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Paris-manga-2016-affiche.jpg
Event
Interview
Published March 28, 2016
📜
Anime

“

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

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

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

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

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

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

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

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

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

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

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

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

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

How was working with Hirohiko Araki?

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

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

Watch, and you'll understand. (Laughs)

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

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

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

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

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

”

Josuke Newtype.jpg
Magazine
Interview
Published July 9, 2016
📜
Anime

“

Savage Garden: Darren Stanley Hayes

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

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

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

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

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

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

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

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

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

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

Please give us a message for our Japanese fans.

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

”

DUomnibus6.jpg
Manga Volume
Interview
Published August 5, 2016
👤 Yugo Kanno
📜
Anime
“
Which songs would you recommend besides the character themes?

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

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

Animage November 2016.jpg
Missing translation
Magazine
Interview
Published October 8, 2016
📜
Anime

Note: Missing full interview.

“

(『アニメージュ』2016年11月号記事より)

「重ちーの後ろの億泰と間田は、一応セリフも決めて芝居させています。「お前また鳩とか殺すんじゃあねーぞ」「そんなことやらないよ!」みたいな(笑)。
3人の登下校も、密かに女の子好きな億泰は「可愛い子いないかな」、仗助と康一は「あのアイスクリーム屋で新作出たから買いに行こうぜ」くらいの感じです。」

「太陽のガジェットは、ジョナサンを象徴させています。
OP2でも本当はジョナサンを出したかったんですが、ダメと言われたので太陽にしてしまえばOKかなと(笑)。」

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

”

Great Festival Logo.png
Guidebook
Interview
Published February 19, 2017
📜
Anime

“

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

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

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

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

NoPicAv.png
Video
Interview
Published February 2017
📜
“
Interview by "Les Illuminati" : lesilluminati.com

Translated from the French script.

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

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

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

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

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

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

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

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

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

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

”
—Hirohiko Araki
MTV80sMarch2017.jpg
TV Program
Comment
Published March 18, 2017
📜
“
GUNS N' ROSES --- Welcome to the jungle

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

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

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

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


[Translated by macchalion]

Anime Boston 2017.jpeg
Event
Interview
Published April 1, 2017
📜
Anime
“

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

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

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

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

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

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

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

---

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

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

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

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

“Jojo fans are very fanatical.” -Naokatsu Tsuda

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

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

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

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

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

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

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

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

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

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

“Talent!” -Naokatsu Tsuda

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

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

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

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

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

“Each title eats a director.” -Naokatsu Tsuda

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

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

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

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

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

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

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

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

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

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

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

”
NoPicAv.png
Missing translation
Website/Online
Interview
Published June 28, 2017
👤 Kaori Mizuhashi, Mai Nakahara, Takahiro Sakurai, Wataru Takagi, Toshiyuki Kato
📜
Anime
“

◆STAFF & CAST COMMENT

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

「ジョジョの奇妙な冒険」でも屈指の人気キャラクターである、岸辺露伴のスピンオフ作品が初めて映像化されることになりました。いつもはスタンド使いを相手にしてますが、今回露伴が戦うのは人知を超えた存在です。それにいかに対応していくのか、TVシリーズとも違う独特の表現も含めて楽しんでいただきたいと思っています。

テレビアニメ本編でも露伴がメインになる回がありましたが、「岸辺露伴は動かない」をアニメ化するにあたって本編とは変えた点など、こだわりを教えてください。

まず背景美術の色合い、タッチがTVシリーズとも違っています。これはホラーテイストの原作を活かしたいと思って変更しました。現実の風景のすぐそばに奇妙な世界が潜んでいる。ちょっとしたきっかけでその世界に踏み込んでしまうかもしれない、そんな特徴をはっきりと表現したいと思い変えました。

今回のOVAではTVシリーズとはデザインを一新されています。石本さんが描かれた岸辺露伴を見た時の第一印象を教えてください。

「いい感じ!」という印象を受けました。原作は20年前の『懺悔室』が初出だと思いますが、現在まで続いている「ジョジョ」シリーズの中では息の長い作品です。ですからその中で露伴の描写がタイトルごとに少しずつ違っています。その中から今の「露伴」のイメージを表現してもらえてると思っています。

今回登場する泉京香、一究について、その魅力や演出の上で気を付けたところを教えてください。

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

今回は脚本はなしで、監督自ら字コンテを書かれる形で制作がスタートしたとお聞きしました。そのような手法を取った理由は何かあるのでしょうか。

「字コンテ」で制作をスタートしましたが、イメージとしては「シナリオ」に近い感じと考えています。この作業を行うことによって、改めて原作の構成や筋の運び方などを客観的に捉えることができて、映像化する際にどういう部分を重視すればいいのか判断するのに役立ちました。

新たなOPもあります。凝った作りとなっていますが、どういうイメージで作られたのでしょうか。

今回は全巻購入特典映像という立ち位置だったのですが、ワーナーさんのご厚意によりOPのテーマ曲を作っていただけることになりました。イメージとしては、昔の『トワイライトゾーン』や『ツイン・ピークス』のようなどこか懐かしく、そして不安な気持ちになるような曲がいいと思っていました。本編の内容を想起させる素晴らしい曲を作っていただいたので、それに合うような大人っぽいイメージになっていると思います。

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します。

BD・DVDを全巻購入していただきありがとうございます。今回は「動かない」シリーズの岸辺露伴として作成しました。キャラクターの顔や映像など、原作の雰囲気を活かしたつもりです。最後の方にサービスシーンも追加しました。露伴が繰り広げる新しい冒険をぜひ楽しんでください。

岸辺露伴 役 櫻井 孝宏

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

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

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

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

「富豪村」の見所を教えてください。

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

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します。

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

泉京香 役 中原 麻衣

「ジョジョ」のアフレコに参加しての感想をお教えください。

あまり前知識がないままアフレコに参加したので、ジョジョの独特な世界観や台詞回しは衝撃的でした。ただ、現場で諸先輩方にジョジョレクチャーをしていただきながらのアフレコはとても楽しかったです!

泉京香というキャラクターの魅力や演じる際に気を付けた点を教えてください。

無邪気で天然で、知らないからこその強さを持っているところが彼女の魅力だと思います。なので、演じるときはなるべく意図的にならないよう気を付けました。

「富豪村」の見所を教えてください。

登場人物がとにかく少ないので、それぞれのキャラクターがとても活きています。ベクトルの違った奇妙な人達の会話や世界観を楽しんでいただけたらと思います。

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します。

観てくださるみなさま、スタッフさん、キャスト、全員が熱量のある作品だと感じました。ぜひ楽しんでください!

一究 役 水橋 かおり

「ジョジョ」のアフレコに参加しての感想をお教えください。

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

一究というキャラクターの魅力や演じる際に気を付けた点を教えてください。

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

「富豪村」の見所を教えてください。

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

最後に「岸辺露伴は動かない」を楽しみにしているファンの皆様へひとことお願い致します。

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In Japan, there are less and less children, so less and less readers. I think that mangaka must now aim for foreign markets.
”
JoJoRealEscapeGameSC.jpg
Incomplete translation
Website/Online
Interview
Published October 26, 2017
👤 Kano Koji
📜

“

Summary

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

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

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

”

“

「みんな脱出すればいい(笑)」承太郎一行になりきって、運命を乗り越えろ!

ディレクターに聞く『ジョジョの奇妙な館からの脱出』の見どころ

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

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


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

――『ジョジョ』第3部のキャラクターになりきって楽しむんですね。犬のスタンド使いで、ボストンテリアのイギーになる人は難しそうですね(笑)。

鹿野 イギーをやる方は、ちょっと苦戦するかもしれません(笑)。

――今回のコラボが実現した経緯は?

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

――『ジョジョ』の魅力のひとつには頭脳戦や心理的駆け引きのバトルがあるので、リアル脱出ゲームファンが『ジョジョ』を好きなのも納得です。先立って今年の夏には、『ジョジョ』第4部とコラボした遊園地公演『ジョジョの奇妙な遊園地からの脱出』(以下、『遊園地からの脱出』)も開催されていますね。

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

――どの部も人気がある『ジョジョ』ですが、今回第3部を題材にした理由は?

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


ジョジョのポーズになりきりグッズ…あなたも承太郎になれる!

――それでは、『ジョジョの奇妙な館からの脱出』の注目ポイントをお教えください。

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

――SCRAPさんの公演で、作品の既存キャラクターになりきるスタイルはちょっと珍しいですよね。

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

――『遊園地からの脱出』でも、“ジョジョのポーズ”をする場面もありましたね。

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

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

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

――ちなみに、『遊園地からの脱出』と『館からの脱出』はどういったところに違いが?

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


荒木先生のコメントで活き活きとしたオリジナルキャラ

――『ジョジョの奇妙な館からの脱出』で注目したいポイントとして、公演オリジナルキャラクターであるスタンド使いのディジャ・メイカーの存在が明かされていますね。

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

――なぜオリジナルキャラクターを登場させることに?

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

――現在公開されている公式サイトのキャラクター情報よりも、情報量がかなり少なかったんですね。

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

――好きな音楽の理由が「聞き終わる頃には1時間経過しているため」という設定も面白いです。

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

――一方、キャラクターづくりで苦労された点は?

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


厳しい運命を乗り越える体験を

――ほかに、公演全体を制作する上で苦労した点はありますか?

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

――『ジョジョ』ファンなら、かなり楽しめそうな公演になりそうですね。

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

――反対に『ジョジョ』をそんなに知らない、というリアル脱出ゲームファンの方も楽しめますか?

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

――原作を先に読むか、後に読むか。オススメはやはり読んできてもらえるといい、という感じですかね。

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

――それでは最後に、公演を期待している読者へメッセージをお願いします。

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

まぁ、運命を乗り越えるのはそんなに簡単じゃないと思うので、脱出率はいつも通り厳しいんですけど(笑)。

リアル脱出ゲーム×ジョジョの奇妙な冒険 スターダストクルセイダース「ジョジョの奇妙な館からの脱出」[8]

”

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

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

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

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

One of the ending scenes of Steel Ball Run that I particularly enjoyed drawing is the one in which Johnny and Gyro confide their personal secrets to each other and Gyro reveals to his friend his true name, while Johnny tells him about his fetish. They were just frivolities, but can a secret become eternal? Or, if one survives, will that secret continue to live on in their heart? While I was creating those panels, I found myself crying.
”
—Hirohiko Araki
AX-2018-Logo.png
Website/Online
Interview
Published July 6, 2018
📜
Anime
“

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

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

Q:Really? That's it?

Tsuda:Really, it's true.

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

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

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

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

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

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

Q: What directors have influenced you?

