonen Jump.
-The battles in the "JoJo" series are not so much "physical battles" but rather "philosophical battles" where the heroes' views on values clash with those of their enemies who have heretical views on life. This time, too, there's a rival who's obsessed with "male aesthetics".
The film itself is going in a classical direction, so the characters are naturally going to have classical values.
At some point in the story, the main character has to re-evaluate the meaning of his participation in the race, and the fight against the classic values of "male aesthetics" was a perfect fit. It's a classic, but the idea of spiritual growth through fair competition is rather new for today's readers.
Also, in order to keep the fight simple and the gun realistic, I wanted to use the gun to show the quietness of a samurai battle, rather than a showy shoot-out. In that sense, I think it worked well.
-You're known for your fast writing, but how do you get out of a bad situation when you're stuck on a story?
Sometimes I have to reuse an idea that I've already used once, so I have to worry about making sure that my ideas don't overlap. But in terms of the characters, it's not a puzzle.
If the characters are well-developed, they'll move around and get out of the way when the story gets stuck. I give all the characters a positive direction, so as soon as they clash with each other in the story, the problem is solved. Even the villains all think they're right.
-Are there times when you've come up with a new ability, but it's hard to use it in a fight?
When that happens, I sometimes end the fight early. But it's not something that I think about for days.
But it's not good when I feel like, "This character looks like the one who came out before". The reader has a sense of dĂŠjĂ vu, so it's like, "Do I add something new?" or "Do I just cut it?". It's a bit tough when I have to make that decision.
Hirohiko Araki is a manga artist in the making, creating new stories that no one has ever seen before, and continuing to exert a powerful influence on young creators in a variety of genres. What is Araki's vision for the future and what is his message to the younger generation?
-You've recently had an exhibition in Paris and you're working outside of the conventional image of manga, what else are you interested in?
If you ask me "Which is important for you, story or pictures?", I'd answer pictures are more important. That's why I'm very interested in music, painting and other things that can be incorporated into my work.
I'm particularly interested in contemporary painting and Italian Renaissance painting. I like people who are like, "What is he thinking? Like Gauguin, Michelangelo.
It's fun to read about them, and I like to find out why they were so unorthodox.
-You've said before that you have plans for a 9th part, will you continue with "JoJo" as long as possible?
The problem is physical strength. I've changed from a weekly to a monthly series, but when you're 40 or 50, your stamina goes down. When I was younger, I used to be able to get better after a night's sleep, but I don't anymore. If you have a bad joint or something, and you put up with it, it gets worse and worse.
Being a manga artist is similar to being an athlete in that you have to maintain your condition for a long time. "Steel Ball Run" is a work that makes you feel like you're racing across the American continent (laughs).
Especially the scenes where the horses are running are very tiring. I'm sure that drawing the horses is just as exhausting as riding them.
I feel relieved when I reach the finish line, because I am one of the participants in the race. But then there's another race in a few tens of hours... I can't wait to go back to Japan (laughs).
-Otokazu spent several years writing a novel based on the JoJo series, and bands such as SOUL'd OUT have appeared on the scene that have been strongly influenced by Araki's work in a musical sense. A new generation of creators is emerging one after another.
It makes me very happy to hear young artists say that, and it gives me a lot of energy.
When I'm working silently on a manga, no matter how successful it is, I'm always wondering if my drawings are good enough or it's not getting old. And when there's a lot of new artists coming out, I wonder if I'm going to be abandoned.
At times like that, I'm grateful when people say they've been influenced by my work. If they don't, I feel sad because I lose the meaning of what I've been doing.
-Lastly, do you have a message for young people who want to become creators?
When I look back at my own work, I think that young people won't accept it if it's just for profit. Young people who are growing up don't need work that doesn't help them grow up. Also, if you think something is "new", you should try it, even if it seems useless. Art and manga, especially manga as a medium, have a base that allows for such experimentation. Well, there may be people who don't want to cooperate with such experiments, but I want you to read the situation appropriately and do your best without getting discouraged. If we don't try new things, the human spirit will stay in stagnation.
Interviewer and writer: Shuichiro Sarashina
Photo: Manami Tazuke
(Translated by Rikki)[15],[16]
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čć¨ă輿ć´ĺŚă¨ćąć´ĺŚăçľąĺăăăă誏ćă§ăăăă¨ăăăăăăăăžăăăă
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"You know, near my house there is this traffic light which turns red even during parts of the day where cars are nowhere to be seen. It didn't really bother me before and if there was no one around I would just go ahead and pass anyway. However, lately I've began to see it as bad conduct, so I've decided to stop and wait until it turns green."
As soon as I finished saying this, I started getting bombarded with a flurry of comments such as "Oh c'mon, nobody does that anymore!" and "You are giving me a headache! What, are you trying to play goody two shoes now?!" and even, "You are a hypocrite! You just want someone to see you so he can write about it on 2chan!" Ugh. There it is. The "Season of Aggression" has arrived. If you get attacked for saying or doing something bad there's nothing wrong with that, but I did no such thing. I mean, I didn't even pass the red light. See, this is the "Season of Aggression", that period of time when people get angry at me for reasons that I fail to comprehend. And when it inexorably presents itself again, even in arguments where I could easily counter, I just end up being assailed and suffer even more. Because of this, the only thing that I can do is sit and wait until it passes again, just like people affected by pollen allergies; on hold, until the cause of their nuisance flies away. In these circumstances, the saying, "The best defense is a good offense" does not work.
JoJo's Bizarre Adventure has finally reached its sixth protagonist, Jolyne Cujoh, and she too is in the middle of this "Season of Aggression". Ever since she was little, she's lived in Florida, and with Jotaro being very busy in Morioh, she grew up without the presence of a father figure. Jolyne has certainly inherited the tough and cool headed side of her family, but she slowly but surely went towards a path of restlessness. Her mother just scolds her. She falls in love with a guy whose affection she blindly trusts. He represents the love and affection that she never got from her father. But it's precisely this sentiment that will drag Jolyne into a crazy world. Will she be able to free herself from it like "unraveling a string"? And will she mature as a person? This is the layout that I had in mind when writing Stone Ocean and its protagonist.
Some time ago, in the 1980s, the impulse of trying a new creative adventure made me draw "Gorgeous Irene," a short story which had a woman as a protagonist. But in that time period I just, don't know, kinda felt something was off...I perceived a weird atmosphere telling me that a female protagonist wouldn't go well in my works, and so I scrapped the idea of turning it into an actual series. Almost 15 years have passed since then, and I'm convinced that, in some way, the times have changed. Today we live in an era in which, even if a girl takes a punch, or her finger goes flying, or she gets pushed down a building, she can still have a really strong atmosphere. The responsibility is all on her dad's shoulders, Jotaro Kujo. He is the one who initially comes to save his daughter, but ultimately ends up getting saved by her. This, in turn, favors the internal growth of the girl. It seems to me that putting yourself out there by inserting a character like this into a manga really pays off. We can be men and women, but the blood relations and the sentiments which derive from them are elements which we all inherit.
What does "Stone Ocean" mean? "Stone" is the will of Jolyne, while "Ocean" symbolizes women altogether. This Stone Ocean can also refer to the image of the prison in which the story is set. After having decided to draw Stone Ocean, I wanted to collect some material and went to visit a prison in Florida. It was divided into 4 sections: juvenile detention, female detention, young male detention and death row convicts detention that I could only enter after I was granted a permit. In America, there are also "private" prisons in which a penalty discount becomes the equivalent of a commercial enterprise.
I could enter three sections, but not the male detention one because it was deemed too dangerous, I was only able to see the kitchen and the model prisoners working there. In any case, it wasn't a huge prison like the one where Jolyne Cujoh was incarcerated, rather it was a very high tech one and in some way reminded me of Roppongi Hills. (Big urban complex in Roppongi, a Tokyo district) At the entrance I was patted down to check what I was carrying with me and possible metal objects. Then I took an elevator, walked, took another elevator, walked again, then another elevator in repetition. At every passage a heavy metal door with an electronic lock would be opened and closed, then another, and another, and so on. On the way, I was escorted by some guards of average rank. Doors can't speak, but it was like they were telling me that I couldn't leave that place anymore, even if I willed it. I'm not sure if it was claustrophobia, but I was very nervous, I felt like I was in a state of hyperventilation and my breathing was ragged. Some prisoners, no matter how many times I told them I was from Tokyo, wanted me to gift them a Bible in Korean. Furthermore, there was a woman with a massive body structure who looked just like the boss from a movie, seated next to her was instead a girl with a slim figure, probably her henchman, through which she asked me how old I was. I would later heartily describe my feelings to the warden, that I was really anxious to the point of suffocation. He replied "It's the same for me every day. I always feel relieved when I can finally get out and go back home.â Writing this sixth part, I keep questioning myself with concern over Jolyne Cujoh. If I was in the same situation, I think that after just 3 hours of being put in I'd probably already feel destroyed. My impression is that, between all the previous JoJo protagonists, she is the toughest one and that I desire for her to be happy the most. Especially because, as if that wasn't enough, she is right in the middle of the âSeason of Aggressionâ.
(Translator Note: 2chan or 2channel is a gigantic Japanese forum, in which millions of posts regarding a huge variety of topics are uploaded on a daily basis, these posts are left uncontrolled and go under almost no censorship.)
Jolyne Cujoh, our protagonist, felt a deep void in her heart too because she was missing the paternal love that brought her to befriend the shady guy that caused her to be imprisoned, after causing a car accident. But whatâs important is the progress she makes because of that, because of the actions she has to do to save her father she becomes the strong woman she is. If we look at this story as a telling of the protagonistâs growth, her story had ended. So know what should I do for the accomplishment of this manga? In other words, I donât have anything more to draw. Itâs over. âJoJoâs Bizarre Adventureâ has reached its summit.
This is âStone Oceanâ.
The end.
But this is not right, not at all, it feels wrong. The fact that Iâm feeling accomplished should not be a good thing.
Itâs like a red light is in front of me, what should I do?
This is what I was thinking then, until I had an idea.
Go back to the origins! Isnât this how Renaissance happened in Italy, going back to Greeks and Romans concepts in classic art? The French painter Gauguin also built a whole new painting going back the origins that Tahiti represented for him.
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Interviewer: I'm so nervous today....
Araki: Oh, don't worry. I not here to make anyone nervous today, my goal is to be healing others: Really, please don't be nervous.
I: Thank You!
A: Oh no, Thank you.
Part 1: Hirohiko Araki, Road to becoming a Mangaka
I: Well my first question is, what kind of 22 year old were you, and what was your life like after graduating from high school?
A: Um... Well, it was the 70's. The mangakas at that time were a generation after people like Tezuka-sensei, Akatsuka-sensei, and Fujiko-sensei. And it was a time when the genre of manga really diversified. Not only manga, but music too, like jazz crossing over to rock music. I spent my teen during a time when everything was fusing together, so I kind of caught the momentum of that, and then Yudetamago-sensei, who was the same age as me debuted when we were about 16 or 17. Then I realized that I can't be wasting time. Of course I studied too, but as a student, I also was really interested in art, like manga, music, film, and fine arts. I really aspired foreign countries as well.
I: How old were you when you became interested in such things?
A: Well, from around high school, or maybe even middle school... Then I dreamed of being a mangaka or have a job relating to that.
I: So, you actually read Yudetamago-sensei's works?
A: Read it, and, well, there were many mangakas, and I couldn't do anything about that, but I felt like I had to something myself.
I: Interesting, so that was your turning point in life?
A: Probably... It may overlap with some questions later but can I keep going on?
I: Yes! Please, go ahead.
A: Well, how should I put it... You know how you learn from your elders? Back then was a time when doing the same thing as your elder was really looked down at. You had to do something different. If there were several paths that your elder paved, it was like finding somewhere in between that no one else has gone before. Kind of like that.
I: So it was about doing something different?
A: Well, you had to kind of make sure not to mimic anyone, yeah. It wasn't necessarily about going your own way, but learning from your elders and not stepping in their footsteps. You were looked down if you ever stepped in it. People would say âyou're just doing the same thing, just coping!â or something, and look at you with scornful eyes.
I: What did people actually say towards your works?
A: Like, âThis looks looks that,â or âthats story development is identical to so-and-so,â
I: At times like that, where did you get inspiration to paved your own way?
A: Um... so, I had influences from my favorite mangakas, but also came up with my own things, or added on to it. Draw an area that hasn't been explored by others... and like that, for example, I now think theres a theory, and following a âtheory of hitâ makes you feel like you have to do something that sells. I didn't think of that at all, so I guess I was pure in a sense, yeah.
I: Not a manga only for the sake of selling?
A: Its about drawing something that's never been drawn.
I: Interesting. This gets a little personal, but going to art school, I really understand what you mean. You take a class with a teacher and you get drawn towards your teachers style, but are punished if you fully adopt that style.
A: Yeah, its pretty much like that, but more intense with a strong 70's feel to it
Part 2: What it feels like after becoming a Mangaka
I: So, what was it like to actually become a mangaka?
A: Well, I was worried sick and couldn't sleep during earlier works, and even when starting JoJo. I wasn't sure if it was alright.
I: And did you have a strong support, someone backing you up?
A: Ahh, yeah. In my case, I based my works on works of art from the past that I felt sure, and things that were done by people I was sure about, so even if someone saids something bad or negative, I always was able to feel sure. And the told me that I had to be bold if I wanted a serialized series. Failing a serialized series is losing to yourself, so I think it works out well for an optimistic person.
I: Do you think most mangakas are optimists?
A: I think people who can keep doing it are like that. More like someone confident than an optimist. Many of them have absolute confidence in themselves. Many seems like they go beyond narcissism. So, you don't want to cripple their pride, you have to nurture it. They're probably simpletons. Out in the real world, you have to be careful not to be scolded for that.
Part 3: Araki's Manga-ism
I: Manga has really infiltrated our society nowadays, what does âmangaâ mean to you?
A: Like I said earlier, its about the beauty of the art and training your âeyes for judging beauty.â Its kind of like a training. Um... I'm drawing and sometimes fall into meditation, and skip time. Kind of like that.
I: How do you feel about other mangas and works?
A: Well, yeah, I like some of them, but I'd also like to recognize those I'm not sure whats fun or interesting about them. Maybe not recognizing them, but try to think while I read them. Not only in manga but also in films, the kind of story that I don't feel interesting is when the protagonist doesn't have a reason to progress. For example, there are some that are negative towards fighting, and I personally think thats a no-no. So, if theres going to be war, it should be like âYeah! I love war!â Thats an extreme example, but fighting in war while denying war I'd say is negative story-wise. If the is a âzero,â the denial makes it a ânegative.â But fighting for one's own satisfaction, or fighting war to save one's mother, that kind of elements that makes the story âpositiveâ is really interesting. The kinds of film fit in that. And because they fit in, I analyze from there. So, if you like ânegative,â and gather a lot of ânegative,â you start compiling those kinds of movies, but there are many perspectives, so there's not really a right or wrong direction. Its up to your own preference.
I: So the kind of things you're not interested are things that are negative.
A: Yeah. I can't get psyched watching or writing things like that.
Part 4: Relaxing, Araki style
I: You have been doing manga for a long time. I've heard in other interviews that you never miss an due date, and we see you as always being on schedule. Do you ever have trouble coming up with new ideas?
A: Its not really about the lack of ideas, but the scariest thing is the lack of the will to draw. Lack of idea is really losing the will to create. If you're willing to write, you will get ideas, so you shouldn't be afraid of the lack of ideas. Just keep putting things out there, and save nothing. Feeling like you don't care is the worst thing.
I: Have you ever felt like that?
A: Well, yeah, I start feeling like that when I get exhausted.
I: And how do you cope with that?
A: Um, in my case, I go discipline myself a little. Nothing serious, but go out on a walk to shrines, like that. I don't go out in waterfalls but that takes away my worries. It kind of weird, but going on a walk or a bicycle trip alone, discipline through a little exercise.
I: Not only use your mind, but also your body...
A: I exhaust myself, and theres many things. Like carrying a heavy load, and you start to realize what's really necessary. I start to think I don't need a cell phone because its heavy and I wanted to toss it, and I had no signal anyways... but I feel really healed by an iPod for some reason.
I: Why is that?
A: Somehow music is really good. So I really only need water, raincoat, and an iPod. I went to a place called Kumano Kodo once. It saids Kumano (Kuma = bear in Japanese) so I figured there will be bears in this place, so someone told me to take my cell phone. I took it, but didn't get any service... Then my feet starts to hurt, and I really started getting sick of all my luggage. I brought some bread with me but I ate it. And I started to realize that those things are not necessary. You don't need it to survive.
I: What do you feel like when you're out training at places like that.
A: Empty, and then I come back from that and start working again.
Part 5: Other Dreams
I: Your art works has been featured in fashion, a science magazine cover, and now in the Louvre. What is the meaning of working on projects besides manga?
A: Um, its the drawing... if theres story and drawing, I guess I'm better at drawing . I don't know, I'm a mangaka, so I have to draw, or otherwise people won't think me as an mangaka. There are mangakas famous for their story, but I'm more on the drawing side, so I want to draw the ultimate picture, something really good.
I: Do you not have enough time at the moment to do that?
A: You know, like the Louvre and the science magazine, especially the science magazine, theres more to that one, but I tend to think all of them as one. Physics, literature, there all the same in a sense that they are searching for the truth. Its nothing alien. So, the person who asked me the science magazine project felt the same way too. He thought that I can illustrate his scientific theory.
I: Was there anything else you were asked to do?
A: Something weird? Is there any thing weird? Maybe the CD cover? The t-shirt designs? I guess the Cell project was the weirdest, but that doctor's medical theory and my philosophy of stands were the same, so he asked me to draw. That way of thinking makes me happy, happy because its kind of like DaVinci. That really is a theory that no one can understand, borderline crazy. No one who sees those sentences agrees to the theory. It might be wrong. And if you write something wrong, someone is going t object later. So that project was a little risky.
I: What do you wish to do next, do you have any requests?
A: Umm... yeah, I probably want to do a series of pictures.
I: You mean like a CD cover?
A: Um, something like the "The Dancing Girl of Izu"
I: Oh!
A: The "The Dancing Girl of Izu" was a little different too. They asked me to draw the cover of "The Dancing Girl of Izu," and I couldn't believe it. They just asked me to do a work based on a famous literature.
I: So, did you choose that?
A: Yeah, but only from the Shyeisha-Bunko series.
I: Why the "The Dancing Girl of Izu."
A: I kind of wanted to draw the emptiness of youth.
Part 6: Message to 22 year olds today
A: I think people's actions should be based on their âeyes to judge beauty.â How to judge what's beautiful. Are your own actions beautiful, or not. And by beautiful, I don't simply mean the appearance of something, but does something fit in, can you understand it. I think studying is for training your âeyes to judge beauty.â For example, whether its physics, sociology, or literature, its a way to find out how the pieces fit together nicely, and the study of medicine is the way to discover a theory to cure beautifully. And as you layer those theories together, you are able to judge things, and if you know how judge you will be able to make a decision. I want young people to train their âeyesâ so they can judge things, theories, and themselves, and I don't want them to study only as a way to become rich or for a high academic record. I think having such evil or not is important. It may sound fancy, but being something like a hero for the good is really important.
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珏ĺ é¨ă礞äźăŤĺşăäşşéă¸ăĄăăťăźă¸
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fin[21]
On November 21st, at Tokyo University's 60th Komaba Festival, was Araki Sensei's wife. We went to see Mrs. Asami Araki's public talk "JoJo and Asami Araki's Bizarre Life"!
With only 300 tickets being distributed, the ticket sales began at 10 A.M. and were immediately sold out. With 200 fans creating a line that extended all the way to the entrance of the emergency stairway, the mangaka's wife's lecture seemed to be the climax of the festival. At 1:30 P.M., all seats were completely filled and spectators began to line up around the outer circumference of the venue. In the Maninonrei (banners of thanks for the full house) Classroom, being greeted with a warm applause, the program director, Mr. Hiroki Terai announced the entry of Arakiâs wife: Mrs. Asami Araki (Chami).
- In this report all references to Mrs. Araki are standardzed to "Mrs. Chami". This was done through my notes and recollection of the event, and there may be parts with errors. If itâs clear there was a mistake, or there are any questions, please submit a form or e-mail me about the issue.
Reason for holding this lecture
Mrs. Chami did not get an invitation from the Tokyo University JoJo Research Society, but rather, the program director, Mr. Terai, was a friend from her student days. She heard about the offer through a mutual friend of their's. (in addition, the 2007 Cell Front Cover drawn by Araki was related to the Tokyo University Cranial Nerves Group, as well as author Kang Sang-jung and Mr. KenichirĹ Mogi having relations to the school.) Since the lecture was to be in front of a large crowd, Mrs. Chami refused many times, but knowing that the fans would be enthusiastic to have her speak, Araki Sensei insisted, âWhat if you try once?â, and so the decision was made. Incidentally, she informed us that Araki would have stomach problems from nervousness if he had shown up.
Where is Araki right now?
- We were told Araki was 100% not at the meeting hall.
He couldnât come, but yesterday he went to a Shinto Shrine to pray for his wife and he joked, âIâll scatter flyers around the university!â (Wouldnât Araki putting out flyers in person cause an uproar?!). Now, as for where Araki Sensei was now, Mrs. Chami said, âProbably on a walk.â
Beginning of Romance with Araki
About 20 years ago, when Mrs. Chami was attending a friendâs marriage interview, sitting across from her was a man, Araki Sensei. After that moment, Mrs. Chami said she immediately clicked with him (however, it seemed like Araki wasnât thinking about love at all). In that moment, she got Araki Senseiâs number and their friendship began. 3 months later, they were married. Certainly the marriage had a âSpeed â Aâ rating.
Arakiâs First Date
Araki would frequently go to a Gym Pool. He was carrying his swimsuit to the pool when he got asked out by telephone. When she arrived, (with a Mona Lisa smile) Araki said, âIâll be swimming back and forth in the 25 meter line a few times, so just play around hereâ and left her alone. She was looking at the training schedule in silence while Araki continued to swim. When he gave her a sidelong glance, she appeared to be doing the flutter kick by herself⌠(it sounds like a manga, but itâs a true story).
Arakiâs ding-dong dash!?
About 10 years into their marriage, Mrs. Chami tells us, âI felt like I was living with a first-year middle schooler.â This childish, simple-minded troublemaker, how many ding-dong dashes he was doing! (The respectable adult! The popular Jump writer!) But, the people in the neighborhood loved Araki, and the older people would call out to him as if he was a boy. Strange folkâŚ
Arakiâs fear of strangers
Back then, Araki was extremely shy. For example, when Mrs. Chamiâs friend came over, he opened the door just halfway. When he looked, he said âAh! A stranger!â and immediately closed the door without even coming out. But, at the 2003 Paris Exhibition âJOJO IN PARISâ, when he was thinking that no one from Japan would come, the successive chiefs of Shueisha arrived. Since then, his shyness has begun to be cured. Nowadays, heâll invite about 20 mangaka over for a party. Incidentally, when Mrs. Chami sees the mangaka arrive to the party, time and time again she thinks âMangaka are a little weird, arenât they?...â (haha)
Araki at home
According to Mrs. Chami, Araki is like a "business woman who's a friend and confidant." He loves candy and sweet foods, even remembering the types well, asking her questions like "Where did you put the X Chocolate?" or talking (like a kibitzer?) about subjects like womenâs fashion, and the extent to which he keeps himself open to new information is enough to make her want to go "Be quiet!" (haha).
A video letter from Masanori Morita!
We get a screening of a video letter from one of Arakiâs mangaka friends, the author of ăROOKIESă Masanori Morita! At the party in Arakiâs house, he drew a picture of Jotaro and before Araki was able to comprehend what he was doing, he drew 2 or 3 more. When they were drinking alcohol together, he was worrying about whether to sit next to Araki or Mrs. Chami and finally he said âHey!â and sat next to Mrs. Chami. He said to Mrs. Chami, âBeautiful as everâ, âI hope your happyâ and to Araki Sensei, âI respect you a lotâ, âYou were so mellow and easy to approachâ and so on. At the end of the video letter, he shrewdly inserted an advertisement for the Rookies DVD and Besharigurashi Volume 9. (Looking at the video was super interesting! The playful Morita Sensei drew a large laugh from the crowd.)
Arakiâs height, has he gotten taller?
At this yearâs first Ultra Jump party, Araki met with ăHigh School! Kimengumiăâs Shinzawa Sensei for the first time again in 20 years. For some reason, he asked âAraki Sensei, your height, have you gotten taller?â Araki was petrified for about 10 seconds and then said, âNo, itâs unacceptable.â (It was a surreal spectacleâŚ)
Araki and music
According to Mrs. Chami, music is super important to Arakiâs writing. For example, when thereâs a battle scene, Rock, when thereâs a scene with horses running, country music, and so on. He does the job of putting on music that fits the scene. Conversely, when the house is silent, it seems to be very much so. By the way, the music that was playing at the entrance of this event was chosen by Araki (the name of the song wasnât revealed?). Initially, the JoJo Research Society were preparing to play Perfumeâs âChocolate Discoâ.
Arakiâs workspace
A few years back, Mrs. Chami entered Arakiâs work area to bring some tea, and when she opened the door, Araki exclaimed in a strange voice, âDohyaaaaaa!!â During this, his brush extended out from his manuscripts greatly and he was writing as if he was possessed by some spirit. She said she was scared and trembling, so she shut the door and went back to where she was.