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

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

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

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

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

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

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

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

Tsuda: I think this one has the heaviest themes, so I hope you'll please watch it with all of us in Japan until the very end. [9]

”
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Missing translation
Website/Online
Interview
Published August 17, 2018
📜
Manga
“

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

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

王道に反する「異端」


いつもの作業机でペン入れをする荒木さん(撮影:殿村誠士)

58歳になる荒木飛呂彦さんは窓際にある大きな机でペンを走らせていた。机上には作画の参考にした馬のフィギュアと折り紙のカエルがある。物として手に取るためだ。

細部の「リアリティー」が作品の生命線であり、世界を支える。そんな強いこだわりが垣間見える机だ。

「僕にはこの机さえあればいい。そうすれば漫画が描けるから……」

描いているのは、連載中の「ジョジョの奇妙な冒険」第8部に当たる「ジョジョリオン」の最新話だった。原画展を前に、ミステリアスな物語は終盤に差し掛かっている。


「ジョジョ」第7部でカギとなる馬のモチーフとなったフィギュア(撮影:殿村誠士)

人気がなければ容赦なく打ち切られる少年漫画誌を中心に、荒木さんは30年以上にわたって「ジョジョ」の物語を描いてきた。今でこそ多くの人がファンを公言しているが、長く「異端」の存在だった。クラスの大半が話題にしあう作品というよりは、数人がひっそり集まって「実は『ジョジョ』好きなんだよね」「俺も」と打ち明け合うような、そんな漫画だった。その理由は独特の設定とストーリー展開だ。

連載開始は1987年。その4年前に連載が始まった「北斗の拳」がテレビアニメ化されて大ブレイク。3年前には「ドラゴンボール」が、2年前には「聖闘士星矢」がスタートしていた。荒木さんいわく、「少年漫画に集まった天才たち」による大ヒット作が次々に生まれた時代だ。


荒木さんが面白いと思った漫画の数々が、本棚の最上段に並ぶ(撮影:殿村誠士)

主人公が敵を倒す。するとさらに強い敵が現れ、その先にさらに強い敵が現れる、いわゆる「トーナメント方式」でストーリーが展開される漫画こそが少年漫画の「王道」で、部数も人気も集中した。読者が共感しやすいように、主人公は日本人の少年か青年であることが多い。舞台設定は、学校や身近さを感じさせる町だった。

「ジョジョ」は、いずれの点でも王道に反していた。

30年以上続く物語は、こう始まる。舞台は19世紀、1880年のイギリス。父の死をきっかけに名門貴族ジョージ・ジョースター卿の養子となった貧民街出身の少年ディオ・ブランドーは、ひそかにジョースター家の乗っ取りを計画。少しずつ、ジョージの一人息子、ジョナサン・ジョースターを追い詰めていくが――。


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

しかし、と荒木さんは断言する。

「これ以上、王道の漫画はない」

それはなぜか?

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

「早々に打ち切りを覚悟したし、設定にも懸念があった」


さまざまなジャンルの資料が並ぶ、仕事場の本棚(撮影:殿村誠士)

根拠はあった。荒木さんの「ジョジョ」以前の連載はいずれも短命に終わっている。椛島さんは理由をこう分析する。

「魅力的なキャラクターが足りなかった。主人公がいくら立っていても、それに並び立つようなライバルや敵キャラがいなければ成立しない。そこにきて次の作品は19世紀のイギリスを舞台に貴族が主人公だと言う。心配になりました。外国人の主人公が成功するわけない」

しかし、荒木さんは折れなかった。

「だったら、とスタートしました。ストーリー展開はもともと高く評価されていましたから、当時の編集長からもOKが出た。これまでと違うと思ったのは悪役です。ディオという悪役が実に良かった」

椛島さんは、少年漫画のキャラクターで魅力を高めるのは悪役なのだ、と語る。

「貴族のジョナサンは間違ったことができず、常に紳士でないといけない。正論ばかり言う『良い子キャラ』では共感を得られない。人間を超えたいと願う悪役のディオが対比して置かれることで、ストーリーが輝く」

それでも、「ジョジョ」の人気はなかなか出なかった。


「ジョジョ」の描画を支える道具たち(撮影:殿村誠士)

ここで荒木さんは、椛島さんも驚く手を打つ。主人公の交代だ。

ジョナサンが主人公の第1部から、第2部はジョナサンの意思を受け継ぐ子孫、ジョセフ・ジョースターを主人公にした明るい冒険活劇で物語を盛り上げた。

これが同時に、トーナメント方式を回避するという効果をもたらした。以降、「ジョジョリオン」に至るまで8人の主人公を通して「ジョジョ」は描かれてきた。

荒木さんが振り返る。

「当時はバブルに向かうころでしたから、時代の空気は上へ、上へと向かっていたんです。トーナメント方式を採用したマンガは時代の空気と重なっていました。僕はその空気に乗れなかった。上に行ってもいずれ頭打ちになったら、どうしたらいい?って考えてしまうんです」

だからこそ、時代に流されず、自分が描きたい漫画を描くことが大事だったのだという。

「僕はサスペンスを描きたいのであって、それ(トーナメント方式)は描きたい漫画ではない。自分が描きたいものがぐらついたら漫画は終わりです」


(撮影:殿村誠士)

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

ロードムービーの手法を取り入れ、ジョースター家の血統を継ぐ日本の高校生・空条承太郎が仲間とともに、よみがえった一族の宿敵・DIO(ディオ)を倒すべくエジプトに向かう第3部が転機になる。

「ジョジョ」の世界観を象徴する、超能力を擬人化した「幽波紋(スタンド)」というアイデアが初めて使われた。椛島さんは「これでヒットだ」と思ったという。

「1部と2部で使っていた『波紋』という超能力は地味で、荒木さんのストーリーの面白さを引き立てるのに、これではダメだと思った。だから3部では新しいアイデアにしてくれ、と言いました。そうして誕生したのがスタンド。誰も見たことがない発想だし、3部にして主人公も悪役もハマっている」


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

スタンドの能力は人それぞれ違う。力と力がぶつかり合い、力が強いものが勝つという少年漫画のパターンをなぞるのではなく、能力同士の相性や知恵を使う頭脳戦というメソッドを確立した。

弱すぎるがゆえに逆に手ごわくなる敵キャラクター、トランプやテレビゲームまでバトルのなかに取り入れた。頭脳戦は今でこそ、多くの少年漫画が採り入れている方法だが、その道を切り開いたのは「ジョジョ」だ、と言えるかもしれない。

荒木さんは言う。

「波紋はダメだと言われたので、どうしたらいいのだろうと考えました。超能力を漫画で表現するという発想の延長で擬人化はどうだろうと思い付いたのです。ジャンプでは、他の先生方のアイデアを使ったと思われることもNGでしたから、絶対にやってないことをやろうと思った。それもあってか、はじめはスタンドとは何かがほとんど理解されなかった。『スタンドってなんなの?』ってよく聞かれましたよ」


第8部『ジョジョリオン』まで、「ジョジョ」シリーズは30年以上続いている(撮影:殿村誠士)

承太郎たちがエジプトに向かうまで、インドなどをすごろくのように訪れ、そこで戦う。トーナメント方式のように次から次へ強いキャラクターやスタンドが出てこなくてもストーリーはうまく展開する。

荒木さんは戦いに「必然性」があればいいと考えていた。力が強い敵が単純に出てくるより、能力を生かした敵のほうが「怖い」。怖さがあれば、物語は前に進んでいく。

大人気となった第3部でもDIOを倒して、物語は潔く完結する。第4部では設定も大胆に切り替え、日本の杜王町という小さな町を舞台にした。高校生の主人公・東方仗助が町に潜む連続殺人犯を探し出すという、サスペンス色を強めた展開を採り入れた。

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

「第4部は初めて日常を描くことができたって思ったんですよね。それまでは神話を描いているような気分だったんです。承太郎はクールで、ある意味で完成されている。でも仗助はその辺(空いている椅子を指さす)にいるような感じ。すぐそばにいるキャラクターなんです」


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

日常に潜む恐怖を描ける力を付けたことで、「ジョジョ」の型は完成し、第8部まで新しい要素を貪欲に取り入れながら物語は進む。

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

「『人間は素晴らしい』という前向きな肯定です。何かの困難に遭ったとき、それを解決し、道を切り拓いていくのは人間の力によるのであって、そこで急に神様が来て助けてくれたり、魔法の剣が突然落ちてきて、拾って戦ったら勝ってしまった、という都合のいい偶然は『ジョジョ』ではけっして起こりません」(『荒木飛呂彦の漫画術』から)

作品を貫くテーマがあり、少年漫画のルールにのっとっているからこそ、ジョジョは「王道」なのだと荒木さんは語る。


(撮影:殿村誠士)

「僕が『ジョジョ』を王道だと呼ぶのは、主人公、悪役であってもキャラクターの志は前向きだからです。そこに悩む人物は描かない。人生に悩むのは普通のことなので、退屈になってしまう。前向きな志同士がぶつかり合うことで、化学変化やサスペンスが生まれると思って描いています。登場人物のベクトルは常にプラスに向かっていないといけない。大原則は成長すること。闘うことに悩まないこと。そして、闘うときは孤独であることです」

「ジョジョ」の登場人物は主人公であれ、悪役であれ、「血統」や「運命」といった自分の力ではどうすることもできない現実に直面しながら、それに抗い、自らの力で道を切り開こうとする。

「少年漫画の登場人物は常に前向きでなくてはいけないというのがルールです。後ろ向きになる、闘うことを悩み続けるというマイナスな要素を入れ込むと、読者はうんざりしてしまう。『ジョジョ』はこのルールに忠実にのっとっている。だから、王道だと言ってきました。主人公たちを過酷な状況に追い込み、成長しながら道を切り開かせる。闘うときに、偶然や誰かに頼っているようでは『ジョジョ』は成立しません。1人で立ち向かわなければいけないのです」


第8部『ジョジョリオン』が進行中(撮影:殿村誠士)

悪役さえ前向き 荒木さんは、悪役であってもこのルールを適用している。

「例えば第4部のボスである連続殺人犯、吉良吉影がそうです。吉良がやっていること自体は許されないのですが、彼には反省も迷いもありません。自分自身を認めているんですね。自分自身の平穏な生活のために、主人公たちに追い詰められてもなお闘いに挑み、自分で道を切り開こうとする。だからスタンド能力も成長していくんです」


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

善か悪かは実のところは「表裏一体」なのだと荒木さんは言う。敵には敵なりの信念があり、闘うべき理由がある。第7部最大の悪役である大統領も彼には彼なりにアメリカという国を繁栄させたいという私欲を超えた動機があった。

「最終的な善悪の判断は読者の視点次第でいくらでも変わります。キャラクター次第で変わり、それが激突する。『ジョジョ』の登場人物はとにかく成長したいと思っています。陰湿な敵であっても自分の信念を貫いていたり、高潔だったりすれば読者からの共感は得られる。ここが重要なんですね。前向きだと怖いんです」

主人公とベクトルが同じ前向きな悪役を配置することで、「ジョジョ」の世界観に不可欠な恐怖感は増す。


(撮影:殿村誠士)