JoJoâs Bizarre Hyakunin Isshu
Famous lines from JoJo were organized into a JoJo-themed card version of Ogura Hyakunin Isshu titled âJoJoâs Bizarre Hyakunin Isshuâ (the following year, the sequal went on sale). While he was messing around in the house, he came across a single card that he couldnât stop laughing at. Furthermore, (about this line) he said, âI donât remember writing this!?â (Before, at the Jump SQ Interview, he said âI write carelessly, itâs really irresponsible, hahaâ). As for whether he has heard about the JoJo "Hanafuda", Mrs. Chami said âProbably.â Does Araki have a chance of winning at them!?
The Louvre
When the Louvre Art Museum was picked as the theme of âRohan at the Louvreâ, the family stayed there for 2 days. The arrangements near the Louvre allowed them to enter on a day where it was normally closed, and so they were able to see the Mona Lisa up to a centimeter close, and even got the opportunity to touch the Nike of Samothrace statue a little bit. After âRohan at the Louvreâ goes on sale in France in January of next year, a fully monochrome version will be published a few times in Ultra Jump Magazine. After that, a fully-colored version will be made into a comic, and there are plans to sell it in Japan!!
- Speaking of the Louvre and the Mona Lisa, thereâs a joke going around the Internet right now of the classic Mona Lisa painting and a picture of Hijikata ToshizĹ being compared with a picture of Araki Sensei. Both Araki and Mrs. Chami seem to be aware of it (haha).
Is drawing manga fun?
From what Mrs. Chami has seen, it appears as if Araki draws a diary. For example, heâll use the things they talk about in the morning in his manga, and even if she tells him something completely unrelated, heâll ask again, âWhat? What was that?â It also looks like that a character who "resembled her friend" appeared in the manga once, but that character eventually had their head chopped off, and so she couldnât tell them in the end (haha). When Mrs. Chami asked Araki âIs drawing manga fun?â, he replied with, âYup, itâs fun.â
Please teach us how to learn Ripple!
Mrs. Chami says, âI donât fully understand Rippleâ (haha), but Araki seems to say, âYou canât live long unless you lighten your hip joint.â Also, Araki puts on sunscreen often. He doesnât like the beach, but he enjoys places like mountains, forests, etc. He lives life avoiding the sun as much as possible. (Is he a vampire as we thought!?)
Is Mrs. Chami a model for his work?
According to Araki, Mrs. Chami is something like the president (like Steel Ball Runâs main villain, haha). Will she also kill someone in such terrible ways!? (haha)
What would he have done if he didnât become a mangaka?
As for this question, Araki has said he wouldâve became a make-up artist (with a specialty in mannequins). (An enigma of a manâŚ)
What extracurricular activities did Mrs. Chami do in her school days?
(She seemed to be surprised that someone wanted to know this) Tea Ceremony Club. (As expected of Chami).
(Note: "Tea" in Japanese is pronounced "Cha")
About the âPress-Festâ!
(Note: From the Tohoku University Lecture on the Literary Junkie Paradise website.)
Student: I was really surprised seeing the line "press-fest", where did that come from?
(This is referring to the scene [in SBR Vol. 13] where Scarlet Valentine asks Lucy Steele to sit on her face and give her a "press-fest".)
Araki: My wife will sometimes charge at me and say "It's press-fest time! It's press-fest time!" (audience laughs)
Regarding this line, Mrs. Chami told us, the original âPress-Festâ appeared to be a Pro Wrestling move where the wrestler would hurl his body as an attack over and over again. Back then, when Araki was a prankster, he would make her stand at the entrance and take one! When someone said they wanted to see what this looked like, she replied with a single word: âImpossible!â
Are there any plans for things such as writing about her life with Araki after this?
She said since she wasn't a celebrity, âThere are no plans.â Is this lecture the first and the last?
An extremely rare video! âAraki Hirohikoâs Cooking Classâ
This video was a great surprise! It was a cooking class from Araki Sensei himself! The video was simply Araki cooking by himself. It began with Araki saying, âAnd now, I will cookâ which drew out a great laughter from the crowd. The menu was âsweet-and-sour pork with black vinegar with a side of broccoliâ and âshrimp and Japanese scallops with linguiniâ. Iâll present the most interesting lines from the notes I took. (Of course, I didnât take notes on the whole recipe),
⢠âAs for the heat⌠medium? I'll adjust the heat later.â
⢠âCook the pork entirely. Itâs dangerous raw.â
⢠âDeep fry it until it gets to a color that looks tastyâŚâ
⢠âHot, Hot!â
⢠âPass the smell of garlic⌠into the oil!â (He said this twice.)
⢠âThe ladle's goooone!â
⢠âItâs done. Phew. Dojyaaan!â
The food looked like it smelled and tasted delicious! Mrs. Chami told us that in regards to cooking, âWeeell⌠I do it occasionally.â (Is Mrs. Chami also an expert cook!? [haha])
Present Corner
Mrs. Chami brought JoJo goods as presents from Arakiâs house. The Medicos Avdol Super Action Statue was for âthe person who called themselves the president of the schoolâ (-> What a woman!). The Kakyoin Super Action Statue was for âthe person who came the farthestâ (-> All the way from Aomori!). An assortment of figures (later these would be compiled into a collection called âJoJoâs Bizarre Stand Collectionâ) was for the person with the same initial as Araki Sensei, H and A. The Jotaro figure (previously a gift prize) was for the person who âhas decided to read JoJo because of this lecture.â The SBR Glass (originally a gift for UJ readers) was for âsomeone who has a pet named Iggy.â Each of the respective people were given their presents.
Chamiâs Pose
Finally, Mrs. Chami decided to introduce surprise guests from the âJoJo Posing Schoolâ, the well-known Mr. Kajipon, the Demon Teacher! A year after the âTokyo University JoJo Posing Class March 2007â, Tokyo University continued to have the JoJo Posing lessons. Mrs. Chami was the one who decided that âJoJo Posingâ would be perfect to bring to the lecture when she saw the advertisement posters for it. The Demon Teacherâs demonic teaching (with a kendo sword in hand) was strict, saying âIâm sorry, but you canât do itâ and correcting students if they messed up even once. It makes your joints scream! (haha). However, when the Demon Teacher and Mrs. Chami pulled of âW JoJo Posesâ without fail, it caused quite a stir in the venue (at any rate, the Demon Teacherâs presence was incredible!). When a pose was done, the crowd immediately broke into applause! The Demon Teacher and Mrs. Chami revealed their passing conditions, all of which had to be done in a short amount of time: LV1 (JoJo Volume 4 Front Cover, Jonathanâs Pose), LV2 (JoJo Volume 8 Front Cover, Josephâs Pose), LV3 (Risottoâs Pose), LV4 ([Pointing Finger Pose] and say Yare Yare Daze). The crowd all rose up. (Incidentally, Risotto wears flowing, striped sweatpants, and that day, Mrs. Chami was also wearing flowing, striped pants. Coincidence!? Or maybe notâŚ)
After about one and half hours, the presentation reached the end. About 5 or 6 friends of Mrs. Chami came out and handed her bouquets of flowers. At 2:55 P.M., being sent off by a thunderous applause, Mrs. Chami Araki left the venue. (Later I was told that Shizu-chan (!) from the comedy duo âNankai Candiesâ also slipped out during this time.) It was Di Molto fun! Mrs. Chami, Program Director Mr. Terai, members of the JoJo Research Society, and everyone else, from the bottom of my heart, âYou have my thanks.â (Ringo)
Bonus
- To Asami Araki
- Hirohiko Araki
- From Lucky Land Communications
The right side of the classroom was decorated with flowers from Araki to his wife! To their side, flowers from Shinnosuke (SOULâd OUT) were also placed. After the end of the lecture, I took a picture of the center of the flowers. A bizarre scene.
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ăăăă§ăĺéăŽćźŤçťĺŽśăŽ1äşşă¨ăăŚăăROOKIESăďźăŤăźăăźăşďźăŽćŁŽç°ăžăăŽăĺ çăăăŽăăăŞăŹăżăźăä¸ć ďźă棎ç°ĺ çăŻăčć¨é¸ă§ăŽăăźăăŁă§ăćżĺ¤ŞéăŽă¤ăŠăšăăćăăéăç´ĺžă§ăăĺžă§ďźď˝ďźććăç´ăăŚéăŁăăă¨ăăä¸çˇăŤăé ă飲ăă éăčć¨ĺ çă¨ăăŁăăăăŽăŠăĄăăŽéŁăŤĺş§ăăă§ćŠăă ćŤăă¨ă¤ăďźă¨ăăŁăăăăŽéŁăŤĺş§ăŁăăă¨ăăžăăăăŁăăăăŤăç¸ĺ¤ăăăăçžăăăăć°éŁăăĺŹăăăăčć¨ĺ çăŤăă¨ăŚăĺ°ćŹăăŚăžăăă丸ăăŞăŁăăĺăŁă¤ăăăăăŞăŁăăăŞăŠăčŞăŁăă
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ďźăčć¨ĺ çăčăéŤăăŞăăžăăăďźăďź
ăäťĺš´ĺăăŤăŚăŤă¸ăŁăłăŽăăźăăŁă§ăčć¨ĺ çăăăăă¤ăšăŻăźăŤ!ĺĽé˘çľăăŽć°ć˛˘ĺ çă¨ăĺŽăŤ20ĺš´ăśăăŤăäźăăăéăăŞăăć°ć˛˘ĺ çăăăčć¨ĺ çăčăéŤăăŞăăžăăăďźăă¨čăăăčć¨ĺ çăŻ10ç§ăťăŠçĄŹç´ăăŚăăžăŁăĺžăčć¨ĺ çăăăăăăŞăŁăŚăŞăă§ăăăŠăă¨čżçăăăă¨ăăäşăăăŁăăăăŞăďźăˇăĽăźăŤăŞĺ ćŻă âŚďź
ďźčć¨ĺ çă¨éłćĽ˝ďź
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ďźčć¨ĺ çăŽäťäşé˘¨ćŻďź
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ďźă¸ă§ă¸ă§ăŽĺĽĺŚăŞçžäşşä¸éŚďź
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ďźăŤăźă´ăŤă§ăŽäşďź
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ďźă柍çťăćăăŚćĽ˝ăăă§ăăăďźăďź
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ďźă質ĺă波ç´ăŽçżĺžćłăćăăŚä¸ăăďźďź
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ďźă質ĺăăăŁăăăăä˝ĺăŽă˘ăăŤăŤďźďź
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ďźă質ĺăăă柍çťĺŽśăŤăŞăŁăŚăăŞăăŁăăďźďź
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ďźă質ĺăăăŁăăăăŽĺŚçć䝣ăŽé¨ć´ťĺăŻďźďź
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ďźă質ĺăăĺ§čżŤçĽăăăŤă¤ăăŚďźďź
- ďźĺŚďźâĺ§čżŤçĽăâďźâťăSBRă 13塝ă§çťĺ ´ďźăŤăŻăăăŻăŞăăăŽă§ăăăăăăŻăŠăăăĺşăŚăăăă§ăăăďźçŹďź
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- ďźćąĺ大ĺŚčŹćźăă¸ă§ă¸ă§çŤăĄć厤 with čć¨ĺ çăăăďź
ăăăŽäťśăŤă¤ăăŚăăăŁăăăć°ăăăŞăŞă¸ăăŤăŽăĺ§čżŤçĽăăăŻăä˝ĺ˝ăăăŽăăăŞăăăŹăšćă§ăĺ ¨čşŤă§ä˝ĺăă˘ăżăăŻăăăăăŞćăăăăćăčć¨ĺ çăă¤ăżăşăŠăăéăŻăçé˘ăŤçŤăăăŚéŁăăăăäşăďźďźăăă˛ăăŽĺ ´ă§čŚăăŚćŹ˛ăăă¨ăăăŞăŻă¨ăšăăŤăŻăä¸č¨ăăçĄçă§ăďźă
ďźäťĺžĺˇçăŞăŠăŽć´ťĺăŽäşĺŽăŻďźďź
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ďźćżăŹă˘ć ĺďźăčć¨éŁĺ彌ăŽăćçć厤ăďź
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- ăçŤăŻâŚä¸çŤďźăĺžă§čŞżçŻăăă
- ăčąčăŻăĄăăă¨çŤăéăăçăŻă¤ăă¤ă§ă
- ăçžĺłăăă ăŞăă¨ćăăč˛ăžă§ćăăă
- ăăă¤ăăăă¤ăă
- ăăăłăăŻăŽéŚăăăăŞă¤ăŤăŤâŚăăăă¤ăăďźăďźăăŽăťăŞăăŻ2ĺč¨ăďź
- ăăçăă§ă§ââââďźă
- ăĺŽćăăžăăăăăźăă
- ăăŠă¸ăŁă˘ă˘ď˝ď˝ď˝ăłďźă
ăćçăŻă¨ăăŹăăłăŁďźăŤăăăăăă ăŁăăăĄăŞăżăŤăăŁăăăć°ăăćçăŻăăăžăźăŤăăŚăăăăă¨ăăďźăăŁăăăăăăçžĺłăăăăďźďźďźçŹďźďź
ďźăăŹăźăłăăłăźăăźďź
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ďźăăăŁăçŤăĄăďź
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ăăăăŚčŹćźăŻăç´1ćéĺă§ĺ ¨ăŚăŽĺ 厚ăçľäşăćĺžăŤčŚŞăăćšă ăăăďźăďźćă¨ćąăăăăŞăăťăŠăŽčąćăć渥ăăă14ć55ĺăä¸éˇăŽććă§éăăăŞăăăăăŁăăăăă¨čć¨éşťçžăăăŻäźĺ ´ăĺžăŤăăăŽă ăŁăăďźĺžă§čăă芹ă ă¨ăĺŽăŻăăŁăă茳茧ăŤćĽăŚăăĺ澡ăăŁăłăăŁăźăşăŽăăăĄăăďźďźďźăăăăŽéăŤäźĺ ´ăćăĺşăăŚăăăăăăďź
ăăăŁăťă˘ăźăŤă漽ăăăŁăăďźăăăŁăăăăé˛čĄĺ˝šăŽĺŻşäşăăăă¸ă§ă¸ă§ç ăŽçăăăăăŽäťé˘äżč ăŽćšă ăŤăĺżăăăćčŹăăăăžăăďźăŞăłă´ăŠďź
ăăŞăăąă
- čć¨éşťçž ăăćą
- čć¨éŁĺ彌
- ăŠăăăźăŠăłăăłăăĽăăąăźăˇă§ăł ăă
ăć厤ăŽĺłĺăŤéŁžăăăŚăăăčć¨ĺ çăă弼ć§ăŤéăăăčąďźăăăŽć¨ŞăŤăŻâShinnosukeâăăďźSOULâd OUTďźăăăŽčąă罎ăăăŚăăŚăčŹćźçľäşĺžăčąăä¸ĺżăŤĺçăćŽăă¨ăăăĺĽĺŚăŞĺ ćŻăčŚăăăă[22][23]
ĺćăĺăăčć¨éŁĺ彌ăăďźĺˇŚăťćŽĺ˝ąďźĺ ¨ĺ˝ä¸çťć Ąć°čç¤žďź ââç§ăŻĺ°ĺŚć Ą2ĺš´çăăä¸çťć ĄăăăŚăăžăăăăăžăŻăăŞăźăšăŻăźăŤăŤă漽ăăéăăŚăăžăăăĺ°ćĽă¸ăŽä¸ĺŽăŻćăăžăăăăăŽĺ ăŽăă¨ăăăŠăčăăŚăăŁăăăăăŽă§ăăăăă
ăç§ăŽčŠąăăăă°ăç§ăŻăăłăŹĺŽśă¨ăăŚă˛ă¨ăă§ăăłăŹăćăăŚăăžăăăăăăă¨ăĺ¤çŹăŤčăăă°ăŞăăŞăă¨ăăăĺż ăăăăă§ăăăă¨ăă°čŞäżĄăćăŁăŚćăăăšăăźăŞăźă§ăăčŞč ăŤĺăăăăăăŞăăă¨ăăăăžăăăăăŞă¨ăăŻăăŞăă§ăŞăŽă ăăăä¸ăŽä¸ăŽäşşăŻä˝ăčăăŚăăăă ăăăă¨čŞäżĄă夹ăăăç§ăŻă˛ă¨ăă ăă¨ăăĺ¤çŹćăăăăŤĺźˇăžăăă¨ăăăăžăăăăăăă¨ăăŻă夊ćă¨ĺźă°ăăĺ äşşăăĄăŽçăćšă姿ĺ˘ăŤĺć°ăĽăăăăăă¨ăăăăžăă
ăă´ăźăŽăŁăłă¨ăăăăŠăłăšäşşçťĺŽśăç§ăŻĺăŠăăŽăăăă弽ăă§ăăăă´ăźăŽăŁăłăŽăŞăă§ă¨ăăŤĺĽ˝ăăŞă¨ăă˝ăźăă¨ăăă°ăçľľăćăăăă ăăŤăăŠăłăšăăăżăăă¸ăžă§čĄăŁăăă¨ă§ăăĺ°çăŽčŁĺ´ă¨č¨ăŁăŚăăăăăăŞĺ ´ćă¸ăŞăčĄăŁăăŽăăă¤ăĄăźă¸ă§ćăăăŁăŚăăăăĺçăčŚăŚćăăăŁăŚăăăăă§ăăăăăăăăăžă§ăă ăăŁăŚćăăăăă¨ăăŁăŚăăăŞăăăăçľľă売ăăă¨ăăäżč¨źăŻăăăžăăăă§ăăăăăă確ĺşăăćĺżăčŞĺăŽäżĄĺżľăŤć˛żăŁăčĄĺăčŚčăăăă¨ăç§ăŻăăăĺąăžăăăăă§ăă
ăăăłăŹĺŽśăŻăăŞăăĺ¤çŹăćăăăăŽă§ăăăă ăăăăăčŞĺă俥ăăăă¨ăăć°ćăĄă大ĺă§ăăčŞĺăŽă˘ă¤ăă˘ăčŞč ăŤăŚăąăăăŠăăăŻćăăŚăăă¨ăăŤăŻăžăŁăăăăăăžăăăăă¨ăăŠăăŞăŤćĺăŞăăłăŹĺŽśă§ăăŁăŚă羜寞çăŞç˘şäżĄăŻćăŚăŞăă¨ćăăă§ăăç§ăăăă§ăăăăłăŹĺŽśă¨ăăŚăăăĽăźăăŚ30嚴䝼ä¸ăçľăĄăžăăăăäťă§ă確俥ăŻćăŚăžăăăăăă§ăčŞĺă俥ăăŚăăłăŹăćăçśăăăă¨ăăăăčŞĺăŽä˝żĺ˝ă ă¨ćăŁăŚăăžăă
čć¨éŁĺ彌ăăďźćŽĺ˝ąăťĺ ¨ĺ˝ä¸çťć Ąć°čç¤žďź ââăăŽăčŞäżĄăăćă¤ăăăŤăŻăăŠăăăăăăăŽă§ăăăăă
ă俎ćĽăăăăă§ăăčŞäżĄăćă¤ăăăŽäżŽćĽă§ăăç§ăŻăăžă§ăä˝ĺăä˝çžăżăăă¨ăćŻćĽăăăăćăăŚăăžăăă ăăăăăăăžăăăłăćĄăŁăăă¨ăăŞăäşşă§ăŻçľśĺŻžăŤćăăŞăçˇăĺźăăžăăăăăŻéçăŽç´ ćŻăăŤăéăăăăăăŞăăă¨ćăăžăăăăźă ăŠăłă ăŁăŚăćĽăŤćăŚăăăăŤăŞăăăŽă§ăŻăŞăă§ăăăă襨çŤăŁăŚăŻĺşăŚăăŞăĺŞĺăŽçŠăżéăăčŞäżĄăŤă¤ăŞăăŁăŚăăăă ă¨ćăăžăă
ăăă¸ă§ă¸ă§ăăćăĺăŤăŻăçĽč˝ćŚăăăźăăŤăăăéĺ°ĺš´ăăźăăŁăźăăă犜漾ăŽčä˝ăăăźăăŤăăăăăŞăźćĽč¨Şč ăă¨ăăä˝ĺăćăăŚăăžăăăăžčŞăżčżăăŚăżăă¨çľľăăšăăźăŞăźăĺŽĺŽăăŚăăžăăăăăăŽ2ä˝ĺăăŞăăă°ăăă¸ă§ă¸ă§ăăŤčĄăă¤ăăă¨ăŻăŞăăŁăă¨ćăăă§ăă
ââăăăă¨ăăăăăžăăăďź2011ĺš´1ć1ćĽĺˇăä¸çťć Ąć°čăć˛čźăăä¸é¨çˇ¨éďź [24]
珏ďźĺ ăćççşăă¨äťĺ°ĺ¸ă¨ăŽé˘äżăŻďź 2011.2.14
čăć: ăăŽăç§ăŽĺşçŹĺˇă¤ăłăżăăĽăźăă§ăŻă äťĺ°ăĺşçŹĺˇăŤăăăăŽăăčĺäşşăŤĺşćźăăă ăăă¨ă§ă ĺ¤ăăŽćšăŤĺşçŹĺˇăăŻăăă¨ăăäťĺ°ăŽé ĺă çĽăŁăŚăăă ăăăă¨čăăŚăăžăă äťćĽăŻăäťĺ°ĺ¸ĺşčşŤăŽăăłăŹĺŽśă§ ăă¸ă§ă¸ă§ăŽĺĽĺŚăŞĺéşăďźäťĽä¸ăă¸ă§ă¸ă§ăďźăŽ ä˝č ăťčć¨éŁĺ彌ăăăŤĺşćźăăă ăăžăăă ăŠăăăăăăăéĄăăăžăă
čć¨ăă: ăăĄăăăăăăăăăéĄăăăžăă
čăć: ćŠéă§ăăăĺ çăŽä˝ĺăŤăŻăăăĽăźĺ˝ćăă äťĺ°ăŤç¸ăŽăăĺ°ĺăäşşĺăŞăŠăć°ĺ¤ăçťĺ ´ăăŚăăă ç§ăăĄäťĺ°ĺ¸ć°ăŻĺ¤§ĺ¤ĺŹăăćăŁăŚăăžăă çšăŤăă¸ă§ă¸ă§ă珏ĺé¨ăăă¤ă¤ă˘ăłăăŻç ăăŞăă硨ă§ăŻă ăćççşăă¨ăăćĽćŹăŽćśçŠşé˝ĺ¸ăčĺ°ă¨ăŞăŁăŚăăžăăă ĺŽéăŤäťĺ°ăŤăăĺ°ĺăăĺşăŞăŠăçťĺ ´ăăŚăăă ăăĄăłăŽçăăăăăäťĺ°ĺ¸ăăă¸ă§ă¸ă§ăä˝ĺ㎠ăčĺ°ăăŽä¸ă¤ă¨ăćăăăŚăăăăă§ăă ăăă§ăžăăŻćççşă¨äťĺ°ă¨ăŽé˘éŁăŤă¤ă㌠ćăăŚăăă ăăžăăă
čć¨ăă: äťĺ°ăŻčŞĺăçăžăč˛ăŁăčĄăŞăŽă§ă ăŞăăżćˇąăă¨ăăăăćăăăăăă§ăăă ä˝ĺä¸ăŽćśçŠşăŽčĄă¨ăŻăăă čŞĺăŽä˝é¨ăä¸ćˇăăŤăăŚä˝ĺăŤćăăă¨ăŻĺşćŹă§ăăă ä˝ăăăŞă˘ăŞăăŁăĺşăăŽă§ă
čăć: 珏ĺé¨ăŽä¸ťčŚäşşçŠăŽä¸äşşă¨ăăŚçťĺ ´ăăăăłăŹĺŽśăŽ ă岸螺é˛äź´ăăŻăčŞč ăăĺ ç㨠ĺä¸čŚăăăăăăăăăăă§ăăă ăăŻăä˝ĺă§ăăŞă˘ăŞăăŁăéčŚăăŚăăăă¨ă窺ăăžăă
čć¨ăă: é˛äź´ăŻĺčŞčşŤă§ăŻăŞăă§ăă(çŹ)ă ăă ăăŞă˘ăŞăăŁăŻćŹ˛ăăă§ăăă ăăăŤă珏ĺé¨ă§ăŻćŽşäşşéŹźăĺşăŚăăžăăŽă§ă äťĺ°ăăăŽčĺ°ă¨ăăăŽăŻăăăăŤăŠăăăŞă¨ćăă ĺ¸ć°ăŽçăăăŤăŞăăšăă迡ćăăăăăŞăăă㍠ăćççşăă¨ăăćśçŠşăŽčĄăä˝ăăăŚăăă ăăă ă¨ăă揥珏ă§ăă
čăć: ćčżă§ăŻăäťĺ°ĺ¸ăçŠé¨ăŤăŞăăžăăŚă ć çťĺăăăăäťĺ°ĺ¸ĺ¨ä˝ăŽä˝ĺŽśăťäźĺ嚸太éăă㎠ăă´ăźăŤăăłăšăŠăłăăźăăŽä˝ä¸ă§ă äťĺ°ĺşčşŤăŽéŚç¸ăć掺ăăăć䝣ă§ăă ăĄăŞăżăŤć掺ăˇăźăłćŽĺ˝ąćăŤăŻă ă¨ăăšăăŠă¨ăăŚăăăăăŽĺ¸ć°ăŽçăăăă ĺĺăăă ăăăŽă§ă äťă ăŁăăăăăăăĺżé ăăăăŞăăŚă 大ä¸ĺ¤Ťăăăăăžăăăă
čć¨ăă: éŁčźćďźćł¨ďźçŹŹĺé¨ăŽéŁčźăŻ1992ĺš´ď˝1995ĺš´ďźăŻ Sĺ¸ă¨ăăăŽăäťĺ°ĺ¸ă§ă ćççşăŻăăŽéĺ¤ăŽčĄă¨ăăč¨ĺŽă§ă äťĺ°ĺ¸ăăŽăăŽăčĺ°ă§ăŻăŞăăŁăăă§ăă
čăć: čżĺš´ă§ăŻăăăŽćççşăäşşĺŁăĺ˘ăăŚă Sĺ¸ăćçĺşăăŤćć źăăăăă§ăăă
čć¨ăă: ăăăSĺ¸ĺ ăŤĺăčžźăžăă形ă§ĺ佾ăăăăă§ă(çŹ)ă
čăć: ćççşăŽĺ°ĺ˝˘çăŞă˘ăăŤă¨ăăŚăŻă 岊ćçăŽĺŽŽĺ¤ĺ¸ă§ăŻăŞăăăă¨ăă芹ăăăĄăłăŽé㧠ăăăŚăăăăă§ăă
čć¨ăă: ĺ°ççăŤă¤ăĄăźă¸ăăăŽăŻă厎ĺçăŽćžĺłśăŽĺă ćąćžĺłśĺ¸ăŽăăăă§ăă ăă ăăăăăżăŚăłă¨ăăŚăŽčĄăŽă¤ăĄăźă¸ăŻă ĺ˝ćéçşăé˛ăă§ăăćłĺ¸ďźćł¨ďźćĺ63ĺš´ăăäťĺ°ĺ¸ćłĺşďź ă厎ĺéĺşéś´ăśč°ˇăăĽăźăżăŚăłăŞăŠăĺčăŤăăŚăăžăăă
čăć: ăŞăăťăŠă ăăăăĺ˝ćăŽăăĽăźăżăŚăłéçşăŽć§ĺă ä˝ĺăŤĺć ăăăŚăăăă§ăăă
čć¨ăă: ĺ˝ćăŻćąĺĺŚé˘éŤć ĄćŚ´ăśĺ˛Ąć ĄčăŤéĺŚăăŚăăžăăăă ćŻćĽăŽăăăŤé˘¨ćŻăĺ¤ăăŁăŚăăăă§ăăă ăăé衯ăćĽăŤăăźăłďźă¨ă§ăăăăăŚă ăăŽĺ¤ĺăăˇă§ăăăłă°ă§ăăăă ăăăŞä˝é¨ăăăăăăŻĺć ăăăŚăăăăăăăŞăă
čăć: ĺ çăäťĺ°ăŤăä˝ăă ăŁăé ăŽäťĺ°ăŻă ćĽćŹăŽçľć¸ćéˇăŤĺăăăŚčĄă 大ăă姿ăĺ¤ăăŚăăć䝣ăŽçăŁĺŞä¸ă ăŁăă¨ćăăžăăă ăăŽä¸ćšă§ăăžă ćŚĺžăŽé˘ĺ˝ąăćŽăăăă㪠ăăšăăŞă˘ăšăŞă¨ăăăăăŁăă¨äźşăăžăăă
čć¨ăă: ăăăžăăăăăăŽăĺşçŹĺˇăŤăŻé˘äżăŞăă§ăăăŠďźçŹďźă ĺäžăŽé ăŤĺ°ćžĺłśăä¸ĺšłčĄć˛źăŽăăă㧠ăăéăă§ăăăă§ăă ăăăŤăŻé˛çŠşĺŁčˇĄăżăăăŞćăăăŁăŚă ä˝ăżäťăăŚăăćšăăăžăăă ăăŽćšăŻăĺŽăŻćľŽćľŞč ă§ăŻăŞăă ć大éćăĄă§ăăăŽč˛ĄçŁăé ăăăŚăăă¨ăă ĺčľéăŽĺăăăŁăăă§ăăă
čăć: ĺ çăčŞčşŤăć˘ăăŤčĄăăăăŽă§ăăďź
čć¨ăă: ĺ˝çśčĄăăžăăăďź ăžăăĺ芹ă ăŁăă¨ćăăžăăďźçŹďźă ăăăĺŚăŞăŞă˘ăŞăăŁăăăŁăŚăĺäžĺżăŤ ĺŽéăŤä˝ăăăăŽă§ăŻăŞăăă¨ćăăăăăăăă§ăă ćŹĺ˝ăŤă ăăŽćšăŤăçĽçăŞé°ĺ˛ć°ăăăŁăŚă čąčŞă§ăăăšăŁăăăăŚăä¸ä˝ä˝č ăŞăă ďźăżăăăŞďźçŹďźă
čăć: ăă¸ă§ă¸ă§ăăŽä˝ä¸ăŤĺşăŚăăăăăăăăŞâŚ
čć¨ăă: ăăăăăä¸ć¨ăŚäşşă ăăŠăéĺťăŤä˝ăăăŁăăă ăăăŞă ă¨ăăé°ĺ˛ć°ăăăŁăŚăĺčľéăŽčŠąăă ăžăăăĺă§ăăŞăăŁăŚćăăăăăâŚ
珏ďźĺ ĺăăŚčŚăăč¨čăŻăăŠăăăăăďźďź ĺäžć䝣ăŽćăĺş 2011.2.15
čăć: ăăăŞăăšăăŞă˘ăšăŞé°ĺ˛ć°ăćźăŁăŚăăä¸ćšă§ă ăŠăăŠăĺŽ ĺ°éçşăé˛ăă¨ăă ăĄăăăŠć䝣ăŽĺ¤ăăçŽă ăŁăăŽăăăăăžăăă ĺäžăŽé ăŤĺşçŹĺˇă§éă°ăăăă¨ăŻăăăžăăăă
čć¨ăă: çśăčĽćăŽçăžăă§ăĺšźĺ°ăŽé ăŻčĽćĺşăŤä˝ăă§ăăžăăă 厎ĺĺĺćăŽĺă§ă ăăŽĺĺćăăžăăăšăăŞă˘ăšăŞăă§ăăăŠďźçŹďźă ăăŁă¨ăĺĄăŽĺăăăŻăŠăăŞăŁăŚăăăă ăăďź ă¨ćăăŞăăč˛ăĄăžăăă
čăć: ăăăăçăçŤăĄăăăă¸ă§ă¸ă§ă㯠çăžăăăšăăăŚçăžăăăăăŞć°ăăăžăă ăĄăŞăżăŤĺŽŽĺĺĺćăŻă ćżĺŽĺ Źăé ĺą ĺžăŤéăăăčĽćĺ补ăŤĺťşăŚăăăŚăăă ĺ ăŤăŻĺşçŹĺˇăăĺć°´ăăć°´ăćľăăŚăăžăă
čć¨ăă: ĺşçŹĺˇăŻĺ˝ćä˝ăă§ăăă¨ăăăăăčżăăŁăăŽă§ă ăăéăłăŤčĄăŁăŚăăžăăăă ćŻĺš´ďźćďźćĽăŤă˘ăŚéŁăăŽč§ŁçŚćĽăŤăŻă çśăŤéŁăăăăŚä¸çˇăŤč´éˇăăŻăăŚéŁăăŤăăŁăŚăăžăăăă
čăć: ĺ çăč´éˇăăŻăăŚĺˇăŤĺ ĽăŁăŚăăă¨ăăăŻă ćłĺăéŁăă§ăăăĺşçŹĺˇăŻĺšźăé ăă 躍čżăŞĺĺ¨ă ăŁăăă§ăăă
čć¨ăă: ĺŽăŻĺäžăŽćăŤăćĺăŤčŚăăč¨čă ăăŠăăăăăăŞăă§ăďźçŹďźă äťăŻĺşçŹĺˇăŤĺŻžăăŚă çăăăăăăŞă¤ăĄăźă¸ăăăŞăă¨ćăăžăăă ĺ˝ćăŻçŹăŽćťä˝ă¨ăćľăăŚăăăă¨ăăăŁăŚă ĺ¨ăăŽĺ¤§äşşăăĄăă ăăŠăăăăăŤăŞăăăăĺˇăŤčĄăćăŻć°ăă¤ăăŞăă ă¨č¨ăčăăăăăŚăăăżăăă ćăŻăăăăĺąéşăŤĺŻžăăŚă ĺ°ĺăŽăĺš´ĺŻăăăĄăŽçŽé ăăăăŁăăă§ăăă
čăć: ĺäžăĺăăŚčŚăăč¨čă¨ăăŚăŻă ăăŞăăˇă§ăăăłă°ăŞč¨čă§ăăă
čć¨ăă: ĺˇă§ăŠăăăŁăŚéăśăăćăăŚăăăŚăăăŽă ă¨ćăăžăă ĺˇéăłăŻčŞĺˇąč˛Źäťťă ăăăčŞĺčŞčşŤă§ć°ăäťăăŞă㨠ăăĄăŞăă ăăă¨ăăăă¨ă§ă
čăć: ĺ˝ćăŻăžă ć°´éŁäşć ă§äşĄăăŞăćšăĺ°ăŞăăŞăć䝣ă§ăăăă
čć¨ăă: ä˝ăäşć ăăăă¨äťă ă¨ăăčĄćżă貏ăăăăăĄă§ăăă ĺ˝ćăŽĺˇéăłăŞăŠăŻčŞĺˇąč˛Źäťťă§ăăăă ăă¨ăĺč˛çćľĺăťăłăżăźăă§ăăĺăŤăŻ ăăŽčžşă河ĺŁăŽéä¸ăŽăăăă§ćłłăă ăă ăăŁăłăăăăăăăžăăă ăăă¨ç§ăŤăŻăăŁă¨ä¸ćľă§čç ŽäźăĺŽçŞă§ăăăă
čăć: ćççşçˇ¨ăŤăŻĺşăŚăăžăăăă ĺ çăčç ŽäźăŻăăăăăŚăăžăăăă
čć¨ăă: ăăĄăăă§ăăďźăăŻăçśăŤéŁăăăăŚäşĺŁć¸č°ˇă 弼ć°ĺˇăŞăŠă¸čĄăŁăŚăăŁăŚăăžăăă
çśăŻă˘ăŚéŁăă ăă§ăŞăă éćăĄăăăŽăçŠăăŞăŠăăăŁăŚăăžăăăŽă§ă
čăć: ĺşçŹĺˇăŽčżăăŤăä˝ăžăăŽćšăŻă çŠçć°ćăŽčĄăćľăăŚăăăăăăăŞăă§ăăă ăăŽĺşçŹĺˇăăźă ăăźă¸ă§äťĺš´ĺćăăăŚăăă ăă 大嚴寺幹ăŽăľăă¨ă§ăăăăă¤ăăăăăăŚăăćšă ĺŹăŤăŞăă¨çŠăăŤčĄăăăă§ăăă 䝼ĺ弼ć°ĺˇă§čç ŽäźăŽäźçťă§ăä¸čŠąăŤăŞăŁăćšă ć¸ćľéŁăăăăŽăăŤéćăăăŚăăžăăăă
čć¨ăă: ăăŽăăŻéŁăăă§ăăăă ĺă税éĄă§ă厎ĺçă§éŁăšăăăăŽăŤă ăéŁăŽçŚĺłśçă§ăŻćŻăćăŁăŚăăăăŽăăăăăă§ăăă ăă¨ăäťĺ°ăŽäşşăŻćąäşŹăŤčĄăŁăŚăă čç ŽäźăŽčŠąéĄă§çăä¸ăăăžăăăă ăčç ŽäźăăŚăďźă ă河ĺă§ăăăă ăăăăŁăŚă ă§ăăćąäşŹăŽäşşă¨čŠąăă¨ăăăăŁăŚăăźăăăĽăźăŽăă¨ďźă ă¨čăăăžăăă ăăăéăéăăčç Žäźă§ăŻç Žăăă ăă 河ĺă§čăŻçźăăŞăăăď˝ăăżăăăŞďźçŹďźă
čăć: äťĺ°ĺşčşŤč ĺ壍ă ă¨čç ŽäźăŁăŚč¨ăă ă㧠ăăĺăăĺăăăăăžăăăă
čć¨ăă: ăăăŞăă§ăăăăăď˝čç ŽäźăŻăăă§ăăăă ăăăăŞäşşă¨ăłăăĽăăąăźăˇă§ăłă§ăăăă 河ĺă§ĺŽśćăŽčźŞă¨ă確čŞă§ăăăăăŚă
čăć:ăčç Žäźăă¨čăă¨ăăăăă ăă§äťĺ°ăŽăă¨ă ćăĺşăăăăć éˇăŤĺ¸°ăŁăŚăăăŞă ă¨ĺŽćă§ăăăăăžăăăă
čć¨ăă: ăăăăăäťé ăăžă ăăŁăŚăăžăăă
čăć: çčśćŠăŽä¸ćľăĺşçŹĺˇă§ăŽčç ŽäźăŽčĺ°ă¨ăŞăŁăŚăăŚă ĺŚçăăăä¸ĺżă§ăăă夊ć°ăŽčŻăćĽăŻ ćăăĺ ´ćă¨ăăăăăăŚăăăăă§ăă ăăăăĺŻăăŞăŁăŚăăăŽă§ă ăăä¸çŤăŤăŞăŁăŚăăŚăăăăă§ăăă ă¤ăĺ ćĽăăăăăčŚăăăăŽçąłăśč˘ăŽć˛łĺ㧠ăăŁăŚăăžăăă
čć¨ăă: ăăăŞăă§ăăăäťăŽĺŚçăăăŻăăźăăăĽăźă§ăăďź
čăć: ăĄă¤ăłăŻăăŻăčç Žă ă¨ćăăžăă
čć¨ăă: ă§ăăăăăăăŁă(çŹ)ă
珏ďźĺ ĺşçŹĺşˇä¸ĺăŽçąćĽăŻďź 2011.2.16
čăć: ăă¸ă§ă¸ă§ă珏ĺé¨ăŤăŻăčŞăé¨ă¨ăăŚăĺşçŹĺşˇä¸ăĺ ă¨ăăăăŁăŠăŻăżăźăéčŚäşşçŠă¨ăăŚçťĺ ´ăăžăă ăăăăăăŁăŠăŻăżăźăŤăĺşçŹăă¨ĺäťăăăă ĺ çăŽćĺłăŻăĺşçŹĺˇăäťĺ°ăŽăˇăłăăŤă¨ă㌠čăăăăŚăŽăă¨ăŞăŽă§ăăăăďź
čć¨ăă: ăăŁăąăăĺşçŹĺˇăăĺşăăŞăăăăŤăŻ ăăăŞăăăăŞăă§ăăďź ćççşăŻäťĺ°ĺ¸ă§ăŻăŞăă§ăăă ăă¨ăĺŽĺš¸ăăăŽĺ¤§ăăăć˛ăăăăžăăă ĺşçŹĺşˇä¸ĺăŻäťĺ°ăŽăˇăłăăŤăťĺşçŹĺˇăăă ăăăăăŞăă§ăăă
čăć: ăăăă¨ăăăăăžăă äťĺ°ĺ¸ăŤä˝ăăă¸ă§ă¸ă§ăăăĄăłăŤă¨ăŁăŚă ă¨ăŚăĺŹăă芹ă§ăă 䝼ĺĺşçŹĺˇć˛żăăŤă河獼ăăŽé ĺăĺ¸ć°ăŽĺŻäťă§ĺťşçŤăăă ă¨ăăäźçťăăăŁăăăă§ăăă ăă¸ă§ă¸ă§ăăăĄăłă ăŁăăĺşçŹĺşˇä¸ĺăŽé ĺă ĺťşăŚăăă¨ćăă§ăăăăă ă§ăŻăäťĺ°ăé˘ăăäťăćăăăćăĺ ´ćăă äťă§ăăăçŤăĄĺŻăĺ ´ćăŞăŠăŻăăăžăăďź
čć¨ăă: ĺ°ĺš´ć䝣ăŤéăă ĺ°ćžĺłśăŽćšăŤăŻäťă§ăčĄăăžăăă ćăăăăăžăĺ¤ăăŁăŚăăŞăă§ăăăă ä¸ĺ ľčĄć˛źĺ¨čžşăĺ Źĺĺşĺă¨ăăŚčŞçśăćŽăăăŚăăăăăŚă ăăă§ăăă ăă¨ĺ°ĺ棎ćĺ ŹĺăćąĺčŹç§ĺ¤§ĺŚĺ´ăŽçćłăŽćžă¨ăă
čăć: ćăăăĺ ´ćă訪ăăŚčśłăéă°ăăăŽă§ăăăăďź
čć¨ăă: ćŹĺ˝ăŤăăăăŽčžşă§éăă§ăăăŽă§ă ăăă§ăăăăăăă¨ăćŞăăă¨ă ăăăăŞćăĺşăăăăžăă
čăć: ăĺçŠăŽčśłčˇĄăčż˝ăŁăŚăăăă訪ăćŠăăŽă 弽ăăŞĺ°ĺš´ć䝣ă ăŁăăă¨ăăă芹ăäźşăăžăăă
čć¨ăă: ĺ ç¨ăŽĺčľéć˘ăă§ăŻăŞăăŽă§ăăă ăăăăŞăăŽă追补ăăăŽă弽ăă§ăäťă§ăĺçŠăŽčśłčˇĄă¨ăă ăăăčĺłăăăăžăă
čăć: äťĺš´ăŻçăŽé¤ă¨ăŞăăăŠăŽĺŽăä¸ä˝ă§ă äşşéăžă§ăăçăéăăŚăăăăă§ăăăçăŽčśłčˇĄăŞăŠăâŚ
čć¨ăă: äťĺ°ă§ăçăéăăŚćĽăăă§ăăďź ć°´ćşăăŽăă°ă¨ăăŤçŞă§ĺźăŁćťăă补ăăăă¨ă čçăăăŁă¨ăăžăăă ăăťăă¨ăŤăăăăŤĺą ăăă ăéăŁăăă ăăŁăŚă
čăć: ă¨ăăă§ăäťĺš´(注ďź2011ĺš´)ă§ăăăĽăźăă30ĺ¨ĺš´ă¨äźşăŁăŚăăžăă 1987ĺš´ăŽăă¸ă§ă¸ă§ăéŁčźéĺ§ăăăŻ24ĺš´ăçľăĄă ăăŽéăŤćĽćŹăĺă塝ă礞äźć ĺ˘ă 大ăăĺ¤ĺăăă¨ćăăžăă éŁčźă§äťĺ°ăé˘ăăăăŚăăă ćă¨ćŻăšăŚçžĺ¨ăŽäťĺ°ăăŠăă茧ăŤăŞăăžăăă
čć¨ăă: ăăă§ăăăćăŽĺžĄĺąćˇăŽăăăŞĺťşçŠă çĄăăŞăŁăĄăăăžăăăă ăăă¨ăăăĺŤčśĺşăçĄăăŞăŁăŚăăžăŁăŚ ăĄăăŁă¨ĺŻăăă§ăă čĄčŞä˝ăŻăăăăŤăŞăŁăŚăä˝ăżăăăăŞăŁăă¨ăŻćăăžăăă
čăć: ćŚĺžăŽé˘ĺ˝ąăćŽăăăăšăăŞă˘ăšăŞé°ĺ˛ć°ăŻă ĺ¸čĄĺ°ć´ĺăé˛ăă§ăŞăăŞăŁăŚăăžăŁăăăăăăžăăă
čć¨ăă: ă§ăăăăŁăăżăŻăˇăźăŽé蝢ćăăă芹ăăăŚăăžăăăă ć¨ćĽéŞăéăĺăŤçžăăă¨ăăăŚăă ăˇă čăŁăŚăăăăă§ăăă ăăăĺ¸ĺ ă§ĺşăŚăăăăă§ăăă ăăăăčŞçśă躍čżăŤćăăăăăă¨ăŻ ç´ ć´ăăăăŞă¨ćăăžăă
čăć: ĺäžăŽé ăŽăăŠăăăăăăćľăăŚćĽăŚăăć䝣ă éŤĺşŚçľć¸ćéˇćăŽĺ ŹĺŽłĺéĄăŞăŠăçľăŚă čŞçśç°ĺ˘ă大ĺăŤăăŞăăă°ă¨ăăćčăŽéŤăžăăăă čŞçśă¨ăŽĺ ąçăĺ垊ăă¤ă¤ăăă¨ăăćăă§ăăăăă
čć¨ăă: ăăčăăă¨äťĺ°ăŻăăŽčĄăŽčŚć¨Ąăăăăă§ăăăă
čăć: ăłăłăăŻăă§ăĄăăăŠčŻăčĄăŽăľă¤ăşăŞăŽăăăăăžăăă
čć¨ăă: ăăă§ăăăćŠăăŚĺăăŤăăŚăă éťčťăăăšă使ăăŤăăŚăăăĄăăăŠčŻăčˇé˘ă§ ăŠăă¸čĄăăŤăăŚă秝ĺăăăăă
čăć: čťăŻé蝢ăŞăăăŞăăŽă§ăăă
čć¨ăă: ăŞăăｼｼｼăăŞăăŁăă§ăăă
čăć: ăăŻăăćŠăăŚčż˝čˇĄăăăăăăŽăă弽ăă¨ăăăă¨ă§ă
čć¨ăă čć¨ăă: 追补ăŻćĽ˝ăăă§ăăď˝ďźçŹďź ă§ăćŹĺ˝ăŤäťĺ°ăŻä˝ăżăăăé˝ĺ¸čŚć¨Ąă ă¨ćăăžăăă ćąäşŹă ă¨ĺşăăăŚă
čăć: ăłăăăŻăšăŽćăčżăăŽăłăĄăłăă§ćčŚăăăŽă§ăăă ĺ çăäťĺ°ă§éŁčźăĺ§ăăé ăŻă ăłăăźăä¸ć40ĺăăăŞăŠăäťĺ°ăŤä˝ăżăŞăă éŁčźăăăŤăŻĺ¤§ĺ¤ă ă¨ăăăă¨ă§ ćąäşŹăŤĺźčśăăăăăăă§ăăă