「ただし善悪を分ける、守るべき一線はあります。『ジョジョ』の悪役は自分の理念を実現するために他人を利用することをよしとする。いくら高潔な理念があったとしても、これは許されないという視点で描いています。連載開始時よりも悪役を複雑に描けるようになりましたが、その一点はぶれていないですね。理念を実現したいなら一人であってもやらないといけない。他人を利用してはいけない」

ジョジョは常に主人公側の勝利ばかりが描かれる漫画ではない。敗北もまた勝利と同じくらい重要なシーンとして描かれる。そこにジョジョに込めた、もう一つのテーマがあると荒木さんは言う。

「敗れはしても、決して負けていないと描いています。僕が描きたいのは勝利のカタルシスでは無いんです。そのほうがウケがいいのかもしれないけど、僕が描きたいものからはずれてくる。戦う過程のなかで、その人間が何を選択するのかに僕は興味がある。人は死んで終わりではない。残された人に意志を残し、受け継がれていくというのが『ジョジョ』のもう一つのテーマなのです。敗北したとしても、誰かが意志を継いでいく。僕はそれを人間の美しさだと思っています」

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


第8部もドキドキの展開が続く(撮影:殿村誠士)

「漫画家としてデビューしたころにトリュフォー(1950年代末からのフランスの映画運動「ヌーベルバーグ」を代表する映画監督)がヒチコックにインタビューをした本『映画術』が出たんですよ。そこで、サスペンスの巨匠であるヒチコックが自分の映画を一作ごとに細かく解説しているんです。カメラの位置から心理描写のテクニック、映画の撮り方が本当に細かく書いてある。これを読みながら、ビデオや名画座でヒッチコックの映画をまた見て勉強しましたよ」


(撮影:殿村誠士)

サスペンスを描きたい。その一心で好きな映画から理論を抽出し、自身の漫画に取り入れた。普遍的な「おもしろい」ものを求めて今でもインプットは欠かさない。

荒木さんはレオナルド・ダビンチらによるイタリア絵画の影響も公言している。ルーブル美術館全面協力のもと、ルーブルを舞台にした作品を描いたこともある。

「漫画家も『画家』です。絵を描いていますからね。絵として見てほしいんです」と荒木さんは言う。

「印刷された漫画とはまったく違うものが見えてくると思います。原画には印刷されたものとは違う魅力があります。もともと、印刷されるという意識で僕は描いていないんです。どんな形で印刷されるかに関係なく、きちんと描いてきました。原画からその魅力を感じ取ってもらえると思います」

ファンがこぞって真似する独特のポージング「ジョジョ立ち」も原画で見るとかっこいいですよね、と言うと、荒木さんは間髪をいれずにこう返す。


作業机の傍らには、お気に入りのカレンダーが。女性の姿はどことなく「ジョジョ立ち」風に見える(撮影:殿村誠士)

「ありがとうございます。本当に細かいところまで見てほしいです」

時代に流されず、しかし、しなやかに変化を取り入れながら30年以上にわたって荒木さんは新しい漫画を描き続ける。

最後に、いよいよクライマックスに突入しそうな第8部「ジョジョリオン」の展開を聞いてみた。

「僕は細かく展開を決めながら物語を描くことはありません。最初からゴールを決めるのではなく、描きながら考えています。全体の構成も、一つ一つの闘いも同じ。これから第8部の舞台は病院に移っていきます。いよいよ物語が収れんしていくと思います」

まだ決まっていないクライマックスに向かい、荒木さんは今日も考えながら机に向かい、ペンを走らせている。[10]

”
SPUR September 2018.jpg
Missing translation
Magazine
Interview
Published August 23, 2018
📜
Manga

“

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

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

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

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

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

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

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

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


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

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

“

荒木飛呂彦インタビュー! JOJO30年のヒロインの裏側

ちょっと世の中からはみ出ているところがかっこいい

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

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

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

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

―― この中でいちばん思い入れがあるのは誰ですか?

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

―― 徐倫はどうですか?『ジョジョ』シリーズで初めての女性の主人公でした。

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

―― 自分の作品なのに、描いていて気持ち悪くなったんですか?

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

ファッションでファンタジーを表現する

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

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

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

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

――『ジョジョ』シリーズのファッションは、読者からの注目度も非常に高いです。康穂のスカートについている花だったり、承太郎の学ランについている太いチェーンだったり、ああいう独創的なディテールはどうやって生まれるのですか?

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

女性は女神。世の中を幸せにする存在

―― 理想のヒロイン像というのはあったりするのですか?

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

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

荒木 女神ですね。世の中を幸せにする存在。ダメですかね(笑)。

―― ダメではないですよ(笑)。

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

―― 女神なのに、ゲスな部分があってもいいんですか?

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

”

UomoBruno.png
Incomplete translation
Magazine
Interview
Published October 10, 2018
📜
Manga
“
- First, what is your fetish?

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

- Next, what is something that scares you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

-BY MASANOBU MATSUMOTO, PHOTOGRAPHS BY MIE MORIMOTO, TRANSLATED BY NAOKI MATSUYAMA NOVEMBER 25, 2018

[11]
”
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Missing translation
Website/Online
Interview
Published July 27, 2019
👤 Yasuhiro Kimura, Hideya Takahashi
📜
Anime
“

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

ここに至るまでの道のりは長く険しく、失ったものも大きい。仏頂面の裏に正義の心を秘めていたアバッキオ。戦いののちに故郷に帰り、同年代の少年たちと同様の学生生活を夢見たナランチャ。そして、ギャングでありながら誰よりも熱い道義心を持っていたブチャラティ。ギャングという生き方から逃れられなかった彼らは運命に翻弄されるだけだったのだろうか?

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

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


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

髙橋秀弥(以下、髙橋):よくここまで来たなという感じです(苦笑)。

木村泰大(以下、木村):全くその通りです(苦笑)。今僕らにはそれしか言うことはなくて……どのくらい前からやっていましたっけ?

笠間寿高(以下、笠間):アニメ制作の依頼をいただいたのが2017年の1月で、その年の7月にイタリアにロケハンに行きました。

――2年以上『黄金の風』を作り続けてきたわけですね。では、今作を制作する上で意識したところは?

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

――『ジョジョ』は敵キャラもポリシーを持っていて個性的で、敵と味方を単なる善悪で線引きできないところも魅力です。ましてや、第5部は主人公たちがギャングです。少年漫画/アニメの主人公として描く上で意識した点は?

髙橋:最終的に「ジョルノたちってジャンプ漫画の主人公だな」って僕の中で落ち着いたんですよね。一応ギャングを職業にしていて、前半では一般人をボコボコにする描写もありましたが(苦笑)、気持ちや覚悟の部分は少年漫画の王道をしっかりと拾っているので、僕らも少年漫画を描くつもりで作っています。暗殺者チームに関してもそことは違った意味で覚悟がある面白いキャラクターだったので、そこを掘り下げてアニメでは「チーム対チーム」を意識しました。

――そういった要素は特にどのシーンで表れていると思われますか?

髙橋:一番意識したのは暗殺者チームが出てきた第9話~第11話のホルマジオ戦です。僕の担当回で、まずきちんとセットアップをしないといけないので、シナリオの時から津田尚克総監督と話して、初めからリゾットチームを見せるというふうにしました。チーム対チームという図式を作って、鉄砲玉のホルマジオが最終的に倒された時に「これから大変になるぞ!」というバトル感を強く出そうと考えました。

木村:チーム対チームにするのは、この作品の開発で最初に決まったことで、第4部までとは違うところだと思います。ジョルノたちは少年漫画の主人公的な原理で行動していますが、そうではない敵キャラのことも理解できる部分がある。アバッキオの先輩警官のセリフで「わたしは『結果』だけを求めてはいない」「大切なのは『真実に向かおうとする意志』だと思っている」などは良い言葉なんですけど、実際問題、仕事や日常生活で僕らは結果だけを求めてる時も結構あると思うんですよ。だからディアボロを一概に否定できないっていう(苦笑)。そういったところが『ジョジョ』の魅力だし、少年漫画の枠に収まらない、懐の深い作品だと思いますね。

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

木村:ディアボロについては原作に描いてあることをそのままシナリオに起こして、そのままアフレコしてもらっているんですけど、相当コソコソ・ビクビクしながら戦っているので、アニメだと小物な感じが増していますよね。でも、実際に自分がディアボロの立場になるとこうなるだろうなと分かるし、むしろジョルノたちの方がちょっと怖いなって思っちゃうところもあるし。僕らは全然正義の主人公ではないので(苦笑)。

――確かに彼はギャングとはいえ、組織のトップで多くの部下を管理しなければならない社長・社会人としての立場でもありますよね。

木村:あんな服装ですけどね(笑)。だから、敵キャラの地盤を固めるのは大事なことで、敵の行動原理もちゃんと共感できるようにする。主人公はジョルノたちでもう設定されているので最終的にそちらの筋を選びますけれど、それまではむしろ主人公が悪役みたく見えてもいい話数があってもいいと思っています。

――他のキャラクターで憎めないやつとかはいますか?

髙橋:津田さんはフーゴに共感していて、「俺も裏切る」って言っていました(笑)。

木村:普通はブチャラティたちについて行かないよね(笑)。

髙橋:ブチャラティチームに共感できる人ってなかなかいないんですよね。

木村:ジョルノが一番スーパーマンですからね。やはり共感しづらいところがある。

髙橋:ファンのあいだで暗殺者チームの人気があるのは、共感できる部分が多いからでしょうね。僕も暗殺者チームは演出していてより楽しかったし。主人公たちってやはり正論というか、その正義がデカすぎて超人的なんですよね。スクアーロ&ティッツァーノ戦でナランチャが自ら舌を切って迫っていくのもすごく覚悟が決まっていますけど、あんなの絶対できないなと思いますし。

木村:でも、僕は基本的にスーパーマンなのはジョルノだけだと思いますよ。彼に引っ張られて、みんなああいった行動をしていますが。だから、ジョルノが一番強いんだろうなって思いますね。

――ブチャラティチームの中ではアバッキオの心の揺らぎが特に印象的に描かれていて、『ジョジョ』なりに人間の弱さを表現されていたと思います。

木村:アバッキオはすごく勘が良いと思っていて。最初にジョルノのことを排除しようとするじゃないですか。あれはやはりジョルノが危険な存在だと最初から見抜いていたんだろうなと、ここまでくると思います。ジョルノさえいなければ、ブチャラティたちとそれなりに楽しく過ごせていたのかもしれないのに(苦笑)。新入りが来たせいで大変なことをやらなきゃいけなくなっちゃって、チームが全滅の危機にも陥るし、自分も死んでしまうし。

髙橋:そうですね。まぁ、戦闘向きのスタンド使いではないので、用心深いのでしょうけど。意外とチームのことを良く考えていて、要所要所で全体を見ている動きをしていましたし。ブチャラティと同い年なので、チームのお兄さん的存在なのかなと。社会人経験もありますし。

木村:アバッキオは元警官ですから人一倍正義感が強いのだろうと思います。

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

髙橋:そうかもしれないですね。ミスタも意外と明るいお母さんな感じがするかも。

木村:なるほど。ミスタとアバッキオの立ち位置は人によって見方が違うかもしれないですね。僕はブチャラティが母でもあり父でもあると思っていて、その下に他のやつらがいて全員同列、同じ学年っていう感じですね(笑)。

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

木村:そもそも、キング・クリムゾンがどうなっているのかを理解するところから始まったので、最初の開発コンセプトとして「分かりやすくしよう」というのがありました。第3部までは火が出るとか凄いパワーで殴るとかで分かりやすいんですけけど、第5部になると観念的というか複雑になっていて、原作をサッと読む程度だと理解できないところが多くて。この仕事を受ける前から「一番難解なのはキング・クリムゾンだ」と言われているのは知っていたんですけど、まさか自分が映像化することになるとは(苦笑)。

髙橋:監督3人の中で誰がやるんだとなった時に、木村さんにやっていただいたんでホッとしました(笑)。

木村:しかも、レクイエムになってさらに分かりづらくなるという(苦笑)。

――キング・クリムゾンが発現すると周囲が宇宙のようになりますね。

木村:あの状態だと地面などの動いてないものが全部割れて、その後は宇宙っぽくなって、アニメ用語で「イメ背(イメージ背景)」というのですが、どこか分からないけど空間を歩いている感じになる。それと、キング・クリムゾンの射程距離も全世界が止まっているのか、それともディアボロを中心に半径何メートルと範囲が決まっているのか分からなかった。第21話の教会でブチャラティにサービスで自分の姿を見せるのもよく分からないし。いくつか整理できないところがあったのですが、そこはもう割り切ってやるしかないな、と。映像として見た時に違和感がないようにする組み立てが難しかったです。

――ファンの間で特に話題になったのが、第31話で「無駄無駄原画」とクレジットされたチョコラータを倒す時のラッシュです。

木村:実はカッティングの時は40秒ほど尺を取っていたんですけど、最終的には確か30秒弱になって少し短くなったんです。あれだけのスピードだと(ジョルノ役の)小野賢章さんが相当早口で言わないといけないらしくて。まぁ、それでも長かったですね(笑)。

髙橋:充分気持ち良かったですよ!

木村:

第31話の無駄無駄ラッシュ

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

木村:何であんなに凝ったことをやったんですかね。覚えてないんですけど。第7話だったからまだ元気があったけど、仮にあのダンスが第35話だったら絶対やってないですよね。そもそも、あれ何で踊ったのかすら分からないし。

笠間:イタリアのロケハン中に、木村さんが「専用楽曲を作ろう」って言って、曲を作っちゃったからですよ。

木村:あれ? 僕が言ったんですか!?

笠間:それで大森啓幸プロデューサーが「よしきた!」って専用楽曲を発注したという。

木村:みんな浮かれていたんですね(笑)。楽曲を最初の段階で発注しちゃっていて、忘れた頃に曲が上がったと連絡がきて、そういえば発注したっけみたいな感じってことか(苦笑)。

髙橋:木村さんが描くということだったので、僕と津田さんは他人事として普通に「おぉ、良い曲だな」っていう感じでした(笑)。

木村:そうそう。完全に僕がやることになっちゃってて「えぇっ、マジすか!?」って(苦笑)。

――曲はどんなイメージで発注したのですか?

木村:「ギャングっぽい曲」みたいな漠然とした感じで発注した気がします。いざ曲を渡されてコンテを描く時に、4コマしかないから原作のポーズだけだと繋がらないし、尺も10秒ももたないと思うんで、何か新しく作らないといけなくなって。それからYouTubeを1か月ぐらい見続けて、あのポーズにはまるダンスの曲を探したんです。結果的に、マイケル・ジャクソンが一番近かったので、ミュージックビデオやライブを全部見て、参考できそうなところをピックアップして、原作に沿うように変えて1分にしました。だから、ものすごく時間がかかっています。描くのは2日でしたけど、調べるのに1か月くらいかかりました(苦笑)。

第7話のダンスシーン

――第6話の船上でムーディー・ブルースが最初に登場した時もこだわりを感じました。

髙橋:あれは僕が担当しました。ムーディー・ブルースの数少ない活躍回なので(笑)、花を添えてあげようと思いました。過去を遡るスタンドなので、過去の集合体みたいな感じで軌道を残して、それが集まったような表現にしました。上手くいって良かったなと思います。

――他に作画面で特に力を入れたところはありますか?

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

髙橋:ここは表情で遊べるんじゃないかと思って色々攻めた結果、意外と面白くできたので良かったです。

――ボスと直面してめちゃくちゃシリアスな状況なのに、いきなりギャグパートが結構長く入るっていう(笑)。

髙橋:BGMは奇妙さを残しながら本編が始まるんですよね。途中からギャグのパートになったらガラッと変えてもらっている。

木村:オープニングで結構カッコよくしたのに、急に間抜けになってね(笑)。

第34話の身体と精神が入れ替わるシーン

――『ジョジョ』のアニメはこれまでのシリーズでもクライマックスが近付くにつれて、オープニングで違うことやって視聴者を楽しませてきましたが、今作でも見せてくれましたね。

笠間:第34話でキング・クリムゾンの演出が入って、分かりやすくなっていますよね。

木村:そうですね。ノーマルOPがキンクリに飛ばされた状態で、ディアボロOPになるとキンクリに飛ばされたところが見えるっていうのは誰が考えたんですか?

髙橋:それも木村さんですよ(笑)。発注の時にそのアイデアが出て。

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

――他にアニメオリジナル描写でこだわったところは?

髙橋:暗殺者チームの登場シーンを追加したり、過去編をナレーションベースではなくキャラクター目線で描いているっていうところとかですかね。それと、フーゴを第35話でナランチャが死亡したあとにチラッと出しました。

――原作では、フーゴは離脱した後に全く描写がないから、生死も不明でした。

笠間:ボスの手下に始末されているかもしれないですからね。

木村:親衛隊に戦力が残ってなさそうですけどね(笑)。

髙橋:ブチャラティたちをやっつけないといけないから(笑)。

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

木村:基本的な色についてですね。スタンドとかの色パターンを何種類か作って、そのチェックをしていただきました。一番大きいところでは、ジョルノの服装や髪の色と服の色を5パターンぐらい作ったんですけど、髪はこれ、服はこれみたいに選んでいただきました。ジョルノの服は紺と赤系で分かれていたんですが、荒木先生がピンク系を選ばれました。フーゴも服は黄緑になっていますけど、オレンジ色の案も出していて、髪の毛も金と銀の案がありました。アバッキオは緑と紺の2つ出しました。ナランチャはパッと決まっちゃいましたね。

髙橋:僕はエアロスミスの本体色が赤になったので驚きました。単行本51巻の表紙の青いイメージが強かったので。

――色以外では?

木村:スタンドのデザインでラフをお見せして、プロポーションをもう少しこういう風にしてほしいとかはありましたね。キング・クリムゾンは肩幅をしっかりしてほしいとか。それと、ブチャラティはピンマークみたいな模様の上下のスーツを着ていますが、あれって初登場の話数だと手書きなんですよ。手書きだと手間がかかりすぎて毎週納品ができない感じになっちゃって、次から貼り込みしました。貼り込みでも大変なんだけど。現場が崩壊する一番の危機ですよ(苦笑)。

髙橋:こんなこと言ったらファンに怒られるかもしれませんが、第33話以降ブチャラティの出番が減ってくれて助かりましたね。でも、すぐに線がとても多いディアボロとして復活してきたっていう(苦笑)。

――第5部のキャラはみんなオシャレで装飾が多いから大変ですね。

木村:アニメで動かす上で装飾を多くしたいのは山々なんですけれど、そもそも作れなくなるので減らさないといけないんですよね。でも、やはりデザインは荒木先生のこだわりがあるものなので、どこまで落としていいのかという点は結構チェックしていただきました。

――原作関連のことでいうと、二つめのEDアニメーションを担当されている滝れーきさんは荒木先生の元アシスタントさんだと伺っています。滝さんは漫画家で、アニメーターではないんですよね?

笠間:漫画家さんです。第2部の後半と第3部の前半の時期にアシスタントやってらっしゃったそうです。

髙橋:今作では美術設定で入ってもらっているのですが、アイキャッチも滝さんに描いてもらっている部分が多くて、その流れでEDアニメーション2を石像のスタンドが並ぶという形で構成しました。

木村:滝さんはアニメーターではないので、OPアニメーション1の最初の彫刻と最後のジョルノのエンブレムのカットなど、一枚絵的なものを手伝ってもらっています。アニメーターではないから動きは描けないんですけれど、その分アニメーターより密度がある絵が描けるというか。アニメーターってあそこまで密度のある絵が描けない人も多いし、そもそもコスト計算しながら描くのでなかなか描きづらいところがあるので、そういうところで滝さんにはとても助けていただきました。

漫画家の人ってやはり絵が生きた感じがすると思いました。別にアニメーターが死んでいるわけじゃないですけど、色々な人の絵柄が描けないといけないので、ある程度自分を殺さないとダメなんです。絵を合わせることに特化しつつ、自分の絵を描ける人って本当に少ないので。滝さんは荒木先生のアシスタントもしてらしたので線質も似てるところもありますし、パワーがあってとても良かったです。

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

木村:ロードムービーなので色々な場所に行って、原作のコミックスを見ながら、「こんな感じかぁ~。実際始まったら思いのほか大変だぞ。どうすりゃいいんだろう(苦笑)」って話していたところから一年間苦しんでようやくここまできました。

髙橋:取材中はまだ本当に自分たちが作るという実感がなく、やることは決まっているけれど覚悟が決まってないというか。とりあえず写真を撮ってゆっくり考えるかって感じで始まりました。

木村:空気感を味わうのが大事なので、ロケハンは本当に行って良かったです。「本当か?」と思われるかもしれませんが(苦笑)。それがフィルムには良く出ていると感じています。今放送している話数の舞台がローマですが、僕らが最初に行った場所なんです。ロケハンから2年くらい経ってようやく今につながっているので、感慨深いものがあります。

――ロケハンの成果は具体的にどのように画に出ているのでしょうか?