čć¨ăă: ĺ˝ćăŻăžă ćąĺć°ĺššçˇăééăăŚăăŞăăŚă ćąäşŹăžă§éťčťă§4ćéăŻăăăŁăăă§ăă ĺŽ é ăˇăšăă ăăăŁă¨ăŻăăăłă¤ăăăŽĺŽ ćĽäžżă ă§ăăăăăăŽćć㧠éąĺčŞă§éŁčźăăăŽăŻĺ¤§ĺ¤ă ăŁăăă§ă ăăčĄăăăăăăŞăçśćłă§ăăă
čăć: äťă§ăŻă¤ăłăżăźăăăăŞăŠé俥ćčĄăćŽĺăă ăžăăăăăčŞçśç°ĺ˘ă躍čżăŤăăä˝ăżăăăăŞăŁăŚă éăŤăäťă ăŁăăäťĺ°ăŤä˝ăżăŞăăéŁčźăăŚăăăăŞă ă¨ćăăă¨ăăăăžăăďź
čć¨ăă: ăăăžăăăäťĺ°ăŤä˝ăżăŞăăéŁčźă§ăăăăăă§ăăăă
čăć: ĺ ăťăŠăŽäźĺ嚸太éăăăĺ§ăăäťĺ°ăŤăä˝ăžă㎠人ć°ä˝ĺŽśăŽćšăĺ¤ăăăă§ăă
čć¨ăă: ĺ°čŞŹĺŽśăŽćšăŻăťăźĺéĄăŞăă¨ćăăžăăă ăăłăŹăăă¸ăżăŤă§ćăăŚăăă°ă¤ăłăżăźăăăăăăă° éăăžăăăŠăĺăŻăăă§ăŻăŞăăŽă§âŚă 誰ăăçĺ稿ă確ĺŽăŤçˇ¨éé¨ăŤĺąăăŞăă¨ăăăŞăăă§ăă
čăć: ă岸螺é˛äź´ăăŻćççşă§éŁčźă§ăăŚăăĺ çăéŁčźä¸ăŤ äťĺ°ăŤä˝ăăă¨ăŻăăŻăĺłăăăŽă§ăăăăâŚ
čć¨ăă: äťäşé˘äżăĺäşşé˘äżă¨ăăŁăçć´ťĺşç¤ăäťăŻćąäşŹăŤăăăŽă§ă éŁăăă§ăăăăâŚă ă˘ăˇăšăżăłăăăăăĄăăćąäşŹăŤä˝ăă§ăžăăăă
珏ďźĺ čĄă¨čŞçśă¨ăĺ ąĺăăäťĺ°ăŽé ĺ 2011.2.17
čăć: ĺ çăŻĺĺ°ăć ăăăŚăăăăăăŞčĄă ă茧ăŤăŞăŁăŚăăă¨ćăăžăăă äťăŽäťĺ°ăŽčĄăŽé ĺăŻăŠăŽăăăŤćăăăăžăăă
čć¨ăă: ăăăăăčĄă¨čŞçśăĺ ąĺăăŚăăćăăŻăăă§ăăăă ĺťşçŠă¨ć¨šć¨ă¨ăă ĺŽăŻăăăăé˝ĺ¸ăŁăŚăăăžăăŞăă¨ćăăžăăă é˘ćąă ă¨çŽąć šăŞăŠăŤăŻăăŽăăăŞé°ĺ˛ć°ă ăăăăăăăŞăă§ăăăĺĽčĺ°çăŞčŚç´ ăăăŁăŚ ăžăéăăžăă ćĽĺ¸¸çć´ťăŽä¸ăŤćşśăčžźăă čŞçśă¨ăăćĺłă§ăŻă éčéăĺŽçŚ 寺éăŽăąă¤ă丌ć¨ăŽé˘¨ćŻăŞăŠăŻă ăžăăŤäťĺ°ă蹥垴ăăé ĺçăŞă¨ăăă ă¨ćăăžăă
čăć: äťĺ°é§ ăŤéăçŤăŁăŚéčéăăŽăąă¤ă丌ć¨ăčŚăă¨ă äťĺ°ăŤĺ¸°ăŁăŚăăăŞă¨ăăćăăăăăă
čć¨ăă: ăăăăăăăă¨ăäťĺ°ăŤăŻă ăŞăźăăŁăŞăčŞčť˘čťăĺ¤ćŹă¨ăă蜣ĺłă¨ăăăă ăăŁă¨ăăă˘ăăŻăŤăă ăăŁăŚăăäşşăĺŽăŻçľć§ăăŚă ăăăăĺşăăăăžăăă ăŞăźăăŁăŞă ă¨ăăŽă ăăăăă¨ăă čŞčť˘čťă ă¨ăăˇăŻăă¤ăă°ăăăăă¨ăă ćŽéăŽčĄä¸ăŤăăăăăă ăăŁăĺĺăćąăŁăŚăă ăĺşăăăăă§ăăă ä¸ă¤ăŽčĄăŤăăăăăăăăăăŞăă ăăăŽăĺşă ăăčĄă¨ăăăŽăŻăćąäşŹă§ăăăžăčŚăăăŞăăăăăăŞăă
čăć: čŞčť˘čťăŽčŠąăă§ăžăăăă ĺşçŹĺˇăŻĺ çăéăă§ăăăăčĽćĺşăăăŻă ĺˇć˛żăăčŞčť˘čťă§ć˛łĺŁăŽéä¸ăžă§čĄăăăăăŤăŞăŁăŚăăžăă 䝼ĺăăŽĺćă§ăăˇăŻăă¤ăă°ăăăŽĺąąĺŁăă㍠ăä¸čŠąăŤăŞăăžăăă
čć¨ăă: ĺăäťĺ°ăŤăăćăăăăŁă¨ăăăŁăŚăăăŽăŻă ăăăă§ăăă ăă¨č˛ĺąąé河沿ăăŤăăľă¤ăŻăŞăłă°ăăźăăăăăžăăăďź
čăć: ăăă2010ĺš´ăŤăŻăćľˇĺ˛¸ĺ ŹĺăŤăťăłăżăźăăŚăšăă§ăăŚă ăăă§čŞčť˘čťăŽč˛¸ăĺşăăčĄăŁăŚăăžăă ĺ¨čžşăć´ĺăăăĺ¤ăăŽäşşăăĄă 漽ăăăăăăŤăŞăŁăŚăăžăă
čć¨ăă: çć´ťĺĺ ăŤăăăăćľˇć°´ćľ´ĺ ´ăăšăăźĺ ´ăăăčĄăŁăŚă ăăăă§ăăăćŹĺ˝ăŤă ćąäşŹă ă¨ăăšăăźăŤčĄăăŤăăŚăä¸ćłăĺćă ăŁăăăăŚă ăăăăă ăă§é˘ĺă§âŚ ć çťăŤčĄăăŤăăĺ ´ćăŤăăŁăŚăŻ ďźď˝ďźćéăăăŁăăăăžăăăă
čăć: äťĺ°ĺ¸ĺ ä¸ĺżé¨ăăćłă岳ăŽăšăăźĺ ´ă 桹沟ăŽćľˇć°´ćľ´ĺ ´ăĺşçŹĺˇä¸ćľăŽčç Žäźă渊ćłă ă ăăăăŠăă¸ă30ĺĺĺ ă§čĄăăžăăăă
čć¨ăă: ăăăŞăă§ăăă ăă¨ăćčżăŻčĄăćŠăăŚăăäşşă ăăăśăăăĄăăˇă§ăăăŤăŤăŞăŁăăăăŞć°ăâŚă
čăć: ĺ çăäťĺ°ăŤăăăăé ăŻă ăăžăăăĄăăˇă§ăăăŤăŞă¤ăĄăźă¸ăâŚďź
čć¨ăă: ăăăŞăăăćăŻĺĽłăŽĺăăăăžăăăăăŞăă¨ă⌠č¨ăăăŚăžăăăăďźçŹďźă äťă§ăŻĺ ¨çśăăăŞăă¨ăŞăă§ăăă
čăć: ĺ çăŽĺŚçć䝣ăŤăŻăç§ćăŽĺŚć ĄăćľčĄăŁăćă ăŁă㨠ćăăžăăăĺ˝ćăŻăŹăŻăŠăłăçăăăŚăăžăăăă
čć¨ăă: ĺăŻăŹăŻăŠăłć´žă§ăăăăéŤć Ąă§ăŻç§ćă§ăăăă ćăé¸ăśăŽăăăŽăăĄé˘ĺăŤăŞăŁăŚ ăżăăŞăŹăŻăŠăłăŤăŞăŁăŚăăďźçŹďźă
čăć: ăă¸ă§ă¸ă§ăăŽçťĺ ´äşşçŠăŻăăżăŞăăăŹăŻăŠăłă ăŚăăăŠăźă ăżăăăŤăŞăŁăŚăăŚăĺ çăŽăŹăŻăŠăłăŤĺŻžăă ćăĺ Ľăăç¸ĺ˝ăăăŽă§ăŻă¨ćăŁăŚăăžăăă
čć¨ăă: ăŹăŻăŠăłăăăŁăąăć źĺĽ˝ăăă§ăăă ĺŽăŻăăăłăŹăŽăăĄăăˇă§ăłă¨ăăŚä¸çŞć źĺĽ˝ăăăŽăŻ ăŹăŻăŠăłă§ăăăŻăăźăşăă¨ăăăăăăăăŽăŻ 羜寞ăŹăŻăŠăłă ăŁăăăă§ăăă ăăă§ăŹăŻăŠăłăŤăăăźăŤĺăăăăăŁăŚăăăŽăăžă ć źĺĽ˝ăăăă§ăăăă ăăăçˇăŽçžĺŚă¨ăăŚăŽăăłăŹăŽéťéćšç¨ĺźă¨ăăăă ĺ¤ĺăéŤĺĺĽăăăŽĺ˝ąéżăăă ă¨ćăăžăăăŠă
珏ďźĺ ăăłăŹă¨çžĺŽä¸çă¨ăŽé˘ăă 2011.2.18
čăć: čżĺš´ă§ăŻăăă¸ă§ă¸ă§č¸äşşăă¨ăăăăăżăŹăłăăăă çąĺżăŞăăĄăłăŤăăăă¸ă§ă¸ă§çŤăĄăăŞăŠăŽă ăźă´ăĄăłăă 芹éĄăŤăŞăŁăŚăăžăă ăăłăŹă¨ăăăăŁăŻăˇă§ăłăă äťăžă§ă¨éăŁă形ă§çžĺŽă¸ăŽĺ˝ąéżăĺăă§ăăă¨ćăăžăăă ăăăăăăĄăłăĺ çăŽä˝ĺă解éăăŚçăä¸ăăŁăŚăă çśćłăŤă¤ăăŚăŻăŠăă茧ăŤăŞăŁăŚăăžăăďź
čć¨ăă: ăă¸ă§ă¸ă§çŤăĄăăŤă¤ăăŚăŻăčŞĺă§ăăłăŁăăăăŚăăŚă ä¸ăŽä¸ăŽăťăăĺ¤ăăŁăăă ăŞă¨ćăăžăăďźçŹďźă ăă¨ăă¨ăă¸ă§ă¸ă§ăăŽçťĺ ´äşşçŠăŽăăźăşăŻă ăăĄăłăżă¸ăźć§ăĺşăăăăŤăă㌠çžĺŽăŤăŻăăăăŞăăăźăşăĺăĺ ĽăăŚćźĺşăăŚăăăă§ăă ĺŽéăŽäşşéăŽé˘çŻăŽĺŻĺçŻĺ˛ăŻăăăžă§ă¨ăăă¨ăăăă ăăăŤéçăčś ăăă¨ăăăžă§ćťăŁăŚčĄ¨çžăăŚăăžăăă ăăăĺŽéăŤăăŁăŚăăăă§ăăă⌠ĺçă§ăżăă¨ăăĄăăă¨ĺçžăăŚăăăă§ăăďź äşşéăŽä˝ăé˛ĺăăăŽăăŞďź
čăć: ĺ ¨ăăŽäşćłĺ¤ă ăŁăăŽă§ăăăăă
čć¨ăă: äşćłĺ¤ă¨ăăăçäźźăăŚćŹ˛ăăăŞăă¨ăăăăăă ăăăăçäźźăăăăăŞă襨çžăŤăăŚăăăŽăŤă ăăăŤçžĺŽăŤč¸ăżčžźăă§ăăă¨ăă⌠ăŞăăăăăŽçşćłăăăăŚéŠăă§ăăă
čăć: éŠăăăă¨ăćăăžăăăĺ çăŤă¨ăŁăŚăŻăăă ĺŹăăăă¨ă ăŁăăŽă§ăăăăă
čć¨ăă: ĺŹăăâŚă¨ăăă(çŹ)ă ăăă弽ăăŞăăăŤćĽ˝ăăă§ăăăăă°âŚ ă¨ćăŁăŚăžăăďźçŹďźă
čăć: ćčżă§ăŻĺ çă塝ăčžźăžăăŚăä¸çˇăŤăăźă¸ăłă°ăăă ăă¨ăăăăăă§ăăă
čć¨ăă: ă ăŁăŚăăŁăŚăă ăăăŁăŚč¨ăăăăăďźçŹďźă
čăć: äťćĽăŻăăăăăăă˛ĺ çă¨ä¸çˇăŤ ăă¸ă§ă¸ă§çŤăĄăăăăăă¨ćăŁăŚăăžăăă
čć¨ăă: ăăăăžăăâŚăŁăŚăçžĺŽăŤăŻă§ăăŞăăă ăăďźçŹďźă
čăć: ç§ăä¸ĺŚçć䝣ăŤĺ çăŽä˝ĺăŤč§Śăăă¨ăăŻă ăăŁă¨ç´ćĽçăŤăçšĺž´çăŞăťăŞăăŞăŠă ĺéĺ壍ă§çäźźăăăă¨ăăč¨ćśăăăăžăăă čżĺš´ăŽăăăăçăä¸ăăăŻă ă¤ăłăżăźăăăăŤăă役éżă大ăăăŽă§ăŻă¨ăćăăžăă
čć¨ăă: 確ăăŤăăăăăăăŞăă§ăăă
čăć: ă¤ăłăżăźăăăăéăăŚčŚçĽăăŹäşşĺ壍ăçľăłă¤ăăŚ ĺ ąćăăăăĺ ąćăăăă¨ăăć䝣ăŞăŽă§ăŻă¨ćăăžăăă ăăăăĺ¤ĺăĺŽéăŤćăăăăăă¨ăŻăăăžăăďź
čć¨ăă: ćăŻĺŁăłăă¨ăăŁăŚăçŻĺ˛ăŻéĺŽçă§ăăăă çžäťŁă ă¨ăă¤ăłăżăźăăăăŤăăäşćłăŽă§ăăŞă ĺąéăăăă¨ćăăžăăă ăăéăŤćăă§ăă⌠ăăŽăä˝ĺăŤăŻäşşéăŽćŹĺżăçĄćčăŤă§ăžăăăă äžăă°ĺćŻăŞćăćšăăăŚăăă¨ăăăśăčŞč ăŽćšăŻ čŚćăă¨ćăăžăăăăăăăăăă 㨠ĺ˘ĺš ăăăăăăăŽăăăăăŞăă§ăăăă
čăć: ăăăăć䝣ă ăăăăăăăčŞ ĺŽăăćąăăăă ă¨ăăăă¨ăŞăŽă§ăăăăă
čć¨ăă: ăăă§ăăăä¸čŚćăăăăăŞăăăŠăčŞ ĺŽăŤćăăŚăŞă㨠ăăăăă¨ăŤăŞăŁăŚç˘şĺŽăŤĺšăăŚăăâŚ
čăć: 䝼ĺĺ çăćąĺ大ĺŚă§ă売ăăăăłăŹăă¨ăăăăźă㧠čŹćźăăăăăă§ăăăăăŽă¨ăăă ă売ăăăăăăŤăăă ăăçăŁăŚćăă¨ăăăŽă§ăŻăŞăăŚă ăŠăăŞăŤčŻăä˝ĺă§ăçľćçăŤĺŁ˛ăăŞăă¨ăčŞč ㍠ĺąăăŞăăăă ăăŞăă ă¨ăă芹ăăăăŚăăăăă§ăăă
čć¨ăă: ăăă§ăăăă売ăăăăă¨ă ăăçăŁăä˝ĺă¨ă čŞč ăŤĺąăăăăăŤçľćçăŤă売ăăăä˝ĺă¨ăŽéăăŻă čŞč ăŽćšăŻčŚćăă§ăăăă ăžăăăăă¨ăŻĺĽăŤăăăăă§ăŽçşč¨ăŞăŠă§ăăăă粞çĽăŻ ăăăŻăŁăăă¨čŚćăăăŚăăžăăŽă§ăŻăŞăă§ăăăăă ă¤ăłăżăźăăăăŽć¸ăčžźăżăŽĺ 厚ăăă ăăăŽäşşăăăăŞăă¨ćăăăă
čăć: ĺ çčŞčşŤăŻăăă¤ăłăżăźăăăă§ăă§ăăŻăăăžăăă
čć¨ăă: ćăăăăăŞăăăăăăžăăăăŞăă§ă(çŹ)ă
čăć: ăŞăăšăéżăăăăăăă¨ăă
čć¨ăă: ä¸çˇăçťăăŚăăăăă¨ăăăăăăă岸螺é˛äź´ă ă§ăŻăŞăă§ăăăĺłăŤäšăŁăăă¨ăč¨ăăăăŞăŽă§ čŞéăŽăăăŤďźçŹďźă
čăć: 岸螺é˛äź´ăŻăăăłăŹăŤé˘ăăŚăŻĺćŞăŽĺ¤ćĺşćşă čś ăăăăŽăăăĺˇçĺżăăăăĄăăŁă¨ăăăăăŞé˘ă čŚĺăăăăžăăăăăŻăăăăăé˘ăŤăŻ ĺ çăŽćłăĺ Ľăăĺć ăăăŚăăăăăŤćăăŚăăžăăžăă
čć¨ăă: ăăăăé¨ĺăăăăžăăăé˛äź´ăŻć§ăă§ăăă ăšăźăăźăăłăŹĺŽśă¨ăăŚăŽă ăă ĺ°ăă ăăä˝ĺă¨ăč¸čĄăŤĺŻžă㌠çćŻă§ăŞăăă¨ă¸ăŽćăăŞăŠă襨çžăăŚăăžăăă
čăć: ăăăžă§ă漾獯ăŞĺ˝˘ă§ăŽčĄ¨çžă ă¨ćăăžăăă ç硨ă岸螺é˛äź´ăŻĺăăŞăăă§ăŻăé˛äź´ăĺć㧠ă¤ăżăŞă˘ăŤčĄăăćäźăŽćşć厤ăŤć˝ĺ ĽăăŚăżăŚ ä˝é¨ăŽéčŚć§ăčŞăăˇăźăłăăăăžăăă ăăĄăłă¨ăăŚăŻăăăăăă¨ăăăŤĺŽéăŽĺ çăŽĺ§żă éăăăăŞăă¨ćăăžăă
čć¨ăă: ăăŽčžşăŻç˘şăăŤĺŽćăĺć ăăŚăăăăăăăžăăă äťă ă¨ăăăă§čŞżăšăă°ăťă¨ă㊠ăăăăăăŽăŽć ĺ ąăŻĺăăć䝣ă ă¨ćăăžăăă ĺčŞčşŤăŻăăŻăĺŽéăŤä˝é¨ăăä¸ă§ćăăăă§ăăă äžăă°ă¤ăżăŞă˘ćçăŽçľľăćăćă ĺĽăŤéŁăšăŞăăŚăĺçăčŚăăăăŚćăăžăăă ă§ăăĺă ăŁăăăăŽćçăŽĺăăĺ ăă ăă ĺŽéăŤĺłăăă確ăăăä¸ă§ćăăăă§ăă ăăŽčžşăŻăé˛äź´ăŤăĺć ăăăŚăăăăŞă
珏ďźĺ 澡ĺ¤ăŽăăłăŹäşć 2011.2.19
čăć: 亏é˝ĺ˝éăăłăŹăăĽăźă¸ă˘ă ă§ăŻăăăăłăŹăťăăźăăť ăŤăźă´ăŤâçžčĄé¤¨ăŤčżˇăčžźăă ďźäşşăŽä˝ĺŽśăăĄâă ă¨ăăçšĺĽĺąă§ăă岸螺é˛äź´ ăŤăźă´ăŤăŤčĄăăă¨ăă ĺąç¤şăĺ ŹéăăăŚăăžăăă ďźćł¨ďź2010ĺš´11ć5ćĽď˝12ć3ćĽăžă§éĺŹďź ăžăă2009ĺš´ăŤăŤăźă´ăŤçžčĄé¤¨ăŽäźçťĺąă§ă ćĽćŹăŽăăłăŹĺŽśă¨ăăŚăŤăźă´ăŤĺ˛ä¸ĺă¨ăŞă ä˝ĺĺąç¤şăăăăă¨äźşăŁăŚăăžăă ăĄăŞăżăŤäťĺĺčĄăăŚăăăšăżăăă§ăăă éčłăăăăăŤăŤăźă´ăŤçžčĄé¤¨ăŤčĄăŁăč ăăăăžăă
čć¨ăă: ćŹĺ˝ă§ăăďźăăăă¨ăăăăăžăă
čăć: ăăŽćăŻăăŠăłăšă§ă大ĺ¤ĺĽ˝čŠă§ăăŁă㨠䟺ăŁăŚăăžăăăäťăăăłăŹăćĽćŹăŽčŞă çžäťŁă˘ăźăă¨ăăŚćľˇĺ¤ă§čŠäžĄăăăć䝣ă ă¨ćăăžăă ç§ăăĄăĺŚçć䝣ăŻăăŠăĄăăă¨ăă㨠ăăłăŹăŤĺŻžăăă¤ăĄăźă¸ăŻčŻăăŞăăŚă ĺŚć ĄăŽĺ çă严茪ăŞăŠăă㯠ăăăłăŹă°ăăčŚăŚăăŞăă§ĺ埡ăăŞăăă ă¨ăăăăăŞć䝣ă ăŁăă¨ćăăžăăă ăăŽć䝣ăŤĺ çăăăłăŹĺŽśăĺżăăă¨ćăăă ĺćŠăŻä˝ă ăŁăăŽă§ăăăăďź
čć¨ăă: 70嚴䝣ă¨ăăăć䝣ăŽé˘¨ăă§ăăăăăăăăćŹĺ˝ăŤ ăăăăŞăăłăŹăĺşăŚăăć䝣ă ăŁăăă§ăă SFăăăă°ć䝣ĺăăăăă ăă˛ă˛ă˛ăŽéŹźĺ¤ŞéăăżăăăŞĺŚćŞăăłăŹă 漳ĺłăăăĺ çăŽăăăŞćŞĺĽăăłăŹă¨ăă ă¨ăŤăăăăăăăŞä˝ĺăä¸ć°ăŤĺşăŚăăććă§ă ăăŽă¨ăăŤăŽăźăă¨ăŤăăăăăăŁăă
čăć: ä¸ă¤ăŽăĄăăŁă˘ă¨ăăŚăŽă¨ăăŤăŽăźă ăăăŻăšă ăŁăăŽă§ăăăăă
čć¨ăă: ă¨ăăăăăăć°ăăć䝣ăŽĺ§ăžăă¨ăăćă ăăăăăŞăăč¸čĄă§ăăă¨ăŤăăľăłăšă¨ăăăă ä¸ă¤ăŽéťéć䝣ăŽĺ§ăžăă¨ăăăă äťăăćăă°ăăăŞćăăăăžăă
čăć: ăăăŤĺ˝ăŚăăăŚăăžăŁăŚă
čć¨ăă: ăăăĺ˝ăŚăăăŚăăăâŚăťăă¨ă ăăłăŹĺŽśăŤăŞăăăăŚăăăăăŞăăŁăă§ăăă
čăć: ăăłăŹĺŽśăŤăŞăăăă ăă§ăŞăăäťă§ăŻă˘ăźăăŁăšă ă¨ăăŚăŤăźă´ăŤçžčĄé¤¨ăŤĺąç¤şăăăăžă§ăŤăŞăăăžăăă
čć¨ăă: ăăăăžă ăžă ă§ăăăŠďźçŹďźâŚă§ăăă ĺ˝ćăŻăăăłčăăłăăćăăăă§ăăžăĺ çăă ĺă¨ĺăĺš´ăŞăŽăŤéŤć Ąçă§ăăăăăŤăŞăŁăŚăăă¨ăă ć䝣ă§ăăăĺăŞăăćŽéăŤĺŚć ĄéăŁăŚăăćă§ă ăăăŁăĺăĺš´ă§ăăăăăŽăăłăŹĺŽśăŞăă ďźăăŁăŚă ăăŽćăŻçŚăăžăăăă ăăăĺŚć ĄăŤčĄăŁăŚăăĺ ´ĺăăăăŞăďźăă¨ďźçŹďźă ăăăăĺăăăłăŹćăăŚăćŠăć稿ă¨ăăăŞă㨠ăăăŤăŞăăŞăăă¨ćăăžăăă
čăć: ăăăăçŹĺŚă§ăšăżăźăăăăŚâŚ
čć¨ăă: ăăă§ăăăćŹĺ˝ăŻă˘ăˇăšăżăłăă¨ăăăĄăŁă¨ ăăăăăŁăă§ăăăăăŽĺăŤçŹăçŤăĄăăŚăăžăŁăŚâŚ äşĺćłăŽă¨ăăŤăăăĽăźăăăŚăăă ăăăă§ăă
čăć: ĺ ăťăŠçłăä¸ăăžăăăăăŤăäťă§ăŻăăłăŹă澡ĺ¤ă§ă čŠäžĄăăăć䝣ă§ăăăăăăĽăźăăăŚăă ăăăžă§ăŽăăłăŹăĺă塝ăç°ĺ˘ăŽĺ¤ĺ㯠ăŠăŽăăăŤćăăăăžăăďź
čć¨ăă: ăăłăŹăŤăŻăäžăă°ăšăăźăŞăźăé˘ç˝ăă¨ăă çťăăăžăă¨ăăăăśă¤ăłăç´ ć´ăăăă¨ăăŁăă ăăăăăŞčŚç´ ăăćăçŤă¤çˇĺč¸čĄçăŞé ĺă ăăă¨ćăăžăă ă§ăăăăŽăăĄăŽăŠăăä¸ă¤ă ăă§ăćçŤăă㨠ćăăă§ăă芹ăé˘ç˝ăăŞăăŚăăçťăăăžă㨠ăăă§ăăă¨ăăŚćăçŤăŁăăăăăă§ăăă ćŽéă ăŁăăăăŽăšăăźăŞăźă ă¨ĺšźç¨ă ăŞă ă¨ăăăăŽă§ă売ăăĄăăăă§ăă 売ăăă¨ăăăăč¸čĄă¨ăăŚćăçŤă¤ăă§ăăă éăŤăçťăăăăŻĺäžăćăăăŽďźă¨ăăä˝ĺă§ăă ă¨ăŤăăăšăăźăŞăźăé˘ç˝ăăŁăăă ăăăăŞé ĺăăăăă§ăăă ă§ăăĺăŤăŻç解ă§ăăŞăăăŽăăăăžăă(çŹ)ă
čăć: ăăăŻăăăă¨ćéăĺăăăăŽăŻäťă§ăăăăžăăďź
čć¨ăă: ăăăŻăăăăăăăăăžăă čĽăäşşăăĄăŻăăăă§ăăă ă§ăéăŤăçťăăăžăăŞăăăăšăăźăŞăźăé˘ç˝ăă ăăăăŞăăăŠĺŁ˛ăăăă¨ăăä˝ĺăăăăžăăă
čăć: ćąĺ大ĺŚă§ăŽčŹćźćăŤăăšăăźăŞăźăŻ 辡ćżčť˘çľăé常ăŤĺ¤§äşă¨ăă芹ăăăăŚăăăăă§ăăă
čć¨ăă: ăăăăĺŽĺ ¨ăŤĺ¤ăăŚăăăăłăŹă§ăă ăăŞăăăĄăłăăăăă¨ă⌠ăăăŻăăă§ăăăăă§ăăăŠăă
čăć: ăăăăćăŽĺşăă¨ăăăŽăăăłăŹăŽć㤠é ĺăăăăăžăăăăä¸ćšă§ă澡ĺ¤ă§ăŻ ăăłăŹăŻăŠăŽăăăŤĺăć˘ăăăăŚăăăŽă§ăăăăă
čć¨ăă: ăăŠăłăšăŽăăłăŹăŻăăăłăăťăăˇăăă¨ăăăŽă§ăăă ăăŽćăćšăŻăăĄăă¨ăŻćăăăŤéăăžăă äžăă°ăćĽćŹă§ăŻăžă襨ç´ăŤä¸ťäşşĺ Źăćăăă§ăăă ăĄă¤ăłăŽăăŁăŠăŻăżăźăăăźăłďźă¨ă ăăăăăŤăźă´ăŤăŽăšăżăăăŻčĄ¨ç´ăŤăăŁăŠăŻăżăźă ćăăŚăăăăŞă¨ăăăă§ăă ăŤăźă´ăŤçžčĄé¤¨ăŻäşşçŠăŽčćŻă¨ăăŚćăăŚăăăŽăŤă čćŻăŽăŤăźă´ăŤăăĄă¤ăłă§ćăăŚăăăŁăŚă 確ăăŤăăŠăłăšăŽăăłăăťăăˇăăčŚăŚăăă¨ă 襨ç´ăŽăĄă¤ăłăčćŻăŞăă§ăăă
čăć: ä¸ťäşşĺ ŹăŻăŠăăŞăŁăŚăăžăăŽă§ăăďź
čć¨ăă: ä¸ťäşşĺ ŹăŻčćŻăŽăŠăăăŤă ăď˝ăčŚăă¨ĺ°ăăĺăŁăŚăăăă¨ăă ĺťşçŠăŽä¸ăéŁăă§ăăéŁčĄćŠăŤ ăĄăăŁă¨äšăŁăŚăăăă¨ăă é蝢ăăŚăăčťăŽć縌ĺ¸ăăăĄăăŁă¨ čŚăăŚăăăă¨ă(çŹ)ă ăăăăçťăćăăŚăăăŁăŚč¨ăăăžăăă éăŤăćĽćŹăŽĺ ´ĺăŻçľśĺŻžăŤăăĄăăˇă§ăłéčŞăŽ 襨ç´ăŽć§ăŤä¸ťäşşĺ ŹăĺăŤăŹăźăłďźă¨ĺşăŚăăă ăăăŻăžăă§éăăžăăă
čăć: ćŁĺ寞ăŽäžĄĺ¤čŚłăŞăŽă§ăăă
čć¨ăă: ăăăă ăăăăćĽćŹăŻăăăăăăćšăŞăă§ăăăŁăŚ 誏ćăăŚćăăăă§ăă(çŹ)ă ăŞăăŞăĺăăŁăŚăăăăŞăăŁăă§ăăă ăćĽćŹäşşăŽăăłăŹĺŽśăŤäžé źăăăă ăăă ćĽćŹăŽăăłăŹăŽćšćłčŤă§ăăăăŚä¸ăăă㨠誏ĺžăăžăăă
čăć: ĺ çăăăăĽăźăăăĺ˝ćăŽéąĺĺ°ĺš´ă¸ăŁăłăă§ăŻă 10mé˘ăăŚăčŚăŚă誰ăä˝č ăŞăŽăĺăăçťăćăă ă¨ăăăŽăĺşćŹă ăŁăăăă§ăăă
čć¨ăă: ăăăăăă§ăă
čăć: ă§ăăăă¨ăŻéă§ăĺăăŽäşşăŻä¸çŽă§čŞ°ăćăăăŽă ĺăăăŞăăŚăăăăă¨ă
čć¨ăă: ăžăĺ ¨ä˝çăŞă ăźăăćăăŚăăăă¨ăăćăă§ăăă ăăŞăăŞăăŤăźă´ăŤçžčĄé¤¨ăăŠăćăăžăăăăżăăăŞă ăăăžă§ăăŤăźă´ăŤăăĄă¤ăłă¨ăăčăćšă§ăăă
čăć: ăă¸ă§ă¸ă§ăăŽä˝č ă¨ăăăăăăă˘ăźăăŁăšăă¨ăă ä˝ç˝ŽăĽăă ăŁăăŽăăăăăžăăăă
珏ďźĺ äťĺžăŽäťĺ°ĺ¸ă¨ă¸ă§ă¸ă§ä˝ĺă¨ăŽé˘ăăăŻďź 2011.2.20
čăć: 確ăăŤćŹ§çąłă§ăŻăăăłăŹăă˘ăăĄăŻĺäžăŽăăŽă§ă 大人ăčŚăăăŽă§ăŻăŞăă¨ăăĺşĺăă ăŻăŁăăăŞăăăŚăăăăă§ăăă ćă ăăĄăłăŻăčć¨ĺ çăéăŤä¸çăŤčŞăăă㌠ăŤăźă´ăŤçžčĄé¤¨ăŤĺąç¤şăăăăă¨ăăăă¨ă§ ĺŹăăćăŁăŚăăžăăăĺ çăŤă¨ăŁăŚăŻă ăăłăŹĺŽśăŽçŤĺ ´ă¨ă˘ăźăăŁăšăăŽçŤĺ ´ă§ čč¤ăăăŁăăŽă§ăăăăă
čć¨ăă: čč¤ă¨ăăăăăăăăéăăăŻăŁăăă¨ćăăžăăăă
čăć: 亏é˝ăŽĺąčŚ§äźă§ăŻăă¨ăźăăăăŽä˝ĺŽśăă㨠ä¸çˇăŤĺąç¤şăăăŚăăžăăăăăŽä˝ĺŽśăăăăĄă¨ăŽ 交ćľăŻăăăžăăďź