髙橋:まず第2話のジョルノがギャングスターになることを宣言するシーンは、原作だと教会の前になっていますが、場所的にあまりイメージが沸かなかったんです。そこで、ロケハンで行ったナポリ(ネアポリス)を眺望できる高台がとてもロケーション的に綺麗だったので、第2話~3話と舞台が繋がるのですが、ここにしようと決めました。

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

僕らがイタリアに行ったのは夏だったので、原作とちょっと時期が違うのですが、空の色だったり、建物や地面の色や材質といった細かい部分も現地に行くと触ることができる。屋内も靴で歩くことや埃っぽさなどの行ったからこそ分かったことをスタッフに伝えられるので、目に見えてるところ以上に大事なことだと思います。

――原作マンガはモノクロなので、アニメにする上で色を付ける作業が特に大きいと思うのですが。

髙橋:『ジョジョ』はカラーイラストがたくさんありますし、原画展も開催されていましたから、キャラクターはそれらを参考にしていますが、美術に関しては実在の場所を参考に作ってます。

木村:最初、空の色を変えるかどうかでかなり悩んだんです。結果、今のものにしたんですけど、最初にちょっと緑色にしてみてはちょっと違うなとか言いながら試行錯誤しました。アニメ作品だと、ナポリの街の俯瞰や海から見た絵といった美術ボードを最初に作り、それを基準に他のものにどんどん広げていくのですが、それを作るのが一番大変でした。

――日本とイタリアでは気候の違いもありますよね。

木村:雲が少ないほど光が強いために影が濃くなるといったコントラスト比の部分がナポリでの話数に出ています。また、カプリ島専用の処理のフィルターを作って、暑くて日差しが強い感じを表現するために彩度を高くしたりしています。

――建築物についてですが、例えばコロッセオも当然立体的に考えて、この時は誰がどこで戦っているということを計算してらっしゃると。

髙橋:そうですね。ただ、実はコロッセオの中ってそんなに移動しないで戦ってるんです。全体の1/4くらいのところで物事が起こってるので、その部分を3Dで作って、美術発注はしました。でも、原作と実物の間取りを付き合わせていくと、全く同じではないんです。ですから、アニメでは実物にちょっと合わせていくという作業をしています。

木村:ポルナレフと対峙してドッピオからディアボロに変わる時の柱はいくら探してもなかったのですが、やはりあれは必要なので付け足しています。

髙橋:実は結構違いますよね。外壁が欠けている位置も原作は実物の逆側なんですよね。ですから、アニメではぐるっと回しています。

木村:全てを現実に合わせようという訳ではなく、あくまでも原作の補強として現実を使っているだけなので。原作で描かれているものがないといけないって時は作るし、作るにしてもディティールなどは現実に合わせて新しく作り直すという作業をしています。

――最後に、最終回となる第38話と最終話の放送への意気込みをお願いします。

木村:一時間でまとまっているのが一番すごいところですよ。『ジョジョ』って自分でも観ていてあっという間に終わる印象があって、もうちょっと観たいなと思う時があるんですけど、最終回は倍の尺で観られますから(笑)。

髙橋:シナリオ打ち合わせの時にも話したのですが、そのエピソードを別けて一週分空けてしまうと理解が難しい内容なので。それが1時間にまとめて放送できるのは良かったと思います。

――最終話の「眠れる奴隷」は『ジョジョ』シリーズの中でも屈指の奇妙な話だと子どもの時に原作を読んでいて思いました。

木村:津田さんは乱丁(書籍のページの順序が乱れていること)だと思ったらしいです(笑)。

髙橋:時間が飛んだみたいな感じですかね(笑)。最終回の放送を楽しみにしていただければと思います。[12]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hiroki Goto, translated from the French version of his book, "Jump, the Golden Age of Manga".
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Website/Online
Interview
Published July 31, 2019
👤 Terumi Nishii
📜
Manga
“
EXCLUSIVE INTERVIEW WITH TERUMI NISHII: JOJO’S BIZARRE ADVENTURE, AS A FAN AND AS A DESIGNER

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

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

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

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

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

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

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

Who was your favorite character in JoJo then?

That would have to be Yukako.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[13]

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NoPicAv.png
Website/Online
Interview
Published August 1, 2019
👤 Hiroyuki Omori, Takamitsu Sueyoshi
📜
Anime
“

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

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

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

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

To start, what are your responsibilities as a producer?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

Any final remarks?

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

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

Thank you very much! [14]

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Website/Online
Interview
Published August 19, 2019
👤 Hiroyuki Omori, Takamitsu Sueyoshi
📜
Anime
“

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

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

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

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

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

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

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

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

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

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

Sueyoshi: Ah, that's right!

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

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

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

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

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

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

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

Omori: So what is your favorite?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Omori: Thank you! [15]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

Qual è il suo personaggio preferito di JoJo?

Shigechi, un personaggio della quarta serie Diamond is Unbreakable.

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Grazie di cuore per questo prezioso incontro Maestro. È stato molto interessante parlare con lei di JoJo.[16]

Figuratevi. Grazie mille a tutti voi.

Q: What do you think about Lucca?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Q: What would you like to say about Venezia?

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

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

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

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

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

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

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

Q: Have you ever tried Sardinian food?

A: Yes, and it's obviously delicious.

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

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

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

[Questions from the audience]

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

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

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

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

Maurizio: But he was so gorgeous!

Araki: He looked like Sylvester Stallone.

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

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

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

Araki: And what's your juice?

Maurizio: Spaghetti al nero di seppia.

Araki: Can it do apple juice?

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

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

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

A: Oh, I didn't know that!

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

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

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

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

Q: Does Bucciarati have tattoos or peculiar clothes?

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

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

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

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

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

A: I'm interested in orphans. Actually there are a lot more things I'd like to tell about, speaking of this subject, but I decided to cut that so I could narrate something else.[17][18]


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

Che ne pensa di Lucca?

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

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

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

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

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

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

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

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

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

Moderatore: consigliamo anche il cacio e pepe.

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

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

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

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

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

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

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

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

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

Cosa ci dice di Venezia?

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

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

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

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

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

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

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

Ha provato il cibo sardo?

SÏ, e ovviamente è delizioso.

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

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

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

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

Domande dal pubblico:

Suggeriamo un piatto al maestro: gli spaghetti alle vongole.

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

Dopo Jojolion potremo avere una nuova serie ambientata in Italia?

In realtà dovrei fare delle ricerche, ma ci proverò.

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

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

Un personaggio usa un termine fiorentino "dimorto".

Ah sĂŹ? Non lo sapevo affatto!

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

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

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

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

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

Quelli di Bucciarati sono tatuaggi oppure abiti speciali?

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

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

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

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

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

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

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

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

イタリアを舞台にギャング同士の抗争を描いた本作は、イタリア各所を巡りながら緊迫したバトルを展開し、最終決戦の地であるローマへ突入。強大なボス、ディアボロ(CV:小西克幸)を前に多くの仲間を失いながらも、ついに主人公ジョルノ・ジョバァーナ(CV:小野賢章)たちの勝利で幕を閉じた。“覚悟”や“運命”といった心を打つテーマを盛り込みつつ、最後には爽やかな風が吹き抜けるような全39話だった。

2018年10月から3クールにわたって放送され、今年7月に最終回を迎えた本作。そのBlu-ray&DVDの最終巻が11月13日に発売されたことを記念して、監督を務めた木村泰大、髙橋秀弥のふたりに、ジョルノたちと共に駆け抜けた3年間を振り返ってもらった。

『黄金の風』で初めて『ジョジョ』シリーズに関わったふたりは、いかにしてシリーズのDNAを受け継ぎ、落とし込んでいったのか。イタリアロケ、アフレコ時のエピソードはもちろん、名シーンの裏側や狙いまで、徹底的に掘り下げていく。

取材・文/岡本大介

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

▲第37話で、主人公ジョルノのスタンドが進化。敵のボス、ディアボロを圧倒した。

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

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

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

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

ここは小野さんの希望で何度もやり直されていて、そのこだわりに作品への愛情と気合いを感じました。

▲第19話で、主人公の“格”を見せつけたジョルノ。ジョルノ役の小野賢章にとっても、思い入れのあるシーンとなった。

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

もともとおしゃべりなミスタに加えて、さらに6体を演じているので、セリフ量で言えばジョルノやブチャラティ(CV:中村悠一)よりも断然多くて、負担は相当だったと思いますね。

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

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

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

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

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

でも今回Kindleのカラー版で読んだら、子どものころにはわからなかったアレコレがスイスイと頭に入ってきて、とても楽しめたんです。単に僕の理解力が上がったのかもしれませんが、カラーで読めたことも大きかった。

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

何か策を講じて、相手がそれにハマったと思ったら、今度はさらに相手がそれを上回る策を講じる。ジョジョのバトルはその連続で積み上がっていくじゃないですか。それが“プロレス”的だと。

最初に絵コンテを書いたとき、「みんな『なにィーッ』って言いすぎじゃない?」って思いましたし(笑)。今考えれば、すごく『ジョジョ』らしい様式美のひとつなんですが、まだ慣れていない時期だったので「これでいいのかな?」とひとりで不安になっていました。

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

現実のイタリアのレストランではピザってあまり置いていないんですが、アニメは“イタリアっぽさ”を大切にしているので、ピザがあっていいんです。

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

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

▲髙橋監督が初めて『ジョジョ』の絵コンテを担当した第2話。ブチャラティが登場する。

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

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

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

僕はあそこまでの我慢はできないので、きっともっと手前で決壊すると思います(笑)。それで言えば第2話のジョルノの回想シーンなどもとてもうまくて、僕には描けないなと思いましたね。

▲第28話のタイトルと連動した空のカット。放送時、描写の美しさも話題となった。

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

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

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

いちばん大きなオリジナルはフーゴ(CV:榎木淳弥)の過去についてで、あれは「フーゴの過去にはどんなことがあったんでしょうか?」とお聞きして、それをもとにしてシナリオにしています。

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

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

だからここもイケるなと思い、原作よりもナランチャの芝居を膨らませました。

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

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

通常のミスタが撃つ弾丸は、弾道の軌跡に青色を付けているんですが、あそこのシーンだけはジョルノの黄金色にしているんです。

そういう細かい部分の色を演出できるのはアニメならではなので、作業していてもアツかったです。

細かいことですけど、ジョルノはミスタのことを最初は“ミスタさん”って呼んでいるんですけど、あるときから急に“ミスタ”になったのが、個人的にはツボなんです(笑)。

▲明るい性格が持ち味のミスタ。第34話では、ディアボロの娘トリッシュ(CV:千本木彩花)と体が入れ替わってしまう。その際のコミカルな演技が笑いを誘った。

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

▲シーン特色の一例。画面全体の色に変化が起こっている。

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

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

木村 そうです。

原作だと、ジョルノがDIOの息子であるという設定ってあまり強調されないじゃないですか。でも、ローマに入ってからのジョルノはかなりDIOっぽい表情を見せているんですよね。ビジュアル的にも、覚醒すると髪の毛にウェーブがかかりますし。

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

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

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

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

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

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

たださすがと言うべきか、こちらから何も言わなくても『ジョジョ』らしいツボを押さえた絵がどんどん生まれてくるので、その点は本当に助かりました。

▲スタッフからも人気が高かったというリゾット。磁力を操り、鉄分を刃物などに作り変えられる「メタリカ」のスタンドを持つ。

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

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

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

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

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JOJOnicle.jpg
Artbook
Interview
Published December 19, 2019
📜
Manga
“

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

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

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

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

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

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

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

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

Interviewer: Doesn't the president stand out?