čć¨ăă: ăăŽććĽćĽăăăŚăăăăăłăŠăťăăťă°ăŹăˇăźăăăŤăŻ ăäźăăăžăăă
čăć: ćĽćŹčŞč¨łăĺşçăăăéăŤć¨čŚăŽĺ¸Żă ć¸ăăăăăă§ăăă ĺ çăŽä˝ĺă¨ç¸éăăă¨ăăăŻăăăŽă§ăăăăďź
čć¨ăă: ăăăéăăžăăăčŞăżĺłă¨ăĺ ¨çśéăăă§ăăă
čăć: ăăĄăłăŽćšăéĺśăăăŚăăăľă¤ă㧠級äťăăăŚăăžăăăăĺ çăŽăăĄăłăŞăă°ă ăăăŻăăă§ă˛ă¨ă¤ăŽĺŽćăăăĺĽĺŚăŞä¸çăŽăă㍠ăżăăăăă§ăăă
čć¨ăă: ăăă§ăăăçťăăăŽăăăä¸ćăă§ăă
čăć: ăăăŻăăłăŹă¨ăăăăăçľľçťă¨ăăŚă
čć¨ăă: ăăăăŞăăăăăă大人ăăčśă¨ă ăé ă飲ăżăŞăăăăŁăăéčłăăăăăŞă¤ăĄăźă¸ă§ă ćĽćŹăŽăăłăŹăżăăăŤéťčťăŽä¸ă¨ăă§ăăźăă¨čŞă ćăă§ăŻăŞăă§ăăă
čăć: ă˘ăźăă¨ăăŚéčłăăăăăŞă¤ăĄăźă¸ă§ăăă
čć¨ăă: ăŻă¤ăłçćăŤéčłăăŞăăăăăłăźăăżăăăŞďźçŹďźă ăăăăŻéąćŤăŽĺĺžăŻăăă茳ăŞăă ăăŁăăéăăăăăŞăăżăăăŞćăă§ă
čăć: ćĽćŹă§ăăăăŞăăłăŹćĺăăăă°é˘ç˝ăă§ăăă ĺ çăŽçťéăŞăŠăŻăăăăăăăăă漽ăăżćšă ă§ăăă¨ćăăžăă
čć¨ăă: ăăăăčŚç´ ăĺ°ăăă¤ĺăĺ Ľăăăă¨ăŻćăăžăăă ă§ăăéťčťăŽä¸ă§čŞăăŁăŚăăăˇăăĽă¨ăźăˇă§ăłă ăžă大ĺăŞăă ăăă
čăć: 厜ăŤĺ¸°ăăžă§ĺž ăĄăăăŞă漽ăăżă¨ăăăŽă ăăăžăăăă
čć¨ăă: ăăăăăăćĽéąăŠăăŞăăă ăăŞăď˝ăăŁăŚă ĺăĺäžăŽă¨ăăŻăĺ°ĺš´ă¸ăŁăłăăŻćŹĺ˝ăŻ çŤććĽçşĺŁ˛ăŞăŽăŤăäťĺ°é§ ă ăăŻććăŽĺ¤ćšăŤ 財ăăăă§ăăďźăăä¸ĺťăćŠăčŞăżăăăŚ é§ ăžă§č˛ˇăăŤčĄăŁăŚăžăăă ăăăăăŽăŻĺż čŚă§ăăăă
čăć: ăŻăŻăŻăŻćă¨ăăăžăăăçśăăăŠăăŞăăă ăăă ă¨ăă漽ăăżăçć´ťăŽä¸ăŤăăăŽăŻĺ¤§äşă§ăăăă ăăŽćĺłă§ăăłăŹăŽĺ˝šĺ˛ăŻă大ăăă¨ćăăžăă
čć¨ăă: ăăă ă¨ĺŹăăă§ăăăŠăă
čăć: ăăăăŚčŠąăäźşăŁăŚăăă¨ăĺ çăŽă˘ă¤ăăłăăŁăăŁăŻ ăăŞăäťĺ°ă§çăžăč˛ăŁăăă¨ăŤčľˇĺ ăăé¨ĺă ăăŞăăăăăăŤćăăžăăăăăŽăć´ťčşă ăă¸ă§ă¸ă§ăä˝ĺăçĽăŁăŚăăäťĺ°ĺ¸ć°ăŻĺ¤ăăŚăă ĺŽéăŤăĺşčşŤăäťĺ°ă ă¨ăăăă¨ăŻăăăžă çĽăăăŚăăŞăăăăŞć°ăăăžăă
čć¨ăă: ăăăăăăăŞăă§ăăăĺčŞčşŤăăžăäťĺ°ă ă˘ăăźăŤăăŚăăŞăăŁăăăďźçŹďźă
čăć: ăăžăăžăăžăăăŽćŠäźăçĄăăŁăăăă§ăăăăă
čć¨ăă: ä¸ťäşşĺ Źăć ăăăăšăăźăŞăźăĺ¤ăăŽă§ă ĺčŞčşŤăăŠăăăŤĺŽä˝ăăŚăăă¤ăĄăźă¸ă ăŞăăŽăăăăăŞă⌠ăă¸ă§ă¸ă§ăă§ćĽćŹăčĺ°ă¨ăăŚăăăŽăŻă 珏ĺé¨ăŽćççşăˇăŞăźăşă ăă ăă
čăć: ă§ăă珏ĺé¨ă§ĺ¤§ăăăăĄăłĺą¤ăĺşăăŁăă¨ćăăžăă
čć¨ăă: äťĺşŚăŻăăŁă¨ăăŽčžşăă˘ăăźăŤăăžăăă ćççşăčĺ°ăŤăăŚăăăŽăŻăăă¸ă§ă¸ă§ăăŽä˝č ă äťĺ°ĺ¸ĺşčşŤă ăăă ăďźăŁăŚďźçŹďźă
čăć: ăă˛ăéĄăăăžăă
čć¨ăă: ă§ăăă掺人鏟ă¨ăĺşăŚăă芹ă§ăăăă äťĺ°ĺ¸ć°ăŽćšăćăăŽă§ăŻăŞăăă¨ăăĺżé ă 埡ăăă§ăăćŹĺ˝ăŤäťĺ°ăŽäşşăăĄăŤ ă迡ćăăăăăăăăŞăăăă
čăć: äťĺš´(âťćł¨2010ĺš´)ăŻĺ¸ĺ ă§ăäşäťśăăăă äťĺ°ăĺ ¨ĺ˝çăŤćł¨çŽăăăććăăăăžăăăă čŁĺ¤ĺĄĺśĺşŚăĺ§ăžăčŞĺăŽä˝ăă§ăăă¨ăăă§ăă ăăăăäşäťśă躍čżăŤćăăć䝣ăŤćŽĺżľăŞăă ăŞăă¤ă¤ăăăăăăăžăăă
čć¨ăă: ăăăĄăč飞ĺşäşćĺ Źĺĺć´žĺşćăăŽăă㍠čĄăŤă¨ăŁăŚčŻăă¤ăĄăźă¸ăăăăăăŞä˝ĺă§ăăă° čŻăăŽă§ăăăăăĺăŽä˝ĺăŽă¤ăĄăźă¸ă ă¨ă ăĄăăŁă¨âŚďźçŹďźă ăăăžă大ă çăŤäťĺ°ăăăăăčĺ°ă¨ăăăŽăŻ ć°ăĺźăăžăă
čăć: ă¨ăăă§ă䝼ĺĺ çăŤă¨ăłăăă°ăŽăăśă¤ăłă ăéĄăăăăă¨ăăăăžăăăăĺ çăŤćă㌠ăăă ăăăăŽăŻĺ¤§äşşć°ă§ ăăŁă¨ăăéăŤăŞăăŞăŁăŚăăžăăžăăŚă
čć¨ăă: ĺŹăăă§ăăăă¨ăłăăă°ă§ĺ°ăăŻäťĺ°ĺ¸ăŤ 貢çŽă§ăăăŽăăŞă
čăć: 大ĺ¤čŠąéĄă¨ăŞăŁăăŽă§ăăăă¨ăłăăăŻăŽĺśä˝ćć° čŞä˝ăăăăťăŠĺ¤ăăŻăŞăăŚăăăŁă¨ăăé㍠ăłăŹăŻăżăźă˘ă¤ăă ăŤăŞăŁăŚăăžăŁăăżăăă§ăă
čć¨ăă: ĺ¸ć°ăŽçăăăŤĺăă§ăăă ăăăŞăă äťĺžăé ĺźľăăžăă
čăć: ăă¸ă§ă¸ă§ăăăĄăłăŽçăăăŻăäťĺ°ă čĺ°ĺˇĄç¤źă¨ăăŚč¨ŞăăćšăăăăŁăăăăăă§ăăă ăžăäťĺ°ĺ¸ă§ăŽăă¸ă§ă¸ă§çŤăĄăă大ĺ¤çăä¸ăăŁă㨠䟺ăŁăŚăăăžăăŽă§ăăă˛ăäťĺ°ă§ăă¸ă§ă¸ă§ăă ăŞă˘ăŤăŤćăăŚăăăăăă¨ćăăžăă ăĄăŞăżăŤäťĺ°ĺ¸ă§ăŻă彍ĺťăŽăăăžăĄăĽăăäşćĽăă čĄăŁăŚăăŚăĺ¸ăŽăˇăłăăŤă§ăăĺŽçŚ 寺éă㎠ăąă¤ă丌ć¨ăŽä¸ăŞăŠăŤăăăăĄăłăŤăŻăă¸ă§ă¸ă§ă㎠ä¸ç茳ăćăăăă彍ĺťăăăăžăăă
čć¨ăă: ăăăăăăžăă(çŹ)ă
čăć: çąĺżăŞăăĄăłăŽćšă§ăăăăăă¸ă§ă¸ă§ăă¨ăŻ ĺ ¨ăé˘äżăăŞăăŚăăćťăăăĺ ĽăŁă彍ĺťăčŚăŚ ĺă°ăăă¨ćăăžăăăĺŽéăŤăă¸ă§ă¸ă§ăă ă˘ăăźăă¨ăăä˝ĺăäťĺ°ĺ¸ă§éčłă§ăăăăĺ ¨ĺ˝ăă ăăĄăłăŽćšăăăăăäťĺ°ĺ¸ă訪ăăŚăăăă¨ćăăžăă ăĄăŞăżăŤăäťĺ°ĺ¸ĺ˝šćăŤăăă¸ă§ă¸ă§ăăŽçąĺżăŞ ăăĄăłăăăŚă ä˝ĺăŤçťĺ ´ăăă¨ăă˝ăźăă ĺćăŞăŠă塥ăăŤăźăăč¨ĺŽăăŚăäťĺ°ĺ¸ă¨ăăŚă ăťăźăŤăšăă¤ăłăăă¤ăăăă¨ăăäźçťăăăăžăăă
čć¨ăă: ăăăăăŞăćăĺ¤ă(çŹ)ăă§ă夢ăŽăăăŞčŠąă¨ăăŚăŻă ăŞăă ăă漽ăăăă§ăăă
čăć: ĺŽéăŤéčĺşčąäşŹé˘ăŤăăéľäžżĺąăŞăŠăăăĄăłăŽćšă 訪ăăŚăăéľäžżĺąăŞăŽăŤăăŁăąăçˇč˛ă ďźăă¨ăă芹ă ăăŁăăăă§ăăćŽéăŽéľäžżĺąă ăă§ăŞăă čĄăŽăăăăŞă¨ăăăŤăă¸ă§ă¸ă§ăăŻăźăŤăă čŚĺşăçąĺżăŞăăĄăłăŽćšăăăăăă§ăă
珏ďźĺ äťĺ°ĺşčşŤč ăŻăă¤ăžă§ăčĽăďźďź 2011.2.21
čăć: ăă¸ă§ă¸ă§çŤăĄăăăăă§ăăăăăŁăŻăˇă§ăłăŽä¸ç㍠ă¨ăŠăžăăăä˝ĺăŽé ĺăçžĺŽä¸çăŤäžľéŁăăŚă㌠ăăă¨ăăăă¨ă ă¨ćăăžăă ăžăă2010ĺš´ăŽNHKćăŽăăŹăăăŠăĺ°čŞŹă§ ăă˛ă˛ă˛ăŽĺĽłćżăă大ăăăăăŚă ă˘ăăŤă¨ăŞăŁăć°´ć¨ăăăĺ çăŽć éˇăŤ ăăăăăŽčŚłĺ 厢ăćźăĺŻăăăăăŤăŞăŁăăăă§ăă ăăŹăćžć ĺăŻăăăĄăłăŽćšă訪ăăăăăă ăŁăăŽăă ćžć ĺžăŤăŻäşşĺŁăŽć°ĺăŽä¸čŹăŽčŚłĺ 厢ă訪ăăăă㍠ăŞăŁăăăă§ăçľć¸ĺšćă¨ăăŚă大ăăŞĺšćăăăŁăă¨ă
čć¨ăă: ć°´ć¨ĺ çăčŞčşŤăăăç´ ć´ăăăă§ăăăăă
čăć: ăăŁăăă§ăăăăäťĺžăŻä˝ăäťĺ°ĺ¸ă§ăă ăăă¸ă§ă¸ă§ăăŽä˝č ăťčć¨éŁĺ彌ăŽăŤăźăăŻăăăŤăăă ăżăăăŞäźçťăŞăŠă§ăăăă¨ćăăžăă
čć¨ăă: ăăăé常ăŤĺ ć ăŞăă§ăăâŚć縎ăăŚăăžăăžăă
čăć: ăĺăăă¨ćăăžăăăäťĺ°ĺ¸ăŻčŞçśç°ĺ˘ăŤćľăžă㌠ăăăăŽăŽăćŁç´ăŞă¨ăăĺ ¨ĺ˝ăăăŠăŁă¨äşşă ćźăĺŻăă茳ĺ ĺ°ă¨ăăăăăăăŠăĄăăă¨ăăă° ĺŽéăŤćŽăăăŚăżăŚă ăăăŞăă¨ćăĺĺ°ćă ă¨ćăăžăă
čć¨ăă: ăăă§ăăă
čăć: ă§ăăăăäťĺ°ăŽčŻăăPRăăä¸ă§ăăŻă ăäşşăăăŤăŽăŤăŞăă¨ćăăžăă äťĺ°ăŽčŻăăçĽăŁăŚăăă ăă ĺŽéăŤä˝ăă§ăżăŚăăă ăăŚă ăăăćŹĺ˝ăŤç´ ć´ăăăă§ăăă ă¨ćăŁăŚăăă ăăăăŤăŻăăăă§ćŽăăäşşăăĄčŞčşŤă ăăă¨ăăă ă¨ĺŽćăăŚăăăă¨ăŻĺćă§ăăă ăăŽä¸ă§äşşă¨äşşă¨ăŽă¤ăŞăăăŤăăŁăŚ é ĺăçşäżĄăăŚăăăă¨ă大ĺă ă¨ćăăžăă ăă¸ă§ă¸ă§ăăăĄăłĺ壍ăŤăŻé常ăŤĺşăçľăăă㨠ćăăžăăăăäťĺ°ĺ¸ăŽĺ°ĺćŻčăé ĺăŽçşäżĄă¨ăă 茳çšăăăăă˛ĺ çăŽăĺĺăăăă ăăă°ă ă¨ćăŁăŚăăăžăă ăć°´ć¨ăăăăăźăăăŞă㏠ăčć¨éŁĺ彌ăă¸ă§ă¸ă§ăăăźăăă§ăă¨ăă
čć¨ăă: ćŹĺ˝ăŤĺ¤˘ăżăăăŞčŠąă§ăăă äťĺ°ĺ¸ăŽăăăŤĺĺă§ăăăă¨ăăăŁăă ăăăăăä˝ăă§ăăă°ă¨ćăŁăŚăăžăă
čăć: ăăăă¨ăăăăăžăă çĺ˝ç§ĺŚç 犜č ăŽçŹč¤ĺ ĺŠăăăă ă˘ăĄăŞăŤăŽĺťĺŚççŠĺŚčŞăcellăăŽčĄ¨ç´ç¨ă¤ăŠăšăă ĺ çăŤăŞăŻă¨ăšăăăăăăăŤă ăŞă˘ăŤăżă¤ă ă§ăă¸ă§ă¸ă§ăăčŞăă§č˛ăŁăä¸äťŁăă ä˝ĺăăĺăă役éżăăăłăŹäťĽĺ¤ăŽăăŁăźăŤăă§ă ăŠăăŠăçžăć䝣ăŤăŞăŁăŚăăă¨ćăăžăă ăžăăć°ăăŞčĽăčŞč ăĺ˘ăăŚăăăăă§ăăă
čć¨ăă: ăăăĺŹăăă§ăăă ăăăăăĺš ĺşăä¸äťŁăŤć¸ĄăŁăŚčŞăă§ăăă ăăă ăăă§ăăｼｼｼ水ć¨ĺ çăŽăăăŤă
čăć: ăăŻăéˇăéŁčźăăăŚăăăăăăă ăăăăćĺłă§ăĺşăă˘ăăźăŤă§ăăă¨ćăăžăăŽă§ äťĺžăćŤć°¸ăăć´ťčşăéĄăŁăŚăăăžăă
čć¨ăă: ć°´ć¨ĺ çăŻăăăă90ćłăŤăŞăăăžăăă ăăă§ăăŞăç´ ć´ăăăă§ăăăă
čăć: 䝼ĺĺ çăŻăéąĺčŞéŁčźă§ăŻé常ăŤä˝ĺăćśčăăăŽă§ă éŁčźăŻ50ćłăăăăéçăă¨ăăăăăŞăă¨ă ăăŁăăăŁăŚăăžăăăçžĺ¨ăŻćĺčŞă§ăŽéŁčźă¨ăŞăă éąĺčŞăăăŻăăăăăč˛ ć ăć¸ăŁăă¨ćăăžăăă äťĺžăŻăŠăŽăăăăžă§ă§ăăă大ä¸ĺ¤Ťă¨ ćăăăăŚăăžăăă
čć¨ăă: ăăâŚăăă°ăŁăăăŻăćŹĺ˝ăŤĺăăăŞăă§ăăă ă§ăăăă¨10ĺš´ăŻćä˝ă§ăăăăăă§ăăă
čăć: ĺ çăŻ1960ĺš´çăžăă¨äźşăŁăŚăăžăăă ăăăăŚă芹ăäźşăŁăŚăăŞăăă ćŁç´ăŤçłăä¸ăăžăăă¨ăŚăăăăŻčŚăăžăăă ĺă§ăŻăă¸ă§ă¸ă§ăăŽçťĺ ´äşşçŠăăĄă¨ĺăă ă波ç´ä˝żăăă§ăă¨ăă 弼ć§ă波ç´ăŽä˝żăćă§ăăčŞĺŽ ă§ă波ç´ăă ćľ´ăłăŚăăă¨ăâŚ
čć¨ăă: ăăćłç¸ĺżă§ăăďźçŹďźă ă波ç´ăăăăŞăăŚâŚäťĺ°ăŽäşşăŻă çăăčĽăăăă ă¨ćăăžăăďźçŹďźă
čăć: ĺ çăŤéăăäťĺ°ĺşčşŤč ăŻčĽăčŚăăäşşăĺ¤ăă¨ă
čć¨ăă: ăăăăčŞçśç°ĺ˘ăć°ĺă¨ăăăçąłăéŁăšçŠă¨ă⌠ăăăăčŚç´ ăăăăăă
čăć: ă§ăŻĺ çăăăŽăžăžĺ¤ăăăăăă¨ç§ăăĄäťĺ°ĺ¸ć°ăă ăă¤ăžă§ăčĽă ăăăă¸ă§ă¸ă§ăă漽ăăăă¨ă ă§ăăžăăă
čć¨ăă: ă§ăăăăŽäťäşăŻćŹĺ˝ăŤĺąăŞăăă§ăăă 沚ćă§ăăžăăăăă ćĺĄĺ çăŻ60ćłă§äşĄăăŞăăăŚăăžăăă
čăć: ĺľä˝ăŤă¨ăăŤăŽăźă注ăčžźăă§ăăžăăă ăŞăŽă§ăăăăă
čć¨ăă: ăŠăăăŚăçĄçăăŚăăžăăŽăăăăăŞăă§ăăă čĽăćă¨ăŻéăŁăŚăăĺžšĺ¤ă§ăăŞăăŽăŤă ćăăŚăăă¨ăăăă¨ćăŁăŚăăžăă¨ăă
čăć: ćăăŚăăă¨ă˘ăăŹăăŞăłăĺşăŚ ç˛ăăćăăăăŞăăŞăŁăŚăăžăŁăăăăăŽă§ăăăăă
čć¨ăă: éä¸ăăŚăăăăăăŁă¨ăăéăŤćéăéŁăłăžăăăă ć°ăĽăăăä˝ćéăĺă姿ĺ˘ă§ćăçśăăŚăăŚă č °ăăăâŚďźčŚçŹďźă
čăć: ăžăă§ăăŁă˘ăăăŽăšăżăłăăăăłă°ăŻăŞă ăžăłă ăŽćťćăŤăăŁăăżăăăŤăćéăćśăéŁăłă č °ăŽçăżă ăăćŽăă ç§ăăĄăă波ç´ăă使ăăăŽă§ăăăă ĺ çăŤçĺ˝ă¨ăăŤăŽăźăéăăăă§ăă(çŹ)ă
čć¨ăă: ăăăă¨ăăăăăžăă ăă¤ă§ăă¨ăăŤăŽăźăŻćŹ˛ăăă§ăăŽă§(çŹ)ă ă§ăäťćĽăŻăçăăăăĺ ć°ăŽă¨ăăŤăŽăźă ăăăăăăă ăăć°ăăăžăăă
珏ďźĺ čć¨ĺ çăăăŽăĄăăťăźă¸ 2011.2.22
čăć: ă§ăŻćć°ä˝ăŽčŠąăăäźşăăăžăă ĺ ćĽ(2010ĺš´11ć)ă珏ďźé¨ăSBRăăŽçŹŹ22塝ă çşĺŁ˛ăăăžăăăăăŽä¸ă§ă ćă čĄćżćŠé˘ă§ĺăčˇĺĄăŤă¨ăŁăŚ é常ăŤĺ°čąĄçăŞă¨ăă˝ăźăăăăăžăăă ăăŽä¸ăŽä¸ĺš¸ăăŠăăčŞĺăăĄăŽä˝ăĺ°ĺă¨ăŻ ĺĽăŽä¸çă¸čż˝ăăăă¨ăă羜大ăŞč˝ĺăĺžă ă˘ăĄăŞăŤĺ¤§çľąé ăăä¸çä¸ăŽăăšăŚăŽäşşéă 嚸ăăŤăŞăăă¨ăŻăăăăŞăăŽă§ă čŞĺăŻćĺ˝ĺżăŤĺşăĽăăŚăăăŽč˝ĺă使ăŁăŚ ćŁăăčĄăăăăŚăăă¨ä¸ťĺźľăăăˇăźăłăăăăžăă čĄćżčˇĺĄă¨ăăŚăŻăăăĺ¤ăăŽĺ¸ć°ă嚸ăă ćăăăăăăăŞć˝çăčĄăăă¨ăčăăŞăăă ä¸ćšă§ăăšăŚăŽĺ¸ć°ăŤă¨ăŁăŚćşčśłăŽăăć˝ç㯠éŁăăă¨ăăă¸ăŹăłăăăăă ăăŻăăăŽĺ¤§çľąé ăŽä¸ťĺźľăŤă čŻăăăăă¨ăăăăăăăăŤćăăŚăăžăăžăăă
čć¨ăă: äşăćăŁăŚăăăćšăăăă¨ćăăžăăăŠă ăăŽă´ăĄăŹăłăżă¤ăłĺ¤§çľąé ăŻăćŞĺ˝šă§ăăăăďźçŹďźă ĺčăŤăăŞăă§ďźçŹďźăă§ăăĺŽăŻăăćĺłă§ăŻ ăăŽä¸ťĺźľăćŁăăă¨ăăćŞĺ˝šăŤăăăăŁăăă§ăă
čăć: ăăă§ăăăăĺŽéăăšăăźăŞăźä¸ă§ăŻä¸ťäşşĺ Źă ăăŽăˇăźăłă§ăăăďźééăŁăŚăăăŽăŻĺďźă ăżăăăŞćăă§âŚ
čć¨ăă: ăăăăăćşăăŚăăžăă
čăć: ĺ çăăćŞĺ˝šăă¨č¨ăăăăŽă§ăăŽăťăŞăă çăŤĺăăŚăăžăŁăŚăŻăăĄăŞăă§ăăăăă ăŞăźăăźăˇăăă¨ăăŚăŻăăăŞăŽăăŞăă¨ăćăăžăăă
čć¨ăă: ăăăçžĺŽä¸çă§ăŻăăă ă¨ćăăžăăă ĺčŞčşŤăăăŽĺ¤§çľąé ăŽăăăŞăŞăźăăźăˇăăăŽćšăă ćŹĺ˝ăŻĺĽ˝ăă§ăă
čăć: ä¸ăŤçŤă¤ăăŽă¨ăăŚăŻăăăŻăăăăăčŚćă čč˛ ăĺż čŚăăăă¨ă
čć¨ăă: ăăăĺ ¨ĺĄăŤă¨ăŁăŚăŽĺš¸ăăçĄçăŞăăăăŻăăŠăă㍠čŚçšă罎ăăŚčăăŞăăă°ăăăŞăă§ăăăăăă çľĺąçŠäşăŤăăăŚçľśĺŻžçăŤćŁăăă¨ăćŞăăă¨ăŁăŚ ăăăŞăŤăŞăă¨ćăăžăăă ăăăăă ăăăăă ă¨ăăçˇĺźăăéčŚă ăă ćżć˛ťăŻăăŽăăăŽäťäşă§ăăăăăă ăăă§ăčŚćăćăŁăŚćąşăăăăăŤăŻăăă çŞăé˛ăă§ăăăšăă ă¨ćăăžăă ăĄăăŁă¨ä˝ăč¨ăăăăăăă§ĺżăćăăăă ĺč¨ć¤ĺăăăăăăă¨ăŻčŻăăŞăăŞă¨ćăăžăă
čăć: ăăăăćĺłă§ăŻăă´ăĄăŹăłăżă¤ăłĺ¤§çľąé ăŻă ćżć˛ťĺŽśă¨ăăŚăŻďźŻďźŤă§ăăăă ăăăăŽăžăžčĄăăăăŞăă
čć¨ăă: ćŞĺ˝šă§ăăăŠăďźçŹďźă
čăć: ä¸ćšă§çžĺŽä¸çăŻăăăăăăŞäžĄĺ¤čŚłăăśă¤ăăĺă ćŹĺ˝ăŤéŁăăć䝣ă§ăă äťăŽćżć˛ťăŤă´ăĄăŹăłăżă¤ăłĺ¤§çľąé ăŽăăăŞç˛žçĽă ćąăăăă¨ăĺłăăăăăăăžăăăă ăăă§ăĺŻăŁăŚçŤă¤ăšă俥忾ăŻĺż čŚă§ăŻăŞăă ă¨ćăăžăă大羹é ăŻăćĺ˝ĺżă ăă¨č¨ăŁăŚăăžăăă ç§ăăĄä¸ĺ¸ć°ă¨ăăŚćăŁăŚăăăšă俥忾ă¨ăăŚăŻă ĺ çăŽä˝ĺăŽăăźăăŤă¤ăŞăă芹ăă¨ćăăžăăă ćšăăŚăčăăăăă ăăžăăăă
čć¨ăă: ćĺ˝ĺżă¨ăžă§ăŻăăăŞăăŚăă ăăŻă厜ćăĺŽăăă¨ăăćć ăă ăăăăŻčŞĺăçăžăăć éˇăäťćŽăăăŚăăĺ°ĺ ă¸ăŽćłăăŞăŠăŤçšăăé¨ĺă ă¨ćăăžăă
čăć: ăă¸ă§ă¸ă§ăăăäşşéčłćăăăăźăă¨ăăŚăă ă¨ăăăăçąç¸ă§ăăăăăŻăĺ çăŽäťĺ°ă¸ăŽćłăă ăăăăćĽăŚăăăă§ăăă
čć¨ăă: ăăăŽčžşăâŚčŞĺă¨ăăŚăŻăăăăăăŤă㌠揲ăăăŞăă§ăăăăăăăăŤăăăăăŞäşşăŤăŻ ä¸ăŤçŤăŁăŚćŹ˛ăăăŞăă¨ćăăžăăă
čăć: äťĺ°ĺ¸ĺ˝šćčˇĺĄăŻčŞĺăŽä˝ăčĄăćăć°ćăĄăŻ ăăĄăăćăŁăŚăăă¨ćăăžăăăăăŽä¸ă§ăă㍠čŚćăćăŁăŚäťäşăŤč¨ăžăŞăăă°ăăăžăăăă
čć¨ăă: ăăă§ăăăĺłăăć䝣ă§ăăăă 風ĺ˝ăăăŻĺźˇăăŞăăăăăăžăăăă
čăć: ăăăŻăăŻăăăă¸ă§ă¸ă§ăăćăăĺ¸čˇĺĄă¨ăăŚăŻă ä˝ĺă§ćăăăŚăăăăăŞăăćŁçžŠăăŽčźăăŽä¸ăŤăă ăéťéăŽç˛žçĽăăăĺčăŤăăăă¨ćăăžăă
čć¨ăă: ăă¸ă§ă¸ă§ăä˝ĺăŽä¸ă§ăŽćŚăă ă¨ă ćĺžăžă§ĺăĄćŽăăŽăŻă ĺ¤ĺä¸äşşäşäşşăăăăăăăŞăä¸çă§ăăă ăžăçžĺŽăç¸ĺ˝ĺłăăć䝣ă§ăăăé ĺźľăŁăŚăă ăăă
čăć: ăăăă¨ăăăăăžăă
čăć: ăăŚăĺşçŹĺˇă§ăŻďźŽďź°ďźŻĺŁä˝ăç´20ĺš´ćŻă㍠貸ăăăźăă垊洝ăăăăă ĺ¸ć°ĺŁä˝ăä¸ĺżă¨ăŞăŁăŚäźćĽă大ĺŚăŞăŠă¨ ćľĺä¸ćć¸ ćć´ťĺăŞăŠăčĄăŁăăă¨ă ĺ¸ć°ăŽçăăăăăăăăŞć´ťĺăčĄăŁăŚăăžăă ćĺžăŤăĺ çăăĺşçŹĺˇăŤé˘ăăć´ťĺăčĄăŁăŚăă çăăă¸ĺżć´ăŽăĄăăťăźă¸ăăăă ăăžăăă
čć¨ăă: ĺşçŹĺˇă ăă§ăŞăăăăăăčŞçśç°ĺ˘ăĺŽăŁăŚăăä¸ă§ă ăăăăăŽć䝣ăŻčĄćżă ăă§ä˝ăăăăăŁăŚăăăă¨ăŻ ä¸ĺŻč˝ă ă¨ćăăžăă ćăŻăäžăă°çĽç¤žăŽč˝ăĄčćé¤ăŞăŠă čżéŁăŤä˝ăäşşăăĄăčŞçśăŤăăŁăŚăăžăăăăă ĺ ăťăŠćĺ˝ĺżăŽčŠąăăăăžăăăă ăăăžă§ăăăŞăăŚă ĺ¸ć°ăčŞĺăŽä˝ăčĄă大ĺăŤćăć°ćăĄăăă ăăŠăłăăŁă˘ć´ťĺăŞăŠăčĄăăă¨ăŻ ă¨ăŚă大ĺăŞăă¨ă ă¨ćăăžăă ăăăăć´ťĺăăăăŚăăćšăĺşçŹĺˇăŤ ăăăăăăăŁăăăăă¨ăŻă ç´ ć´ăăăăă¨ă ă¨ćăăžăă
čăć: ĺ¸ć°ä¸äşşă˛ă¨ăăăăăăĺ°ĺăćăăć°ćăĄăćăŁăŚă éŁćşăăŚăăăă°ĺşçŹĺˇă ăă§ăŞăäťĺ°ĺ¸ă ăăăŤç´ ć´ăăăčĄăŤăŞăăžăăăă
čć¨ăă: ăăă§ăăă 誰ăä¸äşşăŽĺă§ä˝ă¨ăăŞăăăŽă§ăŻăŞăă¨ćăăžăăăă ăăŽăăăŤăăăżăăŞă§čç Žäźăăăăă㌠䝲čŻăăŞăŁăăăäťăĺăăĺşăăŁăŚăăă° ăăă§ăăăăä˝ăăă漽ăăă(çŹ)ă
čăć: čç ŽäźăŻăłăăĽăăąăźăˇă§ăłă桹ăăăăă ăă§ăŞăă ĺşçŹĺˇăăăăăăĺŽăŁăŚăăăă¨ăŤă¤ăŞăăăžăăă
čć¨ăă: ăăăăŁăć´ťĺăăăăŤĺşăăŁăŚăăăă¨ă éĄăŁăŚăăžăăĺăăăŽăăăŤä˝ăă§ăăăă¨ă ăăăžăăăĺĺăăăă¨ćăăžăă
čăć: ăăăă¨ăăăăăžăă ĺ çăŽĺşçŹĺşˇä¸ĺăŤăăăăăćłăăŤč˛ ăăŞăăăăŤă ç§ăăĄăăăăăé ĺźľăăăă¨ćăăžăă äťćĽăŻăĺżăăă¨ăăćŹĺ˝ăŤăăăă¨ăăăăăžăăă
珏10ĺ ăăźă芹 2011.2.23
čăć: äťĺăŻăăăă¤ăżăŞă˘ăłăŹăšăăŠăłăă˘ăŤ ăăŁăŞăźăŹă ăă¤ăłăżăăĽăźäźĺ ´ă¨ăăŚăĺăăăžăăă ăăĄăăŽăĺşăăăŻăă茧ăăă ăăŚăăăăăŤă ĺşçŹĺˇă¨äťĺ°ĺ¸čĄĺ°ăčŚä¸ăă ç´ ć´ăăăćŻč˛ăćăăžăă
čć¨ăă:ăăă§ăăă ăăŽĺ ´ćăŤăăăŞç´ ćľăŞă¤ăżăŞă˘ăłăŹăšăăŠăłă ăăăŞăăŚăĺăäťĺ°ăŤăăé ăŤăŻ čăăăăŞăăŁăăă¨ăăă