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

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

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

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

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

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

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

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

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

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

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

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

Interviewer: A combination of Japanese and European?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

”


[Translated by Daxing Dan]

NoPicAv.png
Incomplete translation
Website/Online
Interview
Published March 25, 2020
📜
Anime

“

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

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

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

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

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

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

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

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

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

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

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

”

“

何度も原作の“整合性の高さ”に助けられた

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

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

舞台設定も構成も展開も説得力があるし、すべてに意味がある。そのうえで唯一無二の個性があるのがスゴい

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

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

“マンガっぽい飛躍”とは、たとえばどんなところですか?

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

でも荒木先生のマンガは、部屋のどこに誰がいて、それぞれがどうやって移動して次のコマになっているのか、とても理路整然と組み上げられているんです。空間把握能力が高いというか、非常に映像的なんですよね。

絵コンテを描く際に、つじつま合わせに頭を悩ませる必要がなくて、純粋にドラマの演出に注力することができる。演出家としてはとてもありがたいことですし、何度も原作の整合性の高さに助けられました。

作画面でも、ジョジョは描きやすいと感じますか?

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

『ジョジョ』の絵柄はそれまでに経験したことがないくらいに特殊なタイプだったので、「僕にこの絵が描けるのかな?」と、ずっと悪戦苦闘していた記憶があります。だから作画的な第一印象としては「『ジョジョ』ってめっちゃ難しい」なんです。

ちなみに石本さんが最初に描いたカットは覚えていますか?

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

あの頃の作画は今見ると拙くて「あちゃー」って思う部分もあるんですが、当時は全力だったんですよね。

それから8年間、石本さんは『ジョジョ』とともに成長してきたと言っても過言ではないですよね。

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

ジョジョは各部でキャラクターのデザインや絵柄も変化していくので、シリーズ作品とはいえ大変なタイトルですよね。

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

原作を追体験できるようなアニメを作る

テイストや絵柄は変化しつつも、「『ジョジョ』らしさ」はつねに保たれているのが不思議です。これは何か秘訣があるんですか?

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

それはどんなコンセプトだったんですか?

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

「徹底した原作準拠」という姿勢はとても強く感じます。

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

これは普通であればCGで作ったリアルな霧に置き換えるところですが、それも原作そっくりに手書きで再現したりして。「『ジョジョ』であること」とはそういうことなんだと思います。

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

まだ明確な答えは見つかっていないんですが、それでもとくに『黄金の風』では上手く落とし込めたかなと、個人的には手ごたえを感じましたね。

具体的にはどんな手法や理論ですか?

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

『ジョジョ』アニメの定義を伝えるのにひと苦労

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

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

シーザー(CV:佐藤拓也)の登場と退場、最終話など、作中でもキーになる話数が多いですね。

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

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

とくに印象に残っているエピソードはありますか?

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

というのも、ここは少年時代から一気に月日が経ち、力強く成長したジョナサンの姿を読者に印象付けるシーンなんです。ただ人間の領域を超えると、それは問題。ジョナサンはあくまでも人間で、それでいて人間を超えたディオと戦うというのが初対決の醍醐味ですから。

でもここの絵コンテだけを見て、深く考えずに原画を描いてしまうと、背中に3人の男を抱えているという重みが感じられないんです。これだけの重量を引っ張って進んでいくとなれば、足も体も腕もいろいろな方向から大きな荷重がかかるし、それを受けて手足が「うねる」と思うんですよ。少なくとも普通の走行とは全然違うものになります。

そこをいかにしてアニメーターさんにわかってもらい、こちらの狙い通りに描いてもらうかが大変でした。まだシリーズが始まったばかりで、この作品での芝居の方向性が浸透する前だったこともあり、苦労した記憶がありますね。

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

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

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

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

一方、石本さんは原画からスタートして『ダイヤモンドは砕けない』ではサブキャラクターデザインを担当しています。サブキャラクターとは、たとえばどんなキャラクターですか?

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

加藤監督はアニメーターよりも絵が上手い?

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

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

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

石本さんから見た加藤さんは、演出家としてはどんなタイプだと感じていますか?

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

絵が上手いというのは、原画への修正指示でわかるんですか?

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

加藤さんはアニメーター出身ではないですよね?

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

演出家としてはあまり褒められたことでもないのかもしれませんけど、そのほうが効率的なんですよね。

露伴は繊細。描くのがものすごく難しい

ここからは『岸辺露伴は動かない』(以下、『露伴』)シリーズについてお聞かせください。そもそもおふたりが参加することになったのは、どんな経緯からですか?

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

『ジョジョ』本編とはテイストの異なるシリーズですし、エピソードごとにカラーも違います。アプローチは苦労したのではないですか?

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

それでいて各エピソードのテイストは異なっていて、そのバリエーションの豊富さがこのシリーズの魅力だし、同時に我々としては難しいところでもあるんです。

ちなみに、キャラクターデザインや作画という観点で見た場合、岸辺露伴というキャラクターは描きやすいですか?

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

もちろん他のキャラクターでもですが、露伴先生はとくに繊細な印象がありますね。描いても描いても、いまだに「これはちゃんと露伴になってるのかな?」って思っちゃいます(笑)。

『懺悔室』に『ジョジョ』本編とのリンクを追加

新たにアニメ化された『懺悔室』についてですが、これは原作では最初に描かれた作品(1997年)で、絵柄が今とはまったく違いますね。

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

露伴が登場する『ダイヤモンドは砕けない』放送時のデザインとも違いますよね。

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

オリジナルパートもあって、ファンには嬉しい仕掛けです。

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

イタリアが舞台のエピソードですが、とくにこだわった部分などはありますか?

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

声優の喉が心配になるほど、アフレコ現場は過酷

もう1本の『ザ・ラン』は、原作では最新のエピソード。スポーツクラブを舞台に、露伴と狂気にとりつかれたモデル・橋本陽馬(CV:内山昂輝)のトレッドミル対決が展開されます。

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

ごく普通に見える青年が、筋トレにハマって少しずつ狂っていく様子をなるべく丁寧に描写したいと思いカットを追加していったところ、気づけば規定尺を6分くらいオーバーしてしまって。そこからまた削っていったら、原作とほぼ同じ構成に落ち着きました(笑)。

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

冒頭から反省していたり、本気で恐怖を感じていたり、敗北を認めたりと、珍しく弱気な露伴が印象的です。作画で工夫したところはありますか?

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

後半の露伴先生の必死な形相やもがく姿なども原作に輪をかけた表現をしてくださって、「津曲さんありがとうございます」っていう感じですね。

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

走行シーンは、演技も鬼気迫るものがありました。アフレコの様子はいかがでしたか?

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

露伴先生を演じている櫻井孝宏さんは、すでにキャラクターを完全につかんでいらっしゃいますし、原作も台本もチェックしたうえで演技プランを持ってきてくださるので、こちらから何かディレクションするということはほぼないですね。『ジョジョ』の現場がいかに負担が大きいかも、十分承知されていますし(笑)。

やはり『ジョジョ』の現場は特別なんですね。

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

『露伴』シリーズは4本ともまったく違う

『六壁坂』と『富豪村』に今回の新作2本が加わり、計4本のエピソードがアニメ化されました。改めて、『露伴』シリーズの見どころを教えてください。

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

原作ファンはもちろん、アニメ版のファンにとっても本編とはまた違った楽しみ方ができる作品だと思います。 石本 作画的にもいろいろな挑戦をした作品ですし、アニメオリジナルのシーンや要素もけっこう盛り込んであるので、ぜひ楽しんでいただきたいなと思います。 [19]

”

Cyber Festival poster.jpg
Missing translation
Video
Interview
Published July 19, 2020
📜

“

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

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

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

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

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

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

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

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

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

Jin, qu'en est-il pour vous ?

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

Qu'en pense Coda ?

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

Chez les fans italiens notamment ?

Coda : En Italie et en France aussi. Au Portugal, en Espagne... C'est le cas Ă  travers diffĂŠrents pays.

C'est vraiment çà. J'ai un ami qui a un tatouage issu de JoJo's Bizarre Adventure oĂš est ĂŠcrit "Ora ora ora ora !" (rires) Les fans de JoJo s'ĂŠtendent au-delĂ  des frontières. Enfin, Daisuke Hasewaga, quel est votre sentiment ?

DH : Une fois j'ai fait un live avec JO☆STARS Ă  Phoenix aux Etas-Unis. Cette fois-lĂ , des fans du monde entier nous attendaient. C'est Ă  cette occasion que j'ai le plus ressenti la prĂŠsence des fans internationaux. 10 minutes avant qu'on monte sur scène, il ont commencĂŠ Ă  crier "Jojo ! JoJo !", çà nous a communiquĂŠ leur ĂŠmotion.

Coda : Moi je me suis dit qu'ils allaient nous manger ! (rires)

Etes-vous dĂŠjĂ  venu en France ? Y-a-t'il des endroits que vous voudriez voir ? Des choses que vous souhaiteriez faire ? D'abord, Tommy ?

HT : Je suis allĂŠ en France il y a 8 ans environ. C'ĂŠtait un voyage privĂŠ. Je suis allĂŠ Ă  Paris.

Alors, qu'avez-vous pensĂŠ de Paris ?

HT : Evidemment, il y avait de beaux paysages et des bons plats. C'est vraiment Paris. Autour de la Tour Eiffel ou de l'Arc de Triomphe, il n'y a pas de grands immeubles. Je pense que c'est une jolie ville bien agencĂŠe.

J'espère que vous passerez encore de beaux moments en France.

HT : Oui !

Jin Hashimoto ?

JH : Oui, j'ai un groupe de salsa qui s'appelle "Orquesta de la Luz". Nous avions une tournĂŠe europĂŠenne. C'est Ă  cette occasion que je suis venu en France. Le programme de la tournĂŠe ĂŠtait chargĂŠ, nous ĂŠtions souvent pressĂŠs. Dans la voiture, j'ai ĂŠtĂŠ rĂŠveillĂŠ par mes compagnons et ils m'ont dit "C'est l'Arc de Triomphe!", "C'est la tour Eiffel!". Je me souviens surtout d'avoir frottĂŠ mes yeux endormis. C'ĂŠtait vraiment comme ça. Je ne pouvais prendre le temps de visiter cette jolie ville.

J'espère que la prochaine fois vous aurez le temps... Et vous Coda ?

Coda : En ce qui me concerne, je ne suis encore jamais allĂŠ en France. J'aimerais bien y aller hein ... C'est un grand classique. J'ai vu la France surtout Ă  travers des photos et vidĂŠos, mais j'aimerai vraiment voir ces paysages de me propres yeux.

Et vous Daisuke Hasegawa ?

DH : J'adore le groupe U2. Il y a une chanson qui s'appelle "Beautiful Days" et dans le clip vidĂŠo, il y a des scènes tournĂŠes dans l'aĂŠroport Charles de Gaulle. Donc j'aimerais bien y aller une fois.

J'espère que vous aurez l'occasion d'y aller. JO☆STARS et Daisuke Hasegawa, comment avez-vous commencĂŠ Ă  faire des concerts ensemble ?

DH : Pour faire suite Ă  ce dont je vous parlais juste avant, nous avons commencĂŠ par faire des concerts aux Etats-Unis. C'ĂŠtait nos dĂŠbuts ensemble.

C'ĂŠtait la première tous ensemble ?

DH : Oui, tout Ă  fait. En fait, on a fait des live au Japon ?

Coda : On ne fait pas seulement des ĂŠvènements de musique donc je ne me souviens pas y avoir fait un long concert tous ensemble.

DH : J'ai fait un live en duo avec Coda.

Coda : C'ĂŠtait un ĂŠvènement pour la saison 5 de JoJo's Bizarre Adventure.

DH : Avec JO☆STARS, mon premier concert ĂŠtait aux Etats-Unis.

JH : Effectivement.

Coda : En fait c'est assez rare.

DH : On se rĂŠunit surtout Ă  l'ĂŠtranger. (rires) Moi, je les regardais Ă  la tĂŠlĂŠvision, ces 3 lĂ . Je regardais l'animĂŠ de JoJo's Bizarre Adventure et il y avait une publicitĂŠ des concerts de JO☆STARS. Quand j'ai vu ça, je me suis dit "Ouah, ils sont trop cool !" Et maintenant, on fait des shows ensemble Ă  l'ĂŠtranger.

Cette formation se fait surtout Ă  l'ĂŠtranger ?

Coda : S'il n'y avait pas d'invitations Ă  l'ĂŠtranger, on ne se rĂŠunirait pas tous...

HT : Donc je pense que ce soir, c'est une opportunitĂŠ rare.

Je pense que les fans français seront super contents de vous voir au complet. Ensuite, j'ai quelques questions individuelles. TOMMY, l'opening "Sono chi no Sadame" a marquĂŠ les esprits. Tout le monde se rappelle du passage "JoooooooooooooooooooooooooJo". C'est une chanson qui semble très puissant avec votre voix. Comment s'est fait l'enregistrement ?

HT : Il y avait une audition pour la chanson principale du nouveau projet. On m'a invitĂŠ et je suis allĂŠ chez maĂŽtre Tanaka. J'ai reçu un CD et j'ai essayĂŠ de chanter par dessus. Alors le maĂŽtre m'a dit "Ah, tu peux chanter comme ça?". Il a enchainĂŠ par : "A partir de lĂ , on va essayer ensemble". Ca s'est fait rapidement. J'ĂŠtais dirigĂŠ par maĂŽtre Tanaka mais c'ĂŠtait vraiment chaud.

C'est Ă  dire?

HT : Une fois par exemple, j'avais chantĂŠ de toutes mes forces mais il m'a dit "Tommy! Plus chaud !! Tu peux faire plus ĂŠnergique !! C'est pas la bonne note ! Tu ne l'as pas atteinte !" Voila pourquoi c'ĂŠtait chaud.

TOMMY, vous avez une aura proche de l'univers de JoJo's Bizarre Adventure. Si vous ĂŠtiez un personnage dans l'animĂŠ, quel genre choisiriez-vous? Aimeriez-vous tenter un style vestimentaire extravagant?

HT : Alors que je porte dĂŠjĂ  ça! (montre son manteau) J'ai fait moi-mĂŞme le design.

Vous avez fait ça vous-mĂŞme ?

HT : J'avais une image en tĂŞte. Comme je chante l'opening de la saison 1, je voulais quelque chose qui rappelle la fin du XIXe siècle. Et un peu gothique.

Effectivement, vous vous dĂŠmarquez. C'est assez diffĂŠrent de ce que portent les autres membres ! C'est gĂŠnial, j'adore !

HT : Je voulais en quelque sorte exprimer mon respect pour cette oeuvre. C'est une oeuvre excellente et je voulais me rapprocher de son univers. Si je devais essayer la tenue d'un personnage, j'aime le rouge et c'est ma couleur prĂŠfĂŠrĂŠe, donc je me rapprocherais du style de Mohammed Abdul dans la saison 3.

Merci beaucoup. Jin Hashimoto, vous chantez l'opening de la saison 3 de JoJo's Bizarre Adventure qui s'appelle "Stand Proud". Dans quel ĂŠtat d'esprit avez-vous abordĂŠ la chanson ?

JH : Quand j'ai chantĂŠ ce morceau, j'ai eu une image de puissance. J'ai rĂŠflĂŠchi Ă  comment exprimer cette "puissance"; j'ai essayĂŠ de chanter de plusieurs façons. C'est Ă  la fin que j'ai rĂŠussi Ă  placer ma voix. Il a fallu essayer plusieurs versions.

Donc vous n'aviez pas cette image en tĂŞte au dĂŠpart ?

JH : J'ai cherchĂŠ tout du long. "C'est peut-ĂŞtre ça? ou ça?" Au final, je me suis dit, ça a ĂŠtĂŠ un cheminement.

Merci pour ces explications. Coda, vous chantez l'opening de la saison 2 de JoJo, "Bloody Stream" ainsi que l'opening de la saison 5 de JoJo, "Fighting Gold". Vous avez aussi composĂŠ des titres de la saison 4 comme "Crazy Noisy Bizarre Town". Avez-vous une approche diffĂŠrente pour le chant et la composition ?

Coda : D'abord, je commence par chanter sans rĂŠflĂŠchir. Je me demande : "Pourquoi ils me choississent ?". Bien sĂťr ils me demandent souvent un style de chant. Quand j'ai chantĂŠ pour la première fois "Bloody Stream", on m'a demandĂŠ d'ĂŞtre plus provocant. Je commençais Ă  me demander dans cette cuisine d'animĂŠs. ??? J'ai commencĂŠ dans la saison 4 en composant le titre "Crazy Noisy Bizarre Town". Le cadre de la saison 4 devient plus ordinaire que jusqu'Ă  prĂŠsent dans la saison 3. C'est l'histoire d'un lycĂŠen dans une ville au Japon. On m'a demandĂŠ de ne pas utiliser de gamme mineure, ils voulaient une gamme majeure pour donner un cĂ´te lumineux. En composant cette chanson, je me demandais "Comment est ce que je peux y mettre ma propre couleur ?" Je pensais forcĂŠment Ă  une mĂŠlodie facile Ă  retenir. J'ai rĂŠalisĂŠ que c'est ce qu'il fallait et les paroles sont venues après. Après, la mĂŠlodie est vraiment sortie naturellement de mon corps.

Passons Ă  Daisuke Hasegawa. Comment avez-vous commencĂŠ Ă  travailler sur un opening de JoJo's Bizarre Adventure.

DH : J'ai commencĂŠ par chanter l'une des BO de la saison 4. Dans l'histoire, on entend la chanson Ă  travers la radio. Ca a ĂŠtĂŠ l'occasion d'ĂŞtre entendu par le producteur. VoilĂ  comment j'ai commencĂŠ.

Vous avez composĂŠ l'opening "Uragirimono no Requiem". Qu'avez-vous ressenti lorsque vous avez entendu cette chanson pour la première fois ?

DH : Quand je l'ai composĂŠ pour la première fois.. en fait j'avais d'abord ĂŠcoutĂŠ deux autres chansons avant pour l'opening de la saison 5. Au dĂŠbut, il y avait deux maquettes pendant l'ĂŠloboration de la BO. C'ĂŠtait moi qui chantait sur leurs dĂŠmos. La première ĂŠtait très cool et la deuxième tout autant. La troisième est devenue "Uragirimono no Requiem". Et quand j'ai entendu pour la première fois, elle m'a parue vraiment difficile. Je me demandais si j'ĂŠtais Ă  la hauteur.

Cette difficultĂŠ vous inquiĂŠtait ?

DH : En fait, ils m'ont demandĂŠ : "Ne prend pas une belle voix" C'est pourtant ce que j'aime faire. Ils voulaient que je force ma voix, que je repousse mes limites, quitte Ă  ce que certaines notes ne soient pas parfaites.

Vous ĂŞtes capable de chanter de nombreux styles. Quel type de chanson auriez-vous envie de dĂŠvelopper Ă  l'avenir ?

DH : Le type de chanson que j'aimerais dĂŠvelopper ? Il y en a pleins je pense. Chez JO☆STARS aussi il y a beaucoup de voix diffĂŠrentes. J'aimerais essayer le mĂŠtal. Une voix MĂŠtal, type "Death". C'est quelque chose que je ne maĂŽtrise pas. C'est eux qui ont plein de voix.

Coda : Moi, je n'ai qu'une type de voix.

JH : Vraiment ?

Coda : Oui, un style. C'est Jin qui a une grande palette de voix.

JO☆STARS, y a-t'il des types de chansons que vous voulez essayer ?

HT : Moi, je chante des chansons violentes et pointues. J'aimerais bien m'ouvrir Ă  des choses plus dĂŠrisoires. Chanter des chansons justes pour m'amuser, oĂš on bouge les mains. Ca me dirait bien !

J'aimerais voir ça chez Tommy ! (rires)

JH : Pour ma part, j'aimerais chanter avec un ton aigĂźe dans le style de "False"/falsetto. Dans mon groupe de reprise Earth Wind & Fire, il y a ce type de morceaux mais en dehors de ce projet, je chante rarement avec ma voix dans le style falsetto

Merci pour ces prĂŠcisions. Et vous Coda ? n Coda : En pensant Ă  la France, je me dis "Peut-ĂŞtre de la Bossa Nova ? " ou dans le genre pop française ? Je me dis que je n'ai jamais fait ce genre de chansons. Alors pourquoi pas essayer ? Mais ce sera sĂťrement avec la mĂŞme voix/ (rires)

DH : J'aurai envie d'entendre la voix de Coda sur de la Bossa Nova !

Juste après vous allez nous faire un concert mais cette fois c'est exclusivement sur le web. Ca doit ĂŞtre assez diffĂŠrent de vos lives en tournĂŠe, comment le sentez-vous ? Tommy ?

HT : Quand il y a des spectateurs dans la salle, ça m'ĂŠmoustille vraiment, mais il y a sĂťrement plus de monde que je ne pense derrière la camĂŠra. A ces gens, je voudrais transmettre, les yeux dans les yeux, le "Jo" de "JoJo" ! J'aimerais vraiment crĂŠer cette proximitĂŠ. C'est avec cet ĂŠtat d'esprit que je chanterai.

J'en ai la chair de poule. Et vous Jin Hashimoto ?

JH : Effectivement, nous chantons toujours devant notre public. C'est inquiĂŠtant de ne pas avoir cet ĂŠchange direct, ce retour de la salle. Pour moi, les camĂŠras deviendront en quelque sorte une partie du public.

Et comment le ressent Coda ?