čăć: ăăŽăăąăźăˇă§ăłăç´ ć´ăăăăŽă§ăăă ăăĄăăŽăĺşăŤäźşăŁăççąăŻăăä¸ă¤ăăăžăă ăă¸ă§ă¸ă§ă珏ĺé¨ăăćççşăă¨ăăćĽćŹăŽćśçŠşé˝ĺ¸ă čĺ°ă¨ăăăăă¤ă¤ă˘ăłăăŻç ăăŞăă硨ă§ă ä¸ťäşşĺ ŹăćąćšäťĺŠăă¨čŚŞĺăŽăčšćĺćł°ăăă ă¤ăżăŞă˘ćçĺşăăăŠăľăŤăăŁăźăă訪ăăă¨ăă ă¨ăă˝ăźăăăăăžăă
čć¨ăă: ăšăżăłă使ăăŽăˇă§ăăťăăăŞăăăăăšăżăłă㧠ćçăéŁăšăäşşăĺĽĺşˇăŞçść ăŤç´ăăŚăăžăă¨ăăăĺşă
čăć: ç§ă大弽ăăŞă¨ăă˝ăźăă§ăăă¸ă§ă¸ă§ăăăĄăłăŞăă° ăăăŞăĺşăçžĺŽăŤăăŁă羜寞čĄăăăă ă¨ăăăĺşă§ăăăĺŽăŻăăŽăĺşăŽăˇă§ăçŽéťăăăă ăšăżăłă使ăă§ăŻăăăžăăăăć§ă ăŞéŁćă ćăĽăăăăăŚăăŚăăăĄăăŤĺăăăăŚăă ăă ăŞăŠăăˇă§ăčŞăăä˝ăăăŚăăăă§ăă
čć¨ăă: ăăăŞăăăżăăăŤćçăŤăšăżăłăăăăźăŤăťă¸ăŁă ă ăĺ ĽăŁăŚăăăăă
čăć: ĺ çăčŠăăăçźç˛žç˛ĺ´ăŞăŠăŽççśăŻăăăžăăăă ă§ăäťćĽăŻăéŁäşăĺŹăä¸ăăŁăŚăăă ăćéăăŞă㌠大ĺ¤ćŽĺżľă§ăăｼｼｼ ă¨ăăă§ăăă¸ă§ă¸ă§ă珏äşé¨ăéťéăŽé˘¨ă硨㧠ă¤ăżăŞă˘ăčĺ°ă¨ăăä˝ĺăćăăăŚăăăă¨ăăăă ĺ çăŻă¤ăżăŞă˘ă大ĺ¤ă弽ăăŞăŽă§ăŻăŞăă㨠ćăŁăŚăăăžăăă
čć¨ăă: ĺŽăŻćąäşŹăŤčĄăŁăŚăăĄă°ăčĄćăĺăăăŽăŻă ăăšăżăŞăă§ăă ăăăŞăŤçžĺłăăéŁăšçŠăăăŁăăŽăăźďźăŁăŚă ćŹĺ˝ăŤĺ§ĺçăŞčĄćă§ăăă ĺăäťĺ°ăŤăăé ăŻă äťăŽăăăŞă¤ăżăŞă˘ăłăŹăšăăŠăłăŻăŞăăŁăăă§ăăă ăăăŞç´ ćľăŞă¤ăżăŞă˘ăłăŹăšăăŠăłăăăă¨ăăăŽăŻă ĺ˝ćăăčăăă夢ăżăăă§ăă
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çŽéťăˇă§ă: ăăăă¨ăăăăăžă(çŹ)ă[25] [26]
Firstly, please tell us how you came about getting involved in this project?
Araki: It all started because of a conversation I had with Akiya Takahashi (the founding director of the Mitsubishi Ichigokan Museum) while I was helping him with his "MusĂŠe d'Orsay" exihibition ("MusĂŠe d'Orsay: A 19th Century Artists' Paradise" which was held in 2007). He told me that he had heard about the offer through a newspaper company, which is how I got involved.
What were your thoughts when you first heard about the offer from the Louvre?
Araki: I felt honored, but at the same time it felt too good to be true. (laughs) I was like, "Really, the Louvre?" (laughs) Japanese manga is not something that comes to mind when you think of the Louvre. But when I found out the offer was true, I felt honored. I'm also grateful to all the people at the papers who acted as my intermediary, even though they really had no incentive to.
This is your first work in full-color. Was that something you planned from the beginning?
Araki: I heard that the other authors involved in the project were doing full-color, so I figured I might as well do it too.
When Fabrice, the project manager, visited to Japan to see your black and white manuscripts for Steel ball Run, he said: "It has a certain appeal that's impossible to ignore. If you want to push the Japanese style of making comics, I think it would be great if you drew it in black and white."
Araki: Thank you. That was definitely an option, but since opportunities like this don't come by very often, I decided it would be a nice change of pace to do it in full-color.
The illustration on the cover is very impactful, don't you think?
Araki: The cover uses the three colors that symbolize France: white, red, and blue. Most old Japanese paintings feature a motif of clouds and waves, so I included a wavy pattern to give it a Japanese touch.
The colors in the story are a lot more subdued compared to the cover, aren't they?
Araki: I figured that if I used my usual coloring method for the entire story, the readers would get tired of it, and that would be bad. So I decided to keep a balance that would encourage the readers to keep reading. I was given several French comic books to use as reference, such as works from Nicolas de CrĂŠcy and etc., which I studied to get a sense for drawing in full-color.
The story first takes place in Japan, then the Louvre, and lastly underground.
Araki: That's right. The first part is the most Japanese as it takes place in Japan, and since it's in the past, it has a sepia tone. I was very conscious of what tones I should use for stuff like Tatami mats. Once we arrive in Paris, it's pink, and down in the underground, it's blue. I did the first undercoat of paint the same for all parts of the story, and then later decided to split them into different colors.
In the book, we get to see a lot of Japanese things, such as traditional Japanese houses and yukatas (summer kimonos).
Araki: I intentionally did this with French readers in mind. I don't usually get to draw these type of things, so it was very refreshing and enjoyable.
The main character is Rohan Kishibe, a manga artist from Part 4. Did you plan to have Rohan as the protagonist from the start?
Araki: Well, I was actually asked to create a new character, and not one from JoJo. But I knew from the very beginning that the story would feature a manga artist like Rohan going to the Louvre. So I thought, why don't I just use him? (laughs)
The combination of the Louvre and Rohan must've been a perfect match For Japanese readers.
Araki: Besides, had I created a new character from scratch, it would've taken a dozen pages in order to properly introduce them, and that would've made it a lot more difficult for readers to jump into the story. Also, if an author writes a character they're familiar with, they can more easily present them to readers who have no idea who they are, like Rohan. I consulted this with the guys at the Louvre and managed to get them to approve it.
So you had some idea of what the plot was going to be from beginning?
Araki: That's right. It was something along the lines of Rohan pursuing a mystery in the Louvre... But the Louvre is a pretty big place, so I had to narrow down the places I wanted to show. I thought it would be cool to have a shady looking underground area, and during the investigation, Rohan would be shown going down into it from the upper floors.
At the time, I was very curious where all the paintings not put on display were stored. There are many masterpieces that are either not in perfect condition or are undergoing restoration that can't be shown to the public. This made me wonder if something like the "black painting" in the story could be kept there.
The Rohan we see pursuing the painting is a bit different from his eccentric self in Part 4. It was also very interesting seeing Rohan before his debut as a manga artist.
Araki: The Rohan I drew for the Louvre is a little different from the Rohan I drew for JoJo. However, there might've also been weird things this Rohan did that weren't shown in the story. (laughs)
Rohan's first love was also never shown before, but we get to see her in the story.
Araki: I mostly associate French films with "erotic thrillers", which feature a sort of secret love or affair. Japanese films have this too, but I wonder if it was originally influenced by France. So I put a bunch of old romance tropes throughout the story. (laughs)
The story features a lot of poses, such as in the spread where Rohan arrives at the Louvre.
Araki: That pose was taken from Michelangelo's "Dying Slave" sculpture. Since the Louvre is the main focus of the book, I tried paying homage to many of the works in its collection. The scene where Rohan tries to read Nanase's memories is also inspired by Antonio Canova's sculpture "Psyche Revived by Cupid's Kiss." I added more references here and there, so I would be pleased if you tried looking for them all.
How did you feel exhibiting your works in front of French comics for the first time?
Araki: As one of the few Japanese artists presenting their works, I felt that I had to give it a distinct Japanese look. That's why I came up with the story of it taking place in Japan and going to the Louvre, connecting the two places.
What were some of the differences you found between French comics and manga?
Araki: The most obvious one is how the cover illustrations are presented. I was surprised when the Louvre asked me to draw mainly landscape artworks. When I looked at other works, I saw that they were mostly draw wide with the characters small. This is the exact opposite of the methodologies used in Japanese manga.
What do you think are some of the characteristics of French comics?
Araki: I think it's the pursuit of drawing something in a way that's never been done before. In the case of Japanese manga, the goal is to draw something that's accepted by the readers, but French comics ignore this and go in the total opposite direction. It's very liberating, and forces you to go out and draw your own way. That's what differentiates it from Japanese manga.
Did your impression of the Louvre change after the exhibit?
Not at all. I keep wondering if there are hidden passages behind the walls, despite having been behind the scenes. After all, the Louvre is still the Louvre.
How do you feel about having your paintings exhibited in the Louvre?
Araki: I'm in awe. (laughs) The Louvre is a place that even Gauguin and Picasso couldn't get into, because it only exhibits pre-modern works. It's truly an honor to have my art exhibited in the same place as the Mona Lisa and the Venus de Milo.
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Hiromu Arakawa has always read the works of Hirohiko Araki since her childhood. In 2011, Araki is approaching thirty years of his career. From the appeal of their works to the surprising common points between the hymn to humanity and the principle of equivalence, here is the interview of the century between two people on the front line in the world of shonen manga!
JoJo's Bizarre Adventure, the manga that gives you courage
Arakawa: I read your manga since Baoh the Visitor. And of course, I love reading JoJo's Bizarre Adventure since the first part. I am honored to meet you today!
Araki: Wow! I am very happy that you have been reading me for so long. Thank you so much!
Arakawa: While I was in elementary school, my older sisters used to buy Shonen Jump. In our barn, I specifically found the issue with the first chapter of JoJo's Bizarre Adventure. I went to read it in a dark barn where some agricultural equipment were stored, and I was completely captivated.
Araki: The perfect atmosphere (laughs).
Arakawa: It was twice as scary. But I was still really into it (laughs)! I was still a kid at the time, and I imitated the Ripple and said things like "I want a Stand like this!" (laughs). Knowing that I was going to meet you, I wondered what made JoJo's Bizarre Adventure so appealing to me. And I told myself that it is the fact that it gives me courage.
Araki: That's also the appeal of Fullmetal Alchemist (referred to as Fullmetal from here on), isn't it? When I read it, it made me reflect on the origins of humanity. Through the system of alchemy, we go as far as researching the mechanisms of nature and the human world. I was thinking "Whoa!".
Arakawa: Oh, thank you very much! When I thought about the origins of mankind, it was important not to ignore the question "What are courage and pride?". The protagonists of JoJo's Bizarre Adventure, allies and enemies alike, are all proud and live a hard life. I find them admirable. Especially Iggy... Making me cry with a dog who chews gum...! The scene where Lisa Lisa puts her cigarette upside down also immediately comes to mind. I also appreciate Stroheim's determination. I really love all the characters.
Araki: Hahaha (laughs). It's because half of his body is made up of cybernetics prostheses. He wouldn't be out of place in the Fullmetal universe. Personally, I like Armstrong in Fullmetal. I appreciate the characters who let their passion run wild while keeping their seriousness. The scene where he and Sig were staring at each other and made poses was really funny. Conversely, the scene where Al is deteriorated is quite intense. His blood seal could disappear at any time... I was anxious thinking about that.
Arakawa: Yes, he should have covered it (laughs}.
Was the name "Elric" a risk?! The Shonen Manga World of the 70s-80s
Arakawa: Speaking of what makes JoJo's Bizarre Adventure so appealing, I think it's the unique dialogue. I let the JoJo's Bizarre Hyakunin Isshu (ă¸ă§ă¸ă§ăŽĺĽĺŚăŞçžäşşä¸éŚ JoJo no KimyĹ na Hyakunin Isshu) CD play at my work place, and I had assistants who could recite it by heart without even having read the manga.
Araki: That's amazing (laughs). I created the dialogue by thinking about their motivations, reasons, and "why are they fighting", but I haven't thought so far as making this line popular or making the readers cry. So I'm happy to hear you say that.
Arakawa: I would unconsciously say lines from JoJo's Bizarre Adventure in my everyday life. Perhaps more than you think, Araki-sensei, it's probably become ingrained in your readers' blood. That's how powerful the spirit of the words are in your work.
Araki: However, since there are horror elements in my manga, I purposely used vulgar language... I felt that I shouldn't only depict the beautiful parts. "Black and white", "Good and evil", "Beauty and ugliness". I try to keep opposites like these in mind as I draw, so I don't shy away from the ugly parts of human nature.
Arakawa: I see.
Araki: But you know, it wasn't until about ten years after the start of the series that I was recognized in this way. At the time, I was told that it would be difficult to set a story in a foreign country with a foreign main character. Such a manga was in danger of being questioned at any time by the magazine's editorial team. I guess I was a bit cocky at the time. I wanted to challenge the rules and jinxes of shonen manga. As long as I respected the principles of Shonen Jump, which are "Friendship", "Effort", and "Victory", why not include Western characters?
Arakawa: Besides, the story begins with Aztec people.
Araki: It's so confusing (laughs)!
Arakawa: Nooo, for an occult lover like me, I couldn't get enough of it.
Araki: At the time, I was told that a bizarre long-running drama series would not be a hit in the manga world. That's why it was a miracle that an editor appreciated my universe, encouraged me, and allowed JoJo's Bizarre Adventure to get serialized. For that reason, choosing the name "Elric" in Fullmetal would have been dangerous at the time (laughs).
Arakawa: Hahaha, "rejected" (laughs).
Araki: Was it easily decided?
Arakawa: I think it was accepted because Enix (currently Square Enix) is a game company. In fact, we were expecting readers who are used to RPGs, so we thought a name with a fantasy flavor would be good.
Araki: Is that so? The times have changed, huh?
Note: Incomplete interview.
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čć¨: ăăăŞăă§ăăăć䝣ăŻĺ¤ăăŁăăă ăŞăă[27]
We're holding a summer sale full of many great deals.
The highlight of this year's sale is a collaboration between JoJo's Bizarre Adventure and Amazon.co.jp!
This special interview with Hirohiko Araki also features Rohan Kishibe as the mascot.
What kind of music does Araki discuss?
Read more to find out.
"You want me to listen to music? But, I refuse!"
âRohan Kishibe
When do you usually listen to music? What's your daily music routine?
Araki: At work. With family.
What influence has music had on your work?
Araki: You can't work unless you have music.
What's the first piece of music that you bought?
Araki: It was Close to the Edge by Yes.
What's your favorite movie score?
Araki: For a Few Dollars More. The music was composed by Ennio Morricone. It's nothing less than a masterpiece.
Also, the theme for The Great Escape. It always gets me fired up.
What are your top 5 albums and why?"
Araki:
- "Close to the Edge" (Yes): Perfection.
- "Late for the Sky" (Jackson Browne): Tear shedding.
- "Hysteria" (Def Leppard): Exciting.
- "Physical Graffiti" (Led Zeppelin): Explosive.
- "Beyond The Missouri Sky" (Charlie Haden & Pat Metheny): Superb.
What are your favorite album cover designs and why?"
- "Close to the Edge" (Yes): The design of the logo and the hand-drawn (not CG) green gradient.
- "Borboletta" (Santana): The jewel-like butterflies.
- "Blind Faith" (Blind Faith): Too erotic.
- "Breakfast in America" (Supertramp): The huge food-like city.
- "Undercurrent" (Bill Evans & Jim Hall): Beautiful photo.
If you were the organizer of an "ARAKI MUSIC FESTIVAL" where you could book all your favorite artists, who would you invite?
Araki: Prince, Pat Metheny, Olivia Newton-John and Led Zeppelin.
Do you listen to any younger artists these days? If so, are there any artists that you would recommend?
Araki: Lady Gaga and Brad Paisley.
What songs would you recommend to get over this heat wave?
Araki: Lee Ritenour's "Gentle Thoughts".
Lastly, could you give a message to our customers at Amazon.co.jp, including a highlight of Part 8 that's currently being serialized?
Araki: JoJo Part 8 returns to the nostalgic town of Morioh. Please enjoy this modern rendition.
äťĺš´ăăĺžăŞĺĺăćşčźăŽăľăăźăťăźăŤăéĺŹă
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GUCCI Ă HIROHIKO ARAKI Ă SPUR ă岸螺é˛äź´ ć°ĺŽżă¸čĄăăĺą äźćďź2011ĺš´9ć17ćĽ(ĺ)ď˝10ćĽ6ćĽ(ć¨) äźĺ ´ďźă°ăăć°ĺŽż ä˝ćďźćąäşŹé˝ć°ĺŽżĺşć°ĺŽż3-26-11[28]
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âćŹćĽăŻćăéŁăăăăăžăăă[29]
"Why did you choose Fugo as the subject for the novel?"
When it came to the subject matter, anything was allowed. I figured I could do basically anything within the "JoJo" universe. That said, writing a novel about Fugo was just really convenient for me. There were other candidates, but this was a story I just had to write.
"What were the other candidates?"
For example, where exactly did Stroheim die in Stalingrad? (laughs) The thought always entertained me, though I wonder if it's something readers would enjoy as well.
This other idea is a bit odd, but instead of directly competing with Araki-sensei, I wanted to try a "Futaro Yamada" style JoJo story. For Part 5, perhaps you could call it "Italian Ninja Scrolls".
"Much like the villains in JoJo, the ones in Purple Haze Feedback have a very powerful presence."
Araki-sensei drew the characters and Stands, but it gave me the most peculiar feeling. After seeing his material, I couldn't help thinking, "Did I write this?" That is, even though I had come up with the characters and Stands myself, I got a sense that they weren't really mine at all... I suppose this is the power of the original work. The novel also goes into further detail on their visuals, but I was surprised and delighted by how well Araki-sensei picked up on them.
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Interviewer: âJoJolionâ has been a bit more erotic in comparison to previous arcs but is this a conscious decision? Is there a motive behind this shift?
Araki: I wanted to draw something that I had never drawn before. Therefore, itâs probably the first time bust shots have made an appearance. As for the art, I want to draw a looser style. Instead of having a constant focus on intense fights, I think the readers also enjoy the off-beat interactions as well. Up until now I was pursuing the element of fear but I also want to incorporate a sense of relatability and looser aspects.
Interviewer: How have you specifically actualized these ideas?
Araki: For example, I have increased the number of white panels. I try not to draw everything to perfection but rather with a little more openness. I could illustrate as dark as I did previously but I intentionally included more white elements so the reader could pass through a section without being heavily invested in a facetious scene.
Interviewer: I do really enjoy how the art throughout the âJoJoâ series has constantly evolved.
Araki: Rather than trying to change, I try to avoid illustrating old, already existing art. However, I do realize there are characters like Koichi Hirose or Tamami Kobayashi whose heights have gradually shrunk and thatâs not great... haha.
Interviewer: Like, Funny Valentine from part 7 was the opposite as he steadily grew.
Araki: Ha, Thatâs okay because he was working out! (laughs) In reality, the characters constantly move through their lines and poses and they just happen naturally like the flow of nature.
Interviewer: Regarding the dialogue, itâs really amazing because the lines are so memorable that they even publish books such as âFamous quotes from JoJoâs Bizarre Adventureâ
Araki: Itâs amazing isnât it! Haha! When I see my work being accepted by the younger generations, I feel glad to have been drawing all this time.
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The characters have been recreated so well, they may look cooler than they are in the manga. (Laugh) There's a psychological level to the battles here. I like how they've made it something more than just a fighting game.
The town of Morioh appears in Parts 4 and 8, but they're in parallel worlds, so they aren't linked in time or space. The two Josukes would never meet each other normally. With this game, though, it becomes possible. At first I was bit taken aback. But then the bizarre nature to it all really got me interested. It's very entertaining. I would never allow something like this in the manga, but since this is a game, it's cool. Same thing with Jotaro fighting Dio Brando. The way the characters look is so different over the parts, though, that normally if you lined them all up they'd look very out of place with each other. But this game fixes all that, and I think that's one of its strengths.
Personally, I play a lot of horror action/adventure games. I like exploring a lot, not just fighting. I like puzzle games too. And I like sports and racing games too, as you might have figured from my inclusions of F-MEGA and Oh! That's a Baseball! in part 3. Lately games have been getting really "real." I still like cheap-looking games like F-MEGA.
Lately, though, I haven't really played any fighting games or shooting games. When I get excited during battles, my Adrenalin pumps up. I want games to heal me. That's why I play horror games. Horror heals me. (Laugh) Even in this game, the punch animations are just too fast for me. I'd rather watch them in slow motion.
I wish I had a technique that girls liked. (Laugh) Or, I wish I could appear as a side character, who says "Do your best!" and offers up an energy drink or something.
People who started reading JoJo when they were young have now become adults and are contributing to this project. I'm really amazed. And moved that we can work together to let the next generation read JoJo. I was so surprised when I heard they were going to make an anime. For 20 years, I've thought about how unsuited JoJo was for TV. (Laugh) It ended up being a lot bigger than I imagined it would. I'm so glad the fans enjoyed it.
People say my gallery showing in Florence was a success, but I don't have any strong feelings about that personally. But one thing I did notice is that whenever I go to Italy, I always hear people talking about Japanese manga. Dragon Ball, Naruto, and Yu Gi Oh are all very popular. And whenever people talk about Japanese manga they always talk about Japanese soccer. I suppose Captain Tsubasa has had a lot of influence over there. Whenever you mention Japan in Italy, it's either Naruto or Nagamoto (soccer player).
I listen to country and Western music a lot. It's like American "enka" music. I like the pure, "human" sound of the vocals.
As for movies, I mainly watch suspense and horror. Recently I saw "Life of Pi" and "Gangster Squad." They were very good. There look to be a lot of good horror movies coming out in 2013, including the Evil Dead remake, so I'm excited.
From here on out, in JoJolion, I plan to focus on the Higashikata family in more detail. But it won't be linked to Part 4 in any way. People keep asking me when Rohan Kishibe will appear, so let me answer that question: he won't. (Laugh) That is absolutely set in stone. Another weird mangaka might appear, though.
Q. What is manga to you?
A. Like how food is a blessing from the sky and earth, I think manga is a blessing from society. I'm receiving ideas and inspiration from Japan.
Q. Who do you respect?
A. Many people... Shirato Sanpei and Fujiko Fujio I've respected since long ago. Recently, I've really thought about how amazing pro mangaka who came before me are. Like how they've polished themselves so much, how much work they were able to handle... it'd be impossible in the present day. They were always so pure about how they faced their work. They weren't drawing manga because they wanted to become someone great. they just wanted to draw. That's what's so amazing.
Q. What's the most important thing in the world to you?
A. A lot is important to me... hmm. The most important thing would be my breathing technique, I suppose. (LOL) If my breathing gets bad, my stomach starts to hurt. So every morning, I use a special breathing technique. I store up breath around my ribs. It trains my inner muscles and connects me with the universe. It's pretty deep.
JoJoâs Bizarre Adventure X Assassination Classroom Hirohiko Araki & Yusei Matsui
Dream talk session
A chance meeting between Yusei Matsui, author of the popular Weekly Jump manga "Assassination Classroom", and Hirohiko Araki, who has built a unique world within his "JoJo's Bizarre Adventure". During this relaxed discussion, they raise the curtain on their work methods.
Even though I look like this, I'm an outdoors type of guy (laughs). -Araki
Thank you for coming today! Matsui-sensei ate Araki-sensei's cod roe spaghetti and chicken soup. Can you give us an impression?
Matsui: Really, I'm overwhelmed by being able to eat the food an artist I look up to made. The chicken soup had a really gentle flavor and I felt it was very invigorating. The spaghetti was good too!
Araki-sensei, you said you like to cook as a divergence from your work. Are making food and making manga similar in any way?
Araki: Well, not really (laughs). However, I make both manga and food in gratitude of many things, so I guess they spring from the same source.
You just ate together. Do you do anything special to keep up your health, and what are your favorite foods?
Matsui: I just eat stuff I buy at the convenience store. I take nutritional supplements and go out to eat some proper food every now and then, so I really donât fuss over my health much yet.
Araki: I donât eat anything after 6pm. I eat whatever I like in the morning and afternoon, but I donât eat anything in the evening. If you eat while working in the evenings, youâll definitely get fat. If you get fat, you wonât want to move and youâll fall into a downwards spiral, so Iâm careful about my health.
Matsui: Youâre still very slim. Do you exercise regularly?
Araki: I do.
Matsui: When did you start?
Araki: I think that when people hit their 40s, theyâll want to take up running because theyâre tense about their health. I used to like diving and mountaineering, so from there I started running. I actually like exercising. Even though I look like this, Iâm an outdoors type of guy (laughs).
Matsui: I didnât mind exercise before I started Assassination Classroom, but as soon as the serialisation started, my will to exercise disappeared. Moreover, I feel like muscles get in the way when Iâm just sitting and letting my mind work at full force, so it canât be helped. To draw manga you just need your head and hands. Anything else is unnecessary. Although I do think I should keep up my stamina while doing a serialisation, so itâd be bad if I kept going like this.
Mangaka can take a break whenever they want, but they donât get any holidays. âMatsui'
Photo caption: Jojo has moved to Ultra Jump since Steel Ball Run. Araki-sensei is currently working on Jojolion, but he says the current amount of pages matches his personal rhythm better.
How do you two gather data and materials?
Matsui: Iâve been relying on the internet a lot recently.
Araki: For me itâs still books. However, I have to buy them at a physical bookstore, or it wonât work. I want to choose a book from a bookstore that I like.
Matsui: Where do you buy them normally?
Araki: In Shinjuku or Aoyama. If I go there Iâll know whatâs popular, or what the staff recommends. I want to see those things. If I look online Iâll just see the things I like. Without realising Iâll only look for the things I like, so bookstores and CD shops in which I can see what others recommend are an indispensable source of information for me.
Iâd like to ask about your weekly schedules and how you work. Araki-sensei, has your work pace changed since you moved from Weekly Jump to Ultra Jump?
Araki: Weekly Jump was 19 pages per week, but that rhythm didnât work for me. I really wanted to draw 21 pages per week. Since Iâve gone to Ultra Jump itâs become 45 pages per month. This matches my natural work rhythm better, so I can draw comfortably every month.
Matsui: Thatâs unusual! For me, 19 pages per week is a bit too much. Bringing that to 21 pages even⌠doesnât it become a bit demanding? (laughs)
Araki: Thatâs true. But for Jojo I want the decisive panels to be big, so the page count goes up anyway.
Matsui: Thatâs typical of Jojo. If you put in âgogogogoâ leading up to the decisive panelsâŚ. Youâd have 21 pages very quickly.
Araki: Perhaps, yes. But what do you do when your name* ends at 17 pages? (*t/n: A name is a manga manuscript)
Matsui: Itâs not that hard to increase the amount. If Iâm 2 pages short Iâll consult with my editor. Heâll generally say something like âletâs add these elementsâ, and when I incorporate those it usually turns out fine. Thatâs the easiest way.
Araki: I see.
Matsui: On the other hand, itâs much harder to take things out of the material Iâve already got. I take care not to waste too much time on that. Iâve already got my hands full just trying to get it done every week. How did you manage when you worked weekly?
Araki: On Sunday Iâd do the name. On Monday I got that checked by my editor, and from Tuesday to Thursday Iâd draw with the assistants. On Thursday weâd also discuss the next chapter. Friday and Saturday were my days off.
Matsui: What an ideal week. For veterans like you or Akimoto-sensei* itâs okay, but thereâs no one of my age that can pull that off.
- 1⌠Akimoto Osamu, the creator of Weekly Jumpâs longest running manga, Kochikame. Heâs looked up to by other mangaka for thoroughly keeping to his schedule and never missing a deadline in over 40 years of serialisation.
Photo caption: Matsui-sensei is giving his all for Assassination Classroom. He doesnât have time to take a holiday at this point.
Araki: What does your weekly schedule look like?
Matsui: 3 days for the name, 2 days for the sketches. Finishing up with the assistants also takes 2 days. Recently Iâve changed this to 4 days for the name, 1 day for the sketches and 2 days for finishing up with the assistants. There isnât a day where I can take the whole day off. However, I think the 4 days I take for the name do include breaks of some kind. Mangaka can take a break whenever they want, but they donât get any holidays. If you have some free time, you have to use every spare moment to make your story more interesting. Itâs hard to take a proper holiday. In that sense, you veterans are good at relaxing. The better you get at work, the better you get at play.
Araki: Fujiko A-sensei* is amazing. I think itâs something personal, that exceeds technique, which brings forth that sort of appeal to a manga.
- 2âŚA veteran mangaka famous for works such as Pro Golfer Saru and The Laughing Salaryman. Also famous for associating with a wide variety of people, such as the actress Rie Miyazawa and the singer Inoshita Yousui.
Matsui: In my own generation there arenât that many people that can relax like that. Myself especially, I canât even say I have a hobby of any kind. That unrelenting energy and willpower, staying active as a mangaka until your 60sâŚ. I canât imagine it. Last year was Jojoâs 25th year, but you donât draw it thinking âI should keep goingâ or anything do you?
Araki: I donât.
Matsui: Your body moves naturally?
Araki: No. But 30 years pass in no time at all, you know. And I have examples like A-sensei and Akimoto-sensei.
Matsui: To me, youâre a great example as well!
Araki: Thank you. Iâm already 53, but I think I should try to keep going until Iâm about 60. I think you should take it easy and focus on making your current work interesting!
Next, Iâd like to hear about your works. Iâd like to talk about Jojoâs Bizarre Adventure first. How was it when your serialisation first started a quarter century ago?
Araki: When I debuted in the 80âs, Jump was full of people that emitted this intense power. I debuted amongst that, so in order to survive I had to emit a power strong enough to stand up to them. In other words, I had to show my own style. When I started Jojo, I think I finally managed to show something like that. I finally found my own direction. In the 7â8 years before that, I kept wandering, struggling to find my originality, my color. Those were my twenties.
Matsui: But from our point of view, the works you made before that, like âMagic Boy B.T.â and âBaohâ, are pretty distinct as well! No matter how you look at it, itâs Araki-ism.
Araki: Back then, I used to draw while looking at Shirato-senseiâs* works. I moved my pen, wondering what to do.
- 1âŚOne of the pioneers of the ânarrative comicâ genre of manga in the 1960âs. He gained fame with his ninja works such as âSasukeâ, and managed to draw adults to manga with the philosophical elements of âThe Legend of Kamuiâ.
Matsui: I get that. To me, you were my Shirato-sensei. When I was young, I tried really hard to get rid of your influence. I think Iâve finally managed to shed all of it recently.
Araki: âHidingâ those things means youâve finally found your own sense of direction. You can clearly draw whatever it is that you want to draw. You canât have any doubts there.
Matsui: Thatâs right. But I think itâs too late to escape things I already know. For instance, if an enemy is slowly following someone and itâd be good to put in âgogogogogoâ, I think to myself âIf you put it in, you loseâ, but I still end up putting it in. Itâs like that. I mean to put in something original, but then when I look back at it later I often think âThis was influenced by that workâ.
Araki: For me, itâs the main charactersâ thick eyebrows. It took me 10 years to get those thick boyâs magazine-style eyebrows back to thin eyebrows. Truth be told, I just canât do it because thin eyebrows gross me out. Maybe itâs just bias, but without realising, this influence became deeply ingrained within me.
Matsui: Jotaro had some pretty thick ones too.
Araki: Yes. A supporting character like Kakyoin can have thin eyebrows, but for a main character like Jotaro I just canât make them thin.
Matsui: Back then, there was that kind of formula where characters with thin eyebrows had weak emotions, so they were supporting characters.
Araki: But when youâre trying to follow your own path, you should break away from those formulas.
Matsui: Thatâs true! By the way, how old were you when you started Jojo?
Araki: I was about 26-27. You see, people who were at the top like Yudetamago-sensei* and Takahashi Youichi-sensei*already found their style in their teens. So I was really fretting. At the time it gave me a serious complex.
- 2âŚA famous manga duo known for the superhuman pro wrestling comic âKinnikumanâ. You can still read new episodes of Kinnikuman in Weekly Playboy Webcomic!
- 3âŚThe mangaka of the immortal soccer manga âCaptain Tsubasaâ. His works gave rise to an immense soccer boom amongst primary school kids, and has influenced many J-leaguers and world-famous soccer players.
Matsui: Nowadays people are quite premature. I was quite late as well, debuting at 25, so I was pretty frantic until I became 30.
I think that even amongst all those other manga, Jojo is a particularly ambitious work. â Matsui.
Araki: Have you ever had your manuscript rejected by an editor before?
Matsui: Actually, itâs only been small comments like adjusting the dialogue in one panel. I havenât really had any rejection, so I can say Iâve been allowed to draw freely. Whatâs rejection like?
Araki: I was once made to redraw all 19 pages! Thatâs how it was back then. New mangaka all had to undergo this kind of baptism. If you said âI only have two days left, do I really have to redraw everything?â they just replied with âKurumada-sensei* does it tooâ.
- 4âŚKurumada Masami-sensei of âKojirou of the Fuumaâ and âSaint Seiyaâ fame. One of Weekly Jumpâs top runners, churning out hit series since the 70âs.
Matsui: Thatâs unfair! In those 2 precious days you could have thought of some valuable topics.
Araki: However, if I look back at it, my drawings were really kind of unstable. The faces on the first and last page are a little different.
Matsui: Couldnât you have tried getting really angry to see if your editor would give in? (laughs)
Everyone bursts out laughing.
Araki: I tried to protest, but it was futile. Even my popular seniors redrew their work if the editor demanded it. A beginner like me had no margin to object, so I resigned to redrawing.
Matsui: Back then they had that style of training where rookies were burdened both mentally and physically.
Araki: Thatâs right. Something like the Showa* style. In any case, it was ridiculous! (laughs) (*t/n: Showa is the historical period lasting from 1926 to 1986)
Matsui: I think that these days the editors donât need to test them that much, since there are a lot of people who will draw without complaining or fighting. Even though itâs the same Weekly Jump, it really changes with the times.
Araki: Though I think the passion to bring interesting manga to the readers hasnât changed.
Matsui: Thatâs right. I agree!
Matsui-sensei, you think that Jojo is the greatest masterpiece in history when it comes to drawing grotesque things. But what do you think is so greatly grotesque about Jojo?
Matsui: A lot of the grotesque things are in plain view, and itâs not as if these things can just be healed again. Thatâs impossible in other manga!
Araki: Thatâs why I got a lot of rejections. I couldnât show erotica either. Even if I used stands to portray things, it was all rejected.
Matsui: I think they allowed a lot more than in other works though.
Araki: Well, there were many unprecedented things in Jojo, so the hurdle was pretty low. Still, there were a lot of topics that got rejected.
Matsui: Wow! Iâm really curious!! But Iâm sure theyâre kind of embarrassing to say.
Araki: Yes (laughs).
Matsui: I think that even amongst all those other manga, Jojo is a particularly ambitious work. Iâm really interested in the things you thought up that were too ambitious for your editor to understand. I wanted to see those things. Itâs a real pityâŚâŚ Ah, I also get the feeling that youâre alternating between drawing Jojo in a small and a large world setting. Were you aiming for that?
Araki: Maybe I was, yes. Thank you for noticing. When youâve drawn a small world for a long time, donât you feel like travelling? Iâm just repeating that process.
Matsui: So Morioh, which also appears in Jojolion, is an example of that too?
Photo caption: In Sendai, which stood model for Morioh, there have been many collaborations, like celebrating Jojo's 25th anniversary with an exhibition last year.
Araki: Yes. I used my hometown of Sendai in Miyagi prefecture as a model for Morioh. I made it into a fictional place because I thought they might complain, but they were really happy I used it. I thought âThe times sure have changedâ.
Matsui: I was actually pretty surprised you drew such a familiar world for your manga.
Araki: Someone told me âI was surprised to see you do something Japaneseâ. Is it that surprising?
Matsui: Yes. Even when Morioh first appeared in part 4, it still had something foreign.
Araki: But in my personal life I donât really get out of the neighborhood I live in. Before I drew part 5 I went to Italy every year though. Recently I havenât gone out of the country for anything non-work related.
Jojo is currently up to part 8, but what has been the main cause for you to continue for over 25 years?
Araki: Itâs accidental. I didnât plan for it to be like this, nor did I expect it. I donât even know what will happen next year.
Last time you said you wanted to continue drawing until you were 60, but what part is Jojo up to by then?
Araki: Iâm really not thinking about that! Iâm just giving Jojolion my all right now. Weâll know when we get there, wonât we (laughs).
Matsui: That reminds meâŚ.. you like zombie movies and horror-type things donât you?
Araki: I love all zombie movies, from the masterpieces to the absolutely terrible ones.
Matsui: I really donât have a hobby, so Iâd like to have one. I donât really like gaming either. If I had to say anything, itâd probably just be eating good food.
Araki: You donât watch horror movies?
Matsui: I watch some every now and then, but I canât say I watch them all or anything. Iâm the type of person who decides what to use from a small number of good and bad movies, rather than learn from watching a lot of them.
Araki: Ah, I seeâŚ.. I thought you must be a horror movie fan too though.
Matsui: Well, itâs true that I love horror movies. Jojo is like horror movies in that at a glance, it seems to be in a genre that people would avoid, but is loved by everyone anyway and does really well.
Araki: Youâre too kind. But itâs good to be perverse too! Itâs fine to be perverse as long as you keep it limited. If you get serious about it no one will like you.
Matsui: Yes. If it doesnât have some kind of charm about it, people wonât like it in the end. Even the most inhumane character should have some kind of charm point. In that sense, donât you think zombies are super charming?
Araki: Exactly! Zombie movies are really great. I think thereâs something wrong with people who say âI canât watch zombie movies because theyâre scaryâ, even though they havenât watched any (laughs). But Iâll go on forever if we keep talking about zombie movies, so letâs end it here.
Everyone bursts out laughing.
Araki: Weâd need 2 hours if we had this conversation, so letâs talk about zombie movies another time.
As long as the starting point is controversial, itâs fine to be moral afterwards. -Matsui
Photo caption: Korosensei has many tentacles. The gap between his striking appearance and his personality as a humorous, ideal teacher has been reflected in the story since its beginning.
Araki-sensei, Iâd like to hear your thoughts on Assassination Classroom.
Araki: It deals with a pretty risky theme, so if it was handled wrong thereâd be a lot of complaints. Within that theme youâve managed to draw about things like school life and friendship, while still keeping morality in mind. It thought that was splendid.
Matsui: I always take great care in making sure no one will copy the actions in my work. For that reason I also needed to create a teacher that isnât human. The students also use fake knives for their assassinations, so Iâm really careful.
Araki: I see. But that edge is what makes it charming. The title, âAssassination Classroomâ, is pretty controversial too.
Matsui: Itâs just that though. I make the start controversial and then play it safe on the rest.
Araki: But having âassassinationâ as a theme is still pretty controversial.
Matsui: Thank you! That reminds me. In Jojo, people would slip in the bath and look up at the ceilingâŚ...at which point the battle starts. I donât think thereâs anyone else but you who could turn such an every-day scene into a dramatic, tense battle.
Araki: Thatâs thanks to working for Weekly Jump all those years. You simply have to draw battles. Thatâs a very unique working culture, isnât it? But itâs also a curse thatâs quite hard to get rid of.
Matsui: It makes me want to see you draw something that isnât about battles. What would it be like if you drew a genuine story manga?
Araki: Wouldnât that be pretty boring? (laughs) In the end, I think battles are the foundation of manga. Thereâs a main character, a villain and friends. I think my themes are pretty conventional, such as âGood and Evilâ or âConflictâ. But even if you make it romance or gags, isnât everything a battle in the end? Whether youâre deciding to have curry or ramen for lunch; every choice you make is a form of battle.
Matsui: I see! Iâm also pretty conscious of what kinds of characters would appeal to kids these days. The kids niche might change and all. Maybe I dealt with it the wrong way, but when I drew this pretty bad character getting beaten up, some people still disapproved of that, even though I got a lot of votes*. (*t/n: The popularity of manga in WJ is decided by a system of voting through a survey card that is attached in the magazine every week. You pick your three favorite manga of that week and send it in.)
Araki: So you should have let them reconcile.
Matsui: No matter how bad the character is, if you just beat them up itâll end up leaving a bad taste.
Araki: In Jojo theyâre just beyond recovery though. When I think âI donât need these guys anymoreâ.
Everyone bursts out laughing.
Matsui: âThey put me through all that, so I can have my revengeâ, right? Iâm jealous that your unique worldview is so accepted by the readers.
I think Assassination Classroomâs story will progress rapidly from here on out, but will we be seeing any new characters?
Photo caption: The students keep developing through their time with Korosensei. The story will expand even further in the second semester!!
Matsui: I had a very solid structure for the first semester. Introducing the characters, introducing the world setting. By now I think everyone will remember the studentsâ names and faces, so I want to gradually expand the story through the second semester. Iâm thinking I could show the kids using their assassination skills in the outside world a bit more.
We look forward to future developments! Finally, if you could give each other some words of encouragement, as well as a message to the Jump Live readers?
Matsui: I couldnât say everything because I was so nervous, but since middle school, Jojo has been part of my youth. I canât put it all in one word, but if I must say something itâsâŚ.. I love it!!
Araki: I donât get many chances to meet artists from the new generation, so I was really glad to be able to do this. Iâm honored to have been asked for this and Iâm grateful we were able to have such a deep conversation. This time it was a video and a discussion, but next time Iâd like to draw manga too. Thank you for everything today.
Matsui: Aw, youâve said everything already.
Everyone bursts out laughing.
Matsui: Assassination Classroom is contributing to Jump Live in various ways, like mini-games and special drawings. Korosensei has a pretty simple form, so itâs easy to make him appear in all sorts of things. Iâd like to have him use that light footwork and appear in Jump Live again sometime, so please keep supporting us!
And just like that, this bizarre special discussion comes to an end! Look forward to Araki-sensei and Matsui-senseiâs further activities![33]
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LIVEčŞč ă¸ăŽä¸č¨ăăéĄăăăžăă
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⌠ćăăŚăžă!!
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揥ĺăŻăăłăŹă§ăćăăŚăžă!!
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ĺ ¨ĺĄďźďźççŹďź
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č˛ăăŞĺ ´ćăŤĺşăŚčĄăăăăăă§ăăăă
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čĄăăăă¨ć ăăžăăŽă§ăăŠăăăăăăăéĄăăăžăďź
- Mr. Araki, Italy seems to have a great influence upon you.
Araki: Yes, that country's color choices, and color combinations. It was shocking. The aesthetics of gay people there too. Although they are men, they were eroticâlike wearing feminine shoes and such, their fashion combinations were peculiar. Like incorporating buttons, razors, and even safety pins. It was unbelievable.
I've already been there over 20 times. The cities I like most are Rome and Naples. I like the culture of the Roman Empire before Christianity propagated. I find some aspects of there similar to Japan, like their polytheism.
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Since Dio was made to be the âUltimate Evilâ, the contrasting Jonathan ended up becoming an extremely pure character. If I made Jonathan now, I could probably add a little bit more flavor to him but at the time I was quite young. Regarding his name, there really isnât a deep meaning to it. I thought that since the main character is a foreigner, I should make a name thatâs easy to remember for readers. Like the name âSteven Spielbergâ, I wanted to go with a name that rhymed and left a strong impression: Jonathan Joestar. Now itâs quite accepted, but at the time there werenât many manga that had a foreigner as the protagonist, so there was a bit of unfamiliarity or strange feeling regarding the character. Even I thought that this might not end up being popular, but I also had the feeling that I wanted this kind of thing to be appreciated and recognized.
Dio was developed in the same way as Cool Shock B.T.âs protagonist, B.T. More deeply than B.T., heâs a character that represents the dark side of humansâ jealousy and hungry spirit. At the time I was drawing Dio, I might have also been influenced by my own mind. There wasnât anything that particularly made me angry, but, for example, during regular life I would suddenly begin to think dark things. I saw things from the same point of view as Dio, and began to do things like view humans as if they were insects. That kind of a thing was happening in my mind around that time.Hirohiko Araki & Ryosuke Kabashima
Q: You chose the name "Jonathan Joestar" because your meetings were held at the family restaurant "Jonathan's", right?
Araki: What? Jonathan's? (Laughs)
Kabashima: Didn't you want to make the name "JoJo"?
Araki: I wanted to have an alliterative name like Steven Spielberg, so the acronym would look like J.J. or S.S. But the family restaurant we had our first meeting at was Denny's. It wasn't until later that we started going to Jonathan's.
Q: No no, you've mentioned it was Jonathan's elsewhere (laughs). You stated, "Because it was at Jonathan's."
Araki: Ohh, that was more of a "Sure, Let's go with that" type of answer. (laughs)
Kabashima: It's better for these things to be interesting, right? (laughs). Araki-san likes legends. He thinks it's better for it to be interesting than for it be a fact. That's likely the root of this.
Araki: Legends are a requirement for the horror genre.
Q: Then the name "Jonathan" is...?
Araki: It was just to make the J.J. alliteration. I didn't really take it from anywhere in particular.
Kabashima: It seems the origin of Jonathan has also become something like an urban legend, but it was definitely a Denny's at first, and then we switched to having meetings at Jonathan's somewhere during the middle of serialization. It was convenient because it was close to Araki-san's workplace at the time.
Hiroshi Sekiya
Sekiya: Another point is that Araki-sensei said, "I want a woman to be the main protagonist."
Q: This is for Part 5, right? You don't mean Jolyne from Part 6, but Giorno as a woman?
Sekiya: Around the time he brought it up, Giornoâs name hadnât been decided yet. Itâs not an issue these days, but back then my impression was that a female lead in a shonen manga would have been very tough to sell. During that era of Weekly Shonen Jump, it simply wasnât the time. Thus, during my meeting with sensei, we spoke about this and that, and in the end, the protagonist ended up not being a woman. However, Giornoâs stand has the ability to create life, right? Women give birth to life, so I think this concept was probably left over from the idea of having a female protagonist.
Q: Giorno is an elegant and somewhat androgynous character. Is the initial idea of having him be a woman related to that?
Sekiya: Giornoâs real name, Haruno Shiobana, is also very feminine, right? Sensei may have been thinking of having the story unfold with Giorno being revealed to be a woman. Now that I think about it, he used to joke around with ideas, saying things like: "What about if it was a woman who looked like a man? Wonder if that would work?" (laughs)
Hideto Azuma
Q: Part 6 had the first female protagonist. Was this Araki-senseiâs idea?
Azuma: Thatâs right. As a shonen magazine editor, I politely asked him to make the protagonist a boy, but he refused in 3 seconds (laughs). The readers of Weekly Shonen Jump wouldn't accept a female lead, which is why I wanted him to change it, but he just replied, "That's exactly why we're doing it".
Looking back at the series' popularity at the time, I still believe that a male protagonist would have been better. However, considering the long history of the "JoJo" series, I also think that it was overwhelmingly beneficial that the Part 6 lead was female. I get the impression that Araki-sensei is the type of person who wonât repeat the same thing twice. He is the type of artist who constantly takes on new challenges, so maybe he instinctively knew he'd lose the motivation to draw if he chose a male protagonist just for notorietyâs sake.
It was around then that strong female leads had also begun appearing in films, so perhaps he thought the time was right. If he really cared about gaining popularity, he could have just made the protagonist something like a "miniature" version of Jotaro from Part 3. He wouldn't do that though, he's the type of artist who has to continue fighting.
Q: From an editorâs point of view, what type of artist did Araki-sensei seem like at the time?
Azuma: He could construct both the characters and the story firmly in his head and always met deadlines, making him very easy to work with and highly valued by the editorial department. I suppose I was chosen to be Araki-sensei's editor because the higher-ups thought that our hobbies were similar, rather than my suitability as a manga editor. Much like Araki-sensei, I also love music and films, and I know pretty much all of the music that he listens to. I think the editorial department considered it important that Araki-sensei was able to work comfortably. I had the privilege of working for him for two-and-a-half years, but at that point only about 5 of my ideas were used (lol).
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珏2é¨ ćŚé潎ćľ
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ăăŁăŞă犜漾ăŽćŞăŤăăĺăăăŽĺŻžćŻă¨ăăŚă¸ă§ăăľăłăŻç´ç˛ăăăăăăăŽăăŁăŠăŻăżăźăŤăŞăăžăăăăă¸ă§ăăľăłăŻäťă ăŁăăăăăăĄăăŁă¨éăĺłäťăăă§ăăăă ăăŠăĺ˝ćăŻĺăčĽăăŁăăăăä¸ťäşşĺ ŹăŽă¸ă§ăăľăłă¨ăăĺĺăŤăăăăŞăŤćˇąăćĺłăŻăŞăă§ăăăĺ¤ĺ˝äşşăä¸ťäşşĺ ŹăŞăŽă§ĺĺăŻăă¨ăŤăăčŞč ăčŚăăăăăăŽăŤăăăăă¨ćăŁăŚăăžăăăăăšăăŁăźăăłăťăšăăŤăăźă°ăăżăăăŤăé ă§éťăč¸ăă§ăăă¨ĺ°čąĄă埡ăăăăŤćăăăŽă§ăă¸ă§ăăľăłăťă¸ă§ăźăšăżăźăă
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珏4é¨ ăă¤ă¤ă˘ăłăăŻç ăăŞă
珏5é¨ éťéăŽé˘¨
珏6é¨ ăšăăźăłăŞăźăˇăŁăł
珏4é¨ăŽä¸ťäşşĺ ŹăŽćąćšäťĺŠă¨ăăĺĺăăăăăťăŠćˇąăćĺłăŻăăăžăăăä¸ťäşşĺ ŹăŽĺĺăŻăĺ°čąĄăŤćŽăă°ăăă¨ăăçşćłăăăăă§ăăăăăžăăŤăĺ¤ăăŚăăăăŽăŻăăĄă ăăŠăăăĄăłăżă¸ăźć§ăăăŁăŚăă¸ă§ă¸ă§ăăŤăŞăŁăŚăăă°ăăăă§ăă
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蜣ĺłă掺人ă¨ăăăŽăŻćăăăăăăŻčĄă¨ăăčĺ°ă¨ăĺăŁăŚăăžăăăăă
ĺčŻĺ役ăŁăŚăčŞĺăŽăĺŞăăăăäşşçăć¨ăă§ăăŞăă¤ăăŞăă§ăăăăçžăăćéŚă¸ăŽĺˇçă¨ăăăĺŞăăă¨ăč¨ăăć§ăčŞăăŚăăăăŤĺăŤčĄăăă¨ăăăăŁăŠăŻăżăźă§ăăăăŻăĄăăŁă¨äťăŽä˝ĺăŽćŞĺ˝šă¨ăŻéăă¨ćăăžăă
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To Be Continued
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(2013ĺš´6ć7ćĽăčć¨ĺ çăŽčŞçćĽăŤĺé˛)
Onoâs first encounter with Jojoâs came in middle school, when Part 3 of the manga -- Stardust Crusaders -- was running. It wasnât until he went off to college, however, that he realized just how powerful Jojoâs truly was.
âI had a lot of free time as a college student, and I ended up getting totally sucked into Jojoâs, to the point where I spent what little money I had on the whole series up that point. And then during the course of my going to school, as I read it over and over again, I realized everything I needed to live my life was in that comic.â
A big part of that realization was the rather adult nature of Jojoâs, which mixes horror and suspense elements in a bid to live up to the Bizarre part of its title, and, at least according to Ono, became even more satisfying when viewed through the eyes of an adult.
âAs I started to understand the little subtleties and quirks of life, as I experienced doubt, confusion and frustration and accumulated life experience, I found more and more things in Jojoâs that resonated and stayed with me,â Ono said.
Ultimately, Jojoâs was part of the reason he decided to enter the world of broadcasting, and part of how he found success. Ono found himself frustrated with weak communication skills, unable to get others interested in what he had to offer professionally, and floundering in general. It was during this period of his life that he encountered Jojoâs again, discovered a love for radio, and met common friends who would shape the rest of his life.
âThe people I work with, my closest friends and acquaintances who I see on a daily basis, are all huge Jojoâs fans. In a way, reading Jojoâs pointed the way forward during the time of my life when I most felt frustrated and unsure of what to do next.â An inspiring story, but how did he feel about getting the chance to play Jotaro Kujo, one of the most iconic characters in manga and anime history?
âWell, Jotaroâs a representative character of the series, and from the part that I think most people are aware of in general, so I felt a lot of pressure at first, followed by more pressure, culminating in⌠really, it was just all pressure.â
There were also a few questions asked about the audition process for the Jojoâs Bizarre Adventure: All-Star Battle video game, which Ono also played Jotaro in. As is often the case in these kinds of situations, the audition process for the Stardust Crusaders TV series was completely separate from that of the game, and Ono found himself having to re-audition for Jotaro all the way from square one. It all ended up working out in the end, though.
âJotaro is a character whoâs cool and collected and on the verge of boiling over all at the same time. He takes those two contradictory elements and makes them work together at a high level,â Ono said. âHeâs a guy whoâs cool on the surface, but deep down inside heâs white-hot.â[38]
ăă¸ă§ă¸ă§ăŽĺĽĺŚăŞĺéş ăšăżăźăăšăăŻăŤăťă¤ăăźăšă / http://jojo-animation.com/
â ăçăăŚăăä¸ă§čŞĺăŤĺż čŚăŞčŚç´ ăĺ ¨ăŚăăŽä˝ĺăŤĺ ĽăŁăŚăă
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(C)čć¨éŁĺ彌ďźLUCKY LAND COMMUNICATIONS/éčąç¤žăťă¸ă§ă¸ă§ăŽĺĽĺŚăŞĺéşSC製ä˝ĺ§ĺĄäź[39]
ANN: What is the difference between your role as director and Kenichi Suzuki's role as "series director," as far as how things are managed?
Naokatsu Tsuda: The best way to think of it is not as co-directors, but one as the executive director and one as the actual director.
So he's in more of a producer position and you are the creative director?
We're both creative, but I have final say in everything.
How were you approached about directing a JoJo's television series and what was your reaction?
So, the story starts off with me being an employee at our production company, David Production. My previous work was directing Inu X Boku Secret Service and our Vice President, a man by the name of Kajita, asked me, "You like JoJo?" And I said "Yes!" And he said, "Okay, you're directing JoJo." That's it! Very easy.
When looking at the material, did you feel that there was much adaptation that needed to be made for language and references, since it is over twenty years old, or did you feel that it was timeless and you didn't have to change much?
The main adaptation needed for a modern audience would be in the visuals. If you look at the original JoJo's Bizarre Adventure, the lines are very detailed and I question if a modern viewer would be able to relate to these details. Also, we do need to simplify the lines for animation. So simplifying the lines was something we definitely prioritized. But the JoJo's graphic novels, over the years, have become something of an internet meme, or at least they are the source of a lot of internet memes. One thing we can do today that wouldn't have been possible 20 years ago is pick up on already established memes and see how we can pull those into the anime. Many parts of the series are already finished, so we are in a unique position today where we can do a wholesale retrospective on them. Also, modern audiences have a preference for higher-paced dialogue, so that's also different today from how it would've been adapted back then.
That's very interesting to hear about the meme culture of JoJo's. So you were aware of that stuff going in and you consciously said, "Oh we have to get this right, we have to make this feel classic for fans of the manga?"
Yes, in fact that was fully intended. We wanted to make a show where a fan could watch the animated episode and then go back to the graphic novel and see that their idea of JoJo was faithfully animated. We wanted to make something that could be shared as a new source of fan memes, and something where everyone's idea of JoJo could come to life through it.
One of my favorite things about JoJo's is the incredible sound design and music work on this show, both the soundtrack and the use of sound effects visually is very powerful. I feel like viewers can listen to this show and understand the story almost as well as seeing it. What was your philosophy going into the music and sound effects for the series?
The written words that show up in JoJo's is something that we call a "word effect." This comes directly from the manga, where if you look directly at the panel, the written sound effects are an integral part of the layout. Usually, when you animate a graphic novel, all those sound effects would be taken out, but that also changes the visual layout of the panel in translation to the screen. Now when you look at streaming culture today in Japan, especially when you look at websites such as Niconico, all the users just paste up their text reactions as part of the video stream, and that's part of the actual fan culture. My takeaway from that was younger audiences of today don't actually have any problem seeing written sound effects onscreen. So rather than changing the original manga layout, we wanted to incorporate that into the anime as well and use word effects in choice places for favorite lines and favorite sounds, perhaps sound effects that the viewer might want to shout out along with the show. So it's just thinking about things backwards and then making them work out. I don't think you actually need to be able to read the text, because it's more of a visual element than a language thing.
For the music, I really wanted to incorporate film-style music rather than something that resembled a variety show. When you use music in film, it's often set to a specific character or emotion or scene. In the first two parts of Jojo's, the music is really set to the scene and only once in a while is it set to the emotions of the moment. Part 1 takes place in 19th century England, which isn't exactly a place anyone has first-hand experience living through. So we used the music to establish a sense of history and location and period that we can relate to. Then we skip over to Part 2, which takes place in Art Deco America. So we had to establish something more stylish and pop in tone there. Since there's a graphic visual difference between Part 1 and Part 2, we wanted the audience to be transported 50 years forward through the music as well as the visuals.
What was the process for choosing the ending theme songs like "Roundabout" and "Walk Like an Egyptian?" Is this a tradition that you want to continue in future parts?
Well, those came from the author of the original graphic novel, Hirohiko Araki. They're all songs that he was listening to back when he was drawing the individual parts. Mr. Araki only listens to Western music because he doesn't understand English, so none of the lyrics come across to him as language, but as pure sound. So we got a list of these songs that he was listening to back when he was writing each part, and we chose songs for the closing animation based on which ones Warner was able to secure the rights for. It was up to Warner to actually do the negotiating. So if there is an anime production of the next part, we'll probably go by the same process. Traditionally, JoJo's Bizarre Adventure has been a gateway to learn about Western music for Japanese readers. For American fans, a lot of the music and names featured in JoJo's are more an acknowledgement of familiar artists, but this is also cause for Warner to be engaged in a lot of negotiations to secure those rights.
Yes, the names of these characters are changed in the official subtitles for American viewers. Vanilla Ice becomes Cool Ice, Oingo Boingo becomes Zenyatta Mondatta, and so on. The fans always know the real names, so they see that and sort of laugh at it. They feel like "what, are they afraid of lawyers?" How do you feel about American audiences being given changed names?
Well, I do think someone may have tried to err on the sensitive side of things in translation. When you look at characters like Oingo and Boingo, if the musical artist of the same name wasn't happy with the idea of being depicted as such comical characters, perhaps erring on the sensitive side might have been the right decision.
On that note, where did the Oingo Boingo Brothers song come from? It was a very fun surprise!
Part 3, Stardust Crusaders, is split into two halves for television airing. At the time, the music producer at Warner, Mr. Oomori, had asked if there was any scene-specific music that I wanted to have in the series. You might be familiar with a specific practice in Japanese animation where episode one and episode three are very important for a show's production. If episode one doesn't execute well, a lot of viewers will write off the show and never watch it. And you also need to have a new development or twist take place in episode three, or more established viewers will abandon the show. It's not such an issue with episode four onwards, but that's the unfortunately reality of the industry right now. The Oingo Boingo episode in question is actually episode three of Stardust Crusaders' second half, so we knew we had to make it stand out. Boingo is an enemy who uses manga as their gimmick, so for the ending we thought this could be the first and only instance of a character song. I thought it would be something that the viewers would be very happy to see. So I went to producer Oomori, he greenlit it, and the Oingo Boingo Brothers happened.
And the Hol Horse Boingo Combo as well! Now do you have a favorite Joestar or a favorite character? Not just in the three parts that are animated, but from any of it?
Well, since I just finished working on Stardust Crusaders, I'm most sympathetic to Jotaro. In part 4, my favorite is still Jotaro. As a high school reader of the manga, my favorite Joestar was⌠well, it's actually questionable if he's from the Joestar family, but he's the main character from part 5, Giorno Giovanna. He's actually Dio's child, but he inherits a very large portion of the Joestar family spirit.
You mentioned that the manga's art could be difficult to adapt to animation. What were your thoughts on adapting the manga's striking color design in a way that wouldn't be too overwhelming?
One thing that makes anime different is that once you establish the color setting, you can't change it, whereas there's no set color for a lot of things in the JoJo's graphic novel. Once we established the color setting inside the anime, we knew there might be a lot of fans who would object to the choice of colors. As a JoJo fan myself, I do really understand the kinds of things they would object to. So we decided on scene-specific coloring, so that the "set color" could still change depending on the specifics of the scene. Since the graphic novel doesn't actually have set colors for a lot of things, I think that was one way to take advantage of its style, while creating something that would be acceptable to fans.
One last question: JoJo's is filled with great moments of elation, and it must be exciting for the voice cast to do that sort of thing. What was the most powerful moment for you, vocally?
There's far too many to mention, but if I were to choose one, it would be the final episode of Stardust Crusaders, where Jotaro and Dio are having their showdown, and it is the battle of ORAORA and MUDAMUDA.
I knew the story, so I knew it was coming, but I was still surprised when Dio shouted "ROAD ROLLER!"
I'm very happy to hear that.[40]
See Interview Archive
References
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