Coda : Moi je pense que grâce Ă  ce livestream on peut ĂŠtablir un lien entre la France et le Japon. C'est forcĂŠment mieux de faire un live sur place et de jouer devant nos fans français. Le contexte actuel ĂŠtant ce qu'il est, je pense tout de suite au positif de la situation. Si ce n'ĂŠtait pas sous cette forme, Ă  l'inverse il y aurait des gens qui ne verraient pas le concert. En ce sens la situation permet çà. Plus on peut toucher de personnes, plus ça nous rend heureux. C'est aussi une façon de toucher une nouvelle audience.

Et pour Daisuke Hasegawa ?

DH : Personnellement, j'aime voir des vidĂŠos de concerts. Comment dire ? Par exemple, quand on va voir Radiohead de loin, la scène parait petite, non ? D'une certaine façon, de chez soi c'est plus grand. Donc ca donnera une plus grande proximitĂŠ que dans un concert normal. C'est difficile en ce moment avec le coronavirus, mais on garde l'esprit positif. Comme par magie, on espère vous faire passer un bon moment et je pense que c'est une bonne chose. Alors prĂŠparez vos sièges, et chauffez la place ! MĂŞme via internet, on va chanter de toutes nos forces !

Pour ce festival organisĂŠ par ADN, je pense que c'est une joie pour les fans français. Est-ce que vous auriez un message pour eux ?

HT : En France ou dans le monde entier, nous avons des camarades qui adorent JoJo's Bizarre Adventure. J'ai envie qu'on passe tous un bon moment ensemble.

JH : Vous ĂŞtes peut-ĂŞtre dĂŠjĂ  tous prĂŞts ? Alors, on va s'amuser maintenant !

Coda : Je me suis dis que ça ferait une bonne occasion. J'aimerais vraiment venir chanter en France par la suite. J'espère vous rencontrer directement dans un futur proche. Aujourd'hui je vais chanter en espĂŠrant ça.

Je pense que c'est ce que les fans attendent. On aimerait vraiment que ça se fasse. Enfin, Daisuke Hasegawa ?

DH : Le Japon et la France sont assez ĂŠloignĂŠs, mais avec Internet, vous pouvez nous voir et nous ĂŠcouter en un instant. C'est une ĂŠpoque formidable. Si on fait un rappel, criez devant votre ĂŠcran ! Chantez avec nous ! Si on vous entend, on pourra mieux assurer. Chantons ensemble !

Merci Ă  vous ! Je vous laisse vous prĂŠparer pour le concert qui va commencer, je me fais une foie d'y assister. Merci Ă  tous pour cette interview, merci Ă  vous !

”

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Video
Interview
Published October 25, 2020

Vizmedia interviews with Araki.[20]

“

JoJo's Bizarre Adventure and Fashion (10/07/2017)

Q: Do you watch fashion shows for inspiration? Were there any fashion campaigns that inspired JoJo's?

A: I look at fashion magazines, go to fashion shows at times, check out clothing on display at the mall. I try to examine and study various fashion designs.

Q: Do you have a favorite designer of all time?

A: My favorite designer of all time, since I debuted in the 80's, is Moschino. He has since then passed away. He blends humor with beauty. He also used symbols in his designs and various techniques and I really liked all of that. As for others, I like Italian brands such as Gucci or Versace. I think they're wonderful.

Q: How do you think the fashion of JoJo's fit into today's world of fashion?

A: There's what's known as the "JoJo pose", a fashion pose. It's heavily influenced by Rome, Roman sculptures and their poses. The modern day fashion industry can also trace its roots back to the Romans. It's really a universal thing. I believe that makes the JoJo fashion perfect for the modern fashion world.

Q: Are there any designers working today you enjoy? Throughts on any current fashion trends?

A: Designers today? They're all so great. Each and every one of them is truly impressive.

Q: Did you ever dream of becoming a fashion designer?

A: No! I'm a mangaka. Mangaka are mangaka. I'll stick to designing within the world of JoJo's Bizarre Adventure. I appreciate your continued support for JoJo's Bizarre Adventure!


Araki Sensei Talks Diamond is Unbreakable. (01/27/2020)

Q: Where did the inspiration for Part 4 come from?

A: Diamond is Unbreakable is set in Japan, in a town called Morioh. It's a fictitious town, but I modeled it after an area of Sendai City in Miyagi Prefecture, where I was born and raised. The unusual people who live there... The mysterious people next door... The suspense and fear they engender - they became my inspiration. The idea was to create a closed city. So the Stands weren't the type that were actively moving ready to attack. There are also Stands that lurk and wait for you at home.

Q: Who is your favorite character in Part 4?

A: That would be Josuke... Up through Stardust Crusaders, the main character was like a mythical person... If the main character of Stardust Crusaders is like the hero in Greek myth, then the main character in "Diamond is Unbreakable" is the friend next door.

Q: Like your average Joe ?

A: Yes, an everyday likable character next door that possesses a Stand.

Q: What is your favorite Stand from Part 4?

A: For me, it's Shigechi's. His flaws and trashiness are adorable. He picks up stuff off the ground - I mean, who does that? But that's pretty scary.

Q: I know what you mean.

A: That's the appeal of Diamond is Unbreakable.

Q: Did you base the antagonist Rohan Kishibe off yourself?

A: He's not modeled after me, but I'm fascinated by him.

Q: Many people say he was.

A: I get that a lot, but that's not true. To him, life is art. Art is more important than human life.

Q: Right, that's the only thing he's interested in.

A: That's right.

Q: So that character isn't like you?

A: No, I value human life more.

Q: What do you remember most about writing JoJo's Bizarre Adventure?

A: I'd have to say Morioh Town - whether it's in Diamond is Unbreakable or later arcs. I enjoyed drawing the feeling of everyday life. I wanted to do a "mythical" manga involving superpowers and the like, but Diamond is Unbreakable gets closer to everyday life and that makes it feel more real. I had fun doing it.

Q: In America, many fans dress up as JoJo characters. What are your thoughts on that?

A: They look great. Their cosplay looks like CG, and they're totally in character. They do JoJo poses that, back when I drew them, I thought couldn't be done. I'm amazed. The level is great. The cosplay is so much better than back when I first wrote JoJo.

Q: They do it in groups.

A: It's beautiful.

Q: Do you ever see a possibility of making a visit to America?

A: Definitely, if the opportunity presents itself. If I can eat delicious food and meet movie star Benicio del Toro, I want to go.

Q: Maybe someone here has connections.

A: I'd like to go at least once so I can attend Comic Con.

Q: Do you have a message for American fans?

A: I'd like fans in America to be well and enjoy JoJo's Bizarre Adventure. JoJo's Bizarre Adventure will be introducting many new characters in both manga and anime. Please, look forward to it! Take care, everyone!


Araki Sensei Talks Golden Wind (10/24/2020)

Q: What is unique about Golden Wind?

A: Golden Wind deals with the sorrow of being born - about having no choice in life or only one place where one belongs. The sadness of a character that exists only in the dark underbelly of society. Human relationships, friends versus enemies, the beauty of betrayal... Those are the themes. It deals with the mafia... Can I use that term? Those are the motifs for the Stand battles. The men are important. Beautiful men.

Q: Beautiful men? There are women, too, right?

A: Yes, there are but drawing beautiful men was the main focus. The beauty in meeting one's doom... Men who can only exist in that world.

Q: How did you approach the character designs in Golden Wind?

A: I patterned Giorno's hair curls after Michelango's David. I got the idea from the curls around the forehead. Even the feathers. The curls came from sculptures and Italian motifs.

Q: Did you go to art museums and stuff?

A: Yes, of course. I wanted the characters, sculptures and fashion to be in the style of Rome. The fashionable people of Italy who bear the sadness of history.

Q: Who is your favorite character from Golden Wind?

A: There are many, but the one I enjoyed drawing was Mista. I love how his Stand fires from pistols. Mista is a positive fellow. He accepts himself, and is true to himself without doubts. I like that. On the Hitman team, it'd have to be Prosciutto - his brotherly relationship with his junior.

Q: Pesci?

A: Yes, Pesci. I like that. Their brotherly banter is great... The way his Stand accelerated aging seemed fun, even for me as the artist. There isn't a character I don't like. I even like all the antagonists.

Q: The ending of the Golden Wind anime uses R&B group Jodeci's "Freek'N You". Was this your choice?

A: I wanted to use gangster rap, but we went with a slower-pace song by Jodeci, who are great singers. There's a JoJo's in Jodeci.

Q: Yes, there is.

A: Maybe that wasn't a coincidence either. But they were selected.

Q: Do you have a message for American Fans?

A: I'd like fans in America to be well and enjoy JoJo's Bizarre Adventure. JoJo's Bizarre Adventure will be introducing many new characters in both manga and anime. Please, look forward to it! Take care, everyone!

”

See Interview Archive

References

  1. ↑ http://www.manga-news.com/index.php/auteur/interview/KOMINO-Masahiko
  2. ↑ http://atmarkjojo.org/archives/21023.html
  3. ↑ https://www.youtube.com/watch?v=Hwsm46xtrFQ
  4. ↑ https://twitter.com/macchalion/status/842308005270044672
  5. ↑ Naokatsu Tsuda Q&A at Anime Boston
  6. ↑ Naokatsu Tsuda Anime Boston Interview
  7. ↑ https://web.archive.org/web/20170708222820/http://jojo-animation.com/bddvd/ova.html
  8. ↑ 「みんな脱出すればいい(笑)」承太郎一行になりきって、運命を乗り越えろ!
  9. ↑ https://www.animenewsnetwork.com/convention/2018/anime-expo-news-roundup-day-zero-one-two-headlines/anime-expo-jojo-bizarre-adventure-golden-wind-u.s-premiere/.133945
  10. ↑ https://news.yahoo.co.jp/feature/1055
  11. ↑ https://www.tjapan.jp/entertainment/17230475
  12. ↑ https://www.animatetimes.com/news/details.php?id=1564123470&p=3
  13. ↑ https://blog.sakugabooru.com/2019/07/31/exclusive-interview-with-terumi-nishii-jojos-bizarre-adventure-as-a-fan-and-as-a-designer/
  14. ↑ https://anitrendz.net/news/2019/08/01/interview-jojos-bizarre-adventure-golden-wind-producers/
  15. ↑ https://www.animenewsnetwork.com/feature/2019-08-19/interview-the-producers-of-jojo-bizarre-adventure-golden-wind/.149149
  16. ↑ https://www.animeclick.it/news/83228-lucca-comics-games-2019-press-cafe-con-hirohiko-araki
  17. ↑ https://www.reddit.com/r/StardustCrusaders/comments/ds5ej2/public_interview_with_hirohiko_araki_in_lucca/
  18. ↑ https://www.animeclick.it/news/83246-hirohiko-araki-e-il-made-in-italy-il-mangaka-rivela-il-suo-amore-per-il-cibo-italiano
  19. ↑ https://news.livedoor.com/article/detail/18012975/
  20. ↑ Transcripted from the following videos: