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Published March 28, 2016
👀 Masahiko Komino


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

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

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

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

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

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

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

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

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

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

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

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

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

How was working with Hirohiko Araki?

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

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

Watch, and you'll understand. (Laughs)

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

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

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

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

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


Newtype August 2016.png
Published July 9, 2016


Savage Garden: Darren Stanley Hayes

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

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

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

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

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

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

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

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

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

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

Please give us a message for our Japanese fans.

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


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

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

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

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

Note: Missing full interview.





Other Notes: ゜゚ゞマダスフミさんの解説には、この他にも、OPは『スタヌりォヌズ垝囜の逆襲』みたいな気持ちで䜜っおいたのに察し、OP3は『ゞェダむの垰還』のような䜍眮づけであるなど、ディ・モヌルト興味深い情報が「たっぷり」語られおいる。たた、今月号はペヌゞ埌半の赀黒2色カラヌペヌゞにも、仗助から蟻圩、吉良吉圱たでの「キャラクタヌ蚭定資料ファむル」が6ペヌゞに枡っお掲茉されおいるので、TVアニメ『ゞョゞョ』に興味のある方は雑誌の方でぜひチェックしよう。[2]



小野友暹さん東方仗助 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

䞀気に駆け抜けた印象です。 䞀幎近く挔じおきたのに、本圓にあっずいう間でした。 やりきった充実感ず、ただただ圌らの日垞を楜しみたい寂しさがありたす。


収録が始たる前に、承倪郎圹の倧茔さんがかけおくれた 「友暹、䞀人でやるな。みんなが助けおくれる」ずいう蚀葉が、 挔じきっお改めお杜王町の党おだったなず感じたす。 仗助だけでも、誰䞀人欠けおも守り抜けなかった。 物語にも芝居にも通じる、玠敵な蚀葉を頂きたした。


仗助、たずはお疲れさた。 お前の優しさ、匷さ、ひょうきんさ、虎芖眈々ずした県差し。 色んなお前ず䞀緒にいられお、幞せだった。 物語は終わっおも、黄金の粟神は確かに受け継いだぜ ッ


どうしおも䞊の方で語っおしたいたしたが  最埌たでハラハラドキドキの展開が埅ち受けおいる事は間違いありたせん。 圌らの町を、魂を賭けた戊いを、是非芋届けおください。 グレヌトなクラむマックスですよ、こい぀はぁ ッ

梶 裕貎さん広瀬康䞀 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

最初に党39話ずお聞きした時、「かなりの長旅になるな」ず芚悟を決めお 康䞀くんず二人䞉脚を始めたしたが スタヌトしおみれば最終話たで、 本圓にあっずいう間に過ぎおしたったように思いたす。 それだけ毎回の収録が熱く充実しおいお、楜しかったです


先茩方の熱挔。゚ネルギッシュであり぀぀、テクニカルなお芝居に感動したした ゞョゞョの珟堎ならではの刺激をいただきたしたし、改めお先茩方の偉倧さを感じる機䌚ばかりでした。


康䞀くんッ僕の䞭で第郚は、最初からずっず「康䞀くんの成長物語」だず思っお走っおきたした。 でも党39話通しお君ずの二人䞉脚を終えた今 実は、僕も䞀緒に成長させおもらっおいたこずに気が付きたした。 本圓にありがずうたたい぀か、䞀緒に走ろうねッ


アフレコは終了したものの、僕ら圹者の䞭ではただただ終わった気がしおいたせん ぀いに远い詰めた吉良吉圱ずいう最倧の敵ずの決着を、ぜひ最埌の最埌たで、僕らず䞀緒に芋届けおください よろしくお願いしたす

高朚 枉さん虹村億泰 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

アフレコ終わっおしたったなぁ〜ずいう感じです。 ギュッず凝瞮したゞョゞョ4郚でしたが、毎回楜しく奇劙で玠敵な冒険でした。


゚ピ゜ヌドではないのですが印象深かったこずずしお、今回アニメず同進行で 杜王町ラゞオをやらせおいただいたこずで、タむムリヌに芖聎者の皆さんからの 感想や思いを知るこずが出来お、皆さんず䞀緒にアニメを芳おいる感芚でずおも楜しかったです。




楜しい時間はあっずいう間ですね。 これたでの皆さんの熱い応揎、本圓にありがずうございたした ゞョゞョ第4郚、最終話。じっくり楜しんでくださいね。 そしおたた杜王町でお䌚いしたいですね・・・

櫻井孝宏さん岞蟺露䌎 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

新章が連茉䞭䞔぀、䜜品自䜓はずっず読たれ続けおいお、党く色耪せない䜜品です。 ただ時代が远い぀いおいない気すらしたす。 アフレコの終わりのただの区切りであっお、ただ終わっおいない気分なのです。 䞍思議な感芚です。


「っ」や「ッ」を再珟しおいくアフレコ前の台本修正タむムが奜きでした。 アニメを尊重し぀぀、偉倧な原䜜ぞのリスペクトを感じられる時間でした。


名れリフだらけのスペシャルなキャラクタヌでした。 個性的でアクの匷い、文字通り奇劙な人物ですが、 説明䞍胜なカッコよさず愛嬌を䜵せ持っおいるシンボリックな男です。 「だが、断る」にシビれたした


怒涛、怒涛、怒涛の展開 䞀気に加速し、物語の頂点ぞ䞊り詰めおいきたす。 お芋逃しなく

小野倧茔さん空条承倪郎 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

党おのスタッフ・キャストに「この町に来お、みんなに出䌚えお、 本圓に良かったず思っおるよ」ず䌝えたい。 そんな気持ちです。


仙台の䞃倕祭り。 ゞョゞョが䞀般にも広く愛されるコンテンツになったこずを実感しお感動したした。


たた挔じられたこずに感謝しおいたす。 自分の誇りです。空条承倪郎の名に恥じない声を、これからも。


原䜜からのファンのみなさんも、必ずや心震える最終回を 迎えられるず思いたす。 ご期埅ください

森川智之さん吉良吉圱 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

䞖界芳や蚭定の難しさを理解しながら、やっずクリアになっお来たかなず思ったら、 出番が終わっおしたっお、もっず吉良を挔じおいたかったですね。


キャストの皆さんが頑匵っおいる姿を暪目にみながら、 クヌルにやらせおいたいただきたした。


誰にも邪魔されずに静かに暮らしたい、そこは理解はできたすが、それ以倖はね。 頭も良いのに、困った殺人鬌です。決しお、出䌚いたくない人物ですね。


これから、あれやこれや名セリフ、名シヌンが埅っおたす。 是非、吉良ずの戊いを楜しんでください。頌みたしたよ。

䜐藀利奈さん川尻早人 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

駆け抜けたした 早人はラストぞ向けどんどんヒヌトアップしおいくキャラクタヌだったので、 埌半戊が始たったら本圓にあっず蚀う間怒涛の展開に、毎回収録埌は燃え尜きおいたした 


川尻家3人のシヌンが印象的です。 本線はちぐはぐな家族関係でしたが、収録珟堎はずおも和やかで、良い家族だったんです笑 回を重ねる床にどんどん可愛らしくなっおいくしのぶママにキュンずしおいたした


早人は 本圓に凄い 小孊生、しかもスタンド䜿いではないのに、あの吉良に䞀人で立ち向かっおいくなんお  成長しお倧人になった圌の姿を䞀目芋おみたいです


物語は遂に終盀 ずうずう吉良ず盎接察決です。 早人ずずもに熱い想いを胞抱き、収録に臚みたした私もオン゚アを楜しみに埅っおいたす。 激動の埌半戊、どうかラストたでお芋逃しなくッ

嶋村 䟑さん川尻しのぶ 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

パワフルで濃い䜜品だったので、このパワヌずお別れだず思うず、ずおも寂しいです。 この䜜品に関わるこずができお、光栄でした。ありがずうございたした。


バむツァ・ダストの時間が巻戻る仕掛けが私は倧奜きなのですが、 そのわくわく以䞊に吉良が怖かったです。 そしお、早人が「僕が死ねば 」ず思うシヌンは、 母芪圹をやる私ずしおは芋おいお本圓に蟛かったです。


䜕も知らない事が重芁なしのぶさんの、幞せな時間を挔じさせお頂けお、私も幞せでした。 圌女はこれからも䜕も知らず、蟛い珟実も埅っおいるけど、早人ず䞀緒に乗り越えおいっお欲しいです。


サスペンスホラヌなストヌリヌもさるこずながら、早人の成長を最埌たで䞀緒に芋守っお䞋さい。 よろしくお願いしたす

原玗友里さん杉本鈎矎 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

鈎矎は登堎した話数は決しお倚くはなかったですが、䞀回䞀回のアフレコがすごい熱量でした。 たた䜕床でもあの堎に戻りたいず思っおしたいたす。


初登堎がかなりセリフの倚い回だったので気合いを入れるため 栄逊ドリンクを持っお行ったのですが、たたたたその日いた方の 半分くらいが栄逊ドリンクを持っおいお「やっぱゞョゞョはパワヌ䜿うから」 なんおお話をされおいたした。


鈎矎さんはスタンド䜿いではありたせん。 そしお蚀葉の端々から、生前は本圓に普通の明るい少女だったんだろうず想像できたす。 そんな圌女が仲間ず手を取り”悪”ず立ち向かうための歊噚は、杜王町ぞの愛ず誇り。 本圓にかっこいい女性だず思いたす。


原䜜でラストバトルを読んだ時、こんな展開があるのかず震えたした。 その熱量、感動、そしおなんずいっおも面癜さを䜙すこずなくアニメでも楜しんで頂けるず思いたす。 ぜひご芧になっお、黄金の粟神を感じおください。

胜登麻矎子さん山岞由花子 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

アフレコが終わった瞬間は実感がなかったのですが、 じわじわ熱いものが蟌み䞊げおきたした。 ぀いに第郚が終わりを迎えたんだ ず感無量でした。


アフレコ時に倧倉印象深かったのは、 テストから凄い熱量でみなさんぶ぀かり合うこずです。 この䜜品の熱量の高さを改めお感じお、ずにかく自分もそこに乗っかっおいきたした。


プッツン由花子ず呌ばれる圌女を党力で党うする気持ちでやらせお頂きたしたが 果たしお圌女の゚ネルギヌに届いたかどうか 。笑 倧倉やりがいのある魅力的な人物でした。 圌女を挔じるこずが出来お本圓に良かったです。 ありがずうございたした。


いよいよクラむマックスです 芋届けお䞋さい心に刻み぀けお䞋さい この熱いゞョゞョ魂が末氞くみなさたの心に残りたすように。

石塚運昇さんゞョセフ・ゞョヌスタヌ 圹

Q1. 党おのアフレコを終えおの率盎な感想をお答えください。



仗助がたさか自分の子䟛だったずは・・・。 その蚭定に驚きたした。


ナヌモアのある、ずおも愉快なじいさんでした。 自分自身、このような幎の取り方をしたいものです。


ストヌリヌをご存知の方もそうでない方にも、 ずおもドラマチックなラストになっおいたす。


Q1. 党おのアフレコを終えおの率盎な感想をお答えください。

぀いに四郚が終わっおしたったなぁ、ず。 䞀郚から䞉郚たでは、ゞョゞョず共に戊っおきたような感じだったけれど、四郚はずっず芋守る立堎だったかな。


レギュラヌメンバヌに加えお、次々に新しいスタンド䜿いがやっお来お、 杜王町がどんどん倧きな町になっおいくのが楜しかったですね。




仗助の最埌の戊いをお楜しみにッ 君も歎史の目撃者になるのだッ。[3]

Great Festival Logo.png
Published February 19, 2017
👀 Naokatsu Tsuda


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

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

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

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

Published February 2017
👀 Buichi Terasawa
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 ShÃŽnen B.T.". I see this as an homage from his part.[4]
BunkoSBR vol1.jpg
Manga Volume
Published February 17, 2017
👀 Hirohiko Araki

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, Steven Steel, etc.. As a result, this president who wants to follow the rightful path is the antagonist by 'antonomasia'. In him resides the contradiction that exists between good and evil. It's sort of a paradox. However it may be, what is happiness? If happiness coincided with the victory of truth, then would it have to be the objective of this era? In the end, will Johnny and Gyro really be able to achieve it?

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

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

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

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

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

I consider these songs similar to an oil painting; I especially consider the way Norman Rockwell used to draw them to be quite erotic. His art used to appear in calendars, but it's popular now too. I think it would be nice to listen to these songs while watching those calendars.[5]
—Hirohiko Araki

[Translated by macchalion]

Anime Boston 2017.jpeg
Published April 1, 2017
👀 Naokatsu Tsuda

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.[6]

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.[7]

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

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

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

“Jojo fans are very fanatical.” -Naokatsu Tsuda

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

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

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

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

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

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

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

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

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

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

“Talent!” -Naokatsu Tsuda

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

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

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

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

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

“Each title eats a director.” -Naokatsu Tsuda

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

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

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

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

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

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

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

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

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

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

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

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


巊から、氎橋 かおりさん、䞭原 麻衣さん、櫻井 孝宏さん、高朚 枉さん 監督 加藀 敏幞 今回のOVAの芋どころを教えおください。







泉はそのルックスおよび蚀動から芋おかわいらしいキャラクタヌだず思っおいたす。露䌎に䞍遜な態床をずり぀぀も、きっちりず仕事ぞず぀なげおしたうずころがタダモノではない。うるさいだけの女性に芋えないよう気を䜿いたいです。 䞀究は物語のバックボヌンず盎接぀ながっおいるこずもあっお、神秘的な芁玠、倖芋共に意識しお挔出しおいたす。どこか犏助のようなむメヌゞず老獪な執事を思わせるような物腰。そこに泚意しお映像化した぀もりです。







岞蟺露䌎 圹 櫻井 孝宏

久しぶりの「ゞョゞョ」のアフレコでしたが、いかがでしたか。 再び岞蟺露䌎を挔じおの感想やアフレコ珟堎の様子など、お教えください。

呚りの人にはわかりにくかったず思いたすが、こっそりテンション高かったです たたゞョゞョできるのが嬉しくお興奮したした。 集䞭しお䞀気に録り切っおしたったので、もっず味わいたかったですね。

今回は第4郚のTVアニメずはキャラクタヌデザむンの印象が少し異なっおいたす。 挔じられる䞊で意識したこずはありたすか。

その違いを味わえたのが䞀番の莅沢だったかもしれたせん。 「ダむダモンドは砕けない」ず「岞蟺露䌎は動かない」の間には長い幎月の隔たりがありたすが、それを䞀気に飛び越えおしたいたした。 お芝居で倉えた郚分は䞀切ありたせん。同じ露䌎です。


導入郚分が奜きなんです。 間違いなく䜕かが起きる気配が冒頭の露䌎ず泉京銙のやりずりに立ち蟌めおいお、そこが堪りたせん。ミステリっぜいドキドキを味わっおください。


皆さんの期埅を裏切らない玠晎らしいクオリティのアニメヌションです。 岞蟺露䌎が皆さんをスリリングな䞖界ぞず案内しおくれたすよ。 ぜひ、芋おください。

泉京銙 圹 䞭原 麻衣









䞀究 圹 æ°Žæ©‹ かおり


スタゞオがちょっずしたゞョゞョ空間になっおいるようでおもしろかったです。 なんずいうか、良い意味で独特の緊匵感がある珟堎だなず思いたした。


音響監督から「ずにかく怪しいや぀」な雰囲気が出るようにやっおみおくださいずいう指瀺がありたしたのでそんな感じになるよう頑匵っおみたした。 こんな子䟛が本圓にいたら怪しいです笑


芋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ずいう蚭定が奜きです。 掚理小説みたいな導入が非垞にワクワクしたす。


本線ずはたた違った、それでいお本線の䞖界芳が垣間芋えるような玠敵な物語になっおいるず思いたす。 映像化を埅っおいた方にも、ここで初めお觊れる方にも、楜しんでいただけたら幞いです。[8]

VIZ Weekly Shonen Jump Logo.png
Published July 17, 2017
👀 Hirohiko Araki
SJ: Much of the emphasis of your new book, Manga in Theory and Practice: The Craft of Creating Manga is on shonen manga storytelling—is your advice the same for other kinds of manga? Also, do any Western comics come close to capturing the manga panel development work you describe in your book? If so, which ones?

Araki Sensei: I think it can be applied, but I'm not too familiar with American/Western comics so I can't give specific examples. However, I believe that detailed, precise manga panel development designed to depict intricate emotions is the defining feature of Japanese manga, and that approach can be applied in various forms.

SJ: JoJo's Bizarre Adventure has a lot of horror elements and quite a bit of gore. What are your favorite horror movies?

Araki Sensei: Dawn of the Dead, The Walking Dead and World War Z.

SJ: One of the endearing quirks of the JoJo's Bizarre Adventure manga is the fact that many of the characters have names based on bands or musicians. Why did you decide to do this?

Araki Sensei: Because there are times when I find inspiration for characters and Stands through music.

SJ: How do you come up with the Stand powers? Do you come up with the character or their powers first?

Araki Sensei: It depends on the Stand.

SJ: There's been a major JoJo revival the last ten years with all the anime series being made. How does it feel to have your series reach new heights of popularity again after so many years?

Araki Sensei: I'm extremely grateful for all the support from the fans. There are new, younger fans being introduced to the original manga after experiencing JoJo through anime and other mediums. The fact that there's a new generation of readers is the core of what JoJo is about passing the torch on to the next generation.

SJ: Which of the Joestars would you want to hang out with the most and why?

Araki Sensei: Josuke in Diamond Is Unbreakable. I drew him as if he were a close friend.

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

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

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

Q: What kind of series did you like as a kid?
T: Saint Seiya! *laughs*
Q What? We’re already talking about Saint Seiya?
T: Yes, Shingo Araki is like a god *laughs*
I’m a big fan of Shun, I loved the way RyÃŽ 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 TÃŽei will scold me
 It’s the first time TÃŽei will make a 3D series on TV, so it will be a new experience. However, I am happy to have been chosen, and I will do my best on it. I’d really like to talk about the way I approached the designs, but I don’t think I’m allowed to say anything for now

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For the 50th anniversary of Shounen Jump, the Arts Center Gallery on the 52nd floor of Mori Tower in Roppongi Hills hosted the exhibition “Shounen Jump Launching Exhibition Vol. 1 ~1980s, The Beginning of the Legend”. Starting 15 October 2017, visitors were able to see in person original artwork belonging to the legendary authors who signaled the beginning of a new age, but also even more special events. On the 8th of September, 30 lucky ticket owners breathlessly followed the discussion between Jojo’s Bizarre Adventure creator, Araki Hirohiko, and Fist of the North Star’s Hara Tetsuo. You can read a few fragments below.

I had to redraw pages weekly at the editorial department (Araki)

Araki and Hara actually do meet from time to time for a meal, but they don’t really talk too much about manga. They are almost the same age (Araki, was born in 1960, while Hara was born in 1961) and they both sent their manuscripts to Jump when they were in their late teens, and debuted at around the same time – Araki with Cool Shock B.T. and Hara with Iron Don Quijote. The two look back on their beginnings, and inevitably on the relationship with their editor in charge.

Hara: Mine was incredibly kind. He looked like a bear wearing a pink polo shirt, but whenever I’d send my work late, which happened quite often, he would turn into an angry bear with Raoh‘s aura. He’d also get drunk at night and kick my desk while shouting “How much of the manuscript is done, huh?!” “Why did you only manage to work so little!”.

Araki: Now that you mention it, it really wasn’t all right at all (laughs). My editor demanded a lot of corrections. I always sent my manuscripts by post from Sendai, my hometown, but he would later call me and tell me to come over and fix them, so I ended drawing ten pages of the same manuscript all over again in Shueisha’s conference room in Tokyo. The reason was that the faces were different or something along those lines. I’d often hear exchanges like, “Yude, please lend me the dryer” from the neighbouring room, and I realised artists like Yudetamago or Eguchi (Hisashi) had already gotten used to staying over.

Hara: I didn’t have such confined experiences. I used to live in Suginami back then, and my supervisor also lived along side the Chuou Line so I’d go get the manuscript on my way back home. Other manga artists lived on the same route, so everyone would gather at Kichijouji (laughs).

To add to this, the editors in charge of the two were Kabashima Ryousuke for Araki Hirohiko (High School! Kimengumi, Magical Taruruto, etc) and Horie Nobuhiko for Hara Tetsuo (City Hunter, etc), both legendary editors for numerous Shounen Jump hit titles. Also known for their ability to solve difficult tasks.

Hara: Kabashima is about 180cm tall and seriously intimidating, while you looked like a cute girl, so (our meetings) always ended with him looking like he was taking you away in his arms.

Araki: (laughs) Manga artists and their editors have very close relationships, and these include briefing sessions that can end up lasting the whole night. I, for one, wasn’t too fond of travelling, but Kabashima told me we should use our funds and go to Egypt. I reluctantly agreed but couldn’t help thinking what to do if we got food poisoning. The end result was Jojo’s Bizarre Adventure.

Hara: Huh, so this is how it went. I was also rewarded with a trip to Guatemala after we finished Fist of the North Star and ended up ruining my stomach because even the bottled water there was impure. I even had to sleep in the same hotel room as Horie. We stopped on the way to Los Angeles, where we had a pool directly connected to the hotel room. He jumped in there all naked, splashed everywhere, and after that went straight to sleep. That made me kind of uncomfortable, so I tried to warn him he’d catch a cold. It was an unpleasant trip (laughs).


“Abeshi” is not a misspelling! (Hara)

Shounen Jump’s editorial department of those times seems to have been a tough place, which brought about struggles hard to imagine nowadays. The editors were really passionate about releasing interesting manga, while fights powered by alcohol weren’t particularly rare either. On the other hand, Hara says that, compared to other manga magazines, Shounen Jump had the image of a newcomer-friendly publisher.

When high school student Hara Tetsuo submitted his first manuscript, an editor told him “Yudetamago is in high school and already being serialised. How can you still draw this kind of things at 17? It’s too late for you.”. It came as a shock. “It sounds like they were talking about an idol or something”, laughs Araki, but he also remembers feeling chills down his spine when the newcomer before him was told “I don’t want to see this kind of manuscript” and curtly sent back. Apparently there were also newcomers who would put their manuscripts through the shredder while crying. Manga artists had to go through a lot of hardships in order to receive their editor’s approval and present their work to the public.

Hara: I’m an idiot who’s only good at drawing, so I couldn’t even get past Horie at first. All editors were high school graduates, so they were all smart, and when I’d write something like “hidebu” or “abeshi”, he’d tell me my manuscript was full of misspellings (laughs). I had often think “No, you’re wrong! I spent a lot of time thinking about these. I know you think I’m an idiot!”.

Araki: You know, Kabashima would actually get mad at me if I drew the same type of manga as other artists, like you or Eguchi, for example, and would yell “Hey, you! You’re definitely not drawing this kind of thing!”. This is why I came up with ideas that would weave their way through other people’s artistic gaps.


My important manuscript vanished one day

Constantly polishing one’s skills over the years has perhaps led to the glory of the present. Manga artists always make countless efforts and gain experience in order to improve, and being the assistant of Shounen Jump’s great artists is still considered one of the best trainings you can get. High schooler Hara Tetsuo, who was quite confident in his drawing skills, dreamt of becoming the assistant of Buichi Terasawa, known for his work COBRA, but editor Horie told him to go to Takahashi Yoshihiro instead.

Hara: At first I thought “Wait, what?”, but Takahashi Yoshihiro was Jump’s most popular artist back then, so I agreed to train under him. Yoshihiro was a great person. He also got along with Terasawa, and he’d later ask me if I wanted to drop by his place.

Araki: That sounds so nice. I was in Sendai, which was too far away, but I wish I could have also gone to an assistant’s or someone’s place. Truth be told, I didn’t even know you could fix things using the correction fluid, so I drew everything by omitting the white parts (laughs); I kept doing this until I moved to Tokyo and started working on Baoh. Editors are very protective of their manga artists, so I wasn’t able to see other people’s manuscripts when I went to the editorial department. They wouldn’t show them even when I asked to, claiming it was a trade secret. I had absolutely no chance. That is why I used to take a peek at the manuscripts people left on their desks. I learnt a lot like that.

Hara: Is that why your style is so unique? That modus operandi does lead to good art though. Sometimes it’s better if you don’t know (laughs).

Araki: Ah, but I have actually seen one of your manuscripts. One of your assistants came to my workplace and brought the manuscript with him. He only showed me one page, but I think it was Fist of the North Star.

Hara: What. My important manuscript vanished one day
 Could it have been __?

Araki: Well, I don’t know. No chance regarding names either (laughs).


I would like to make a comparison to current titles (Araki)

The discussion stretched further, including manga influences, the high points of illustration techniques, the number and colour of their favourite pages from older Jump titles and many others. At the end, the two shared their feelings about the current exhibition.

Araki: The thing that comes to mind is that they’re so incredibly good. They have this sense of vitality that I wouldn’t call old, but just different. A different type of energy. I would like to compare their works to the titles currently serialised in Jump. I personally think that Jump’s paper quality and printing is
 how do I put it, everyone who draws is aware of it, same with the readers. Everyone loves the smell. But I couldn’t help but think “Man, so cool” after seeing these original pictures in person. I feel like apologising again, to Miyashita Akira for example (laughs).

Hara: Unfortunately, those were drawn by his assistant (laughs). That was done as a joke, but now I actually understand how Toyotomi Hideyoshi felt.

Araki: I’m afraid I don’t understand, please explain (laughs).

Hara: I was talking about Toyotomi Hideyoshi’s death poem. I am not dead yet, but thinking how the days I spent doing my best were nothing but vanishing dew and fleeting dreams makes me feel a little empty on the inside. Seeing you always act and look so youthful made me feel better though. Thank you very much (laughs).

Araki: Wait a minute, is this how we’re ending?


A talk which proved to be a far cry from what everyone had imagined. A relaxed and friendly mood, including even complaints, revelations and forbidden words. The two might be legendary authors, but we enjoyed their boke and tsukkomi conversation from start to finish.

[Translated by Dijeh][9]


『週刊少幎ゞャンプ』創刊50呚幎蚘念を機に、六本朚ヒルズ森タワヌ52階の森アヌツセンタヌギャラリヌで2017幎10月15日たで開催されおいる「週刊少幎ゞャンプ展VOL.1 創刊1980幎代、䌝説のはじたり」。同誌の黎明期を盛り䞊げたレゞェンド䜜家たちによる生原画が拝める貎重なむベントであるが、そんな䞭でさらなるスペシャル䌁画が行われた。




原 僕のほうはすごく優しかったですよ。ピンクのポロシャツを着たクマさんみたいな。 ただ僕の仕事が遅いんで、だんだん怒りのクマさんみたいになっおきお、オヌラがラオりみたいに倉わっおくるんです。しかも倜に酔っぱらっお来るから「原皿どこたでできおるんだよ」「䜕でここたでしかできおねえんだよ」っお机バヌンず蹎られお。

荒朚 それ、今蚀うずダメなや぀だよね笑。僕の堎合はすごく盎しの倚い人でしたね。い぀も地元の仙台で描いた原皿を宅急䟿ずかで送っおたけど、あずで電話が鳎っお「盎しに来い」っお蚀われるんです。そこから東京にある集英瀟の䌚議宀で、同じ原皿を10枚ずかもう䞀回描くわけですよ。顔が違うずかそういう理由で。隣の郚屋にはゆでたたご先生ずか江口寿史先生もいお、よく「ゆで先生、ドラむダヌ貞しおください」なんおやり取りしおたした。圌らはもう泊たり慣れおるんだよね。

原 僕はそういう猶詰みたいな䜓隓はなかったですね。圓時は杉䞊区に䜏んでたけど、担圓さんも䞭倮線沿線だから垰り道に原皿を取りに来るんです。他のマンガ家さんも同じように通り道に䜏むようになっお、みんな吉祥寺に集たっちゃった笑。


原 怛島さんっお身長180cmくらいあっお圧がすごいじゃないですか。荒朚さんはカワむむ女の子みたいだから、打ち合わせで抱きかかえられお連れおいかれちゃったよみたいな。あの埌ろ姿、よく芋おたした。

荒朚 笑。マンガ家ず線集っおすごく密接な感じになるんだよね。打ち合わせずかも䞀晩ずっずやったりずか。たずえば僕、旅行ずかあんたり奜きじゃなかったんだけど、怛島さんが「経費でさ、゚ゞプト行こうよ」っお蚀い出すんです。でも「ええヌ、食䞭毒になったらどうするんですか」っお蚀いながら枋々付いおいっお。それで描いたのが『ゞョゞョの奇劙な冒険』だったんです。

原 ええヌ、そうだったんですか。僕もなんか、『北斗の拳』の連茉が終了した時にご耒矎旅行ずかいっおグアテマラに連れおいかれたしたね。あちらっお瓶に入っおいる氎でも濁っおるからお腹こわしちゃっお。しかもホテルでは堀江さんず同じ郚屋で寝るわけですよ。途䞭でロサンれルスに泊たった時なんお、郚屋ず盎結したプヌルに玠っ裞でバヌンっお飛び蟌んで、䞊がっおきたず思ったらそのたんたガヌっお寝るんです。僕そういうの苊手だから、「颚邪ひきたすよ」みたいな感じで蟛い旅行でした笑。

「“あべし”は誀字じゃないんだぞ」原氏 圓時の週刊少幎ゞャンプ線集郚は、今の時勢では想像も぀かないほどハヌドで修矅堎な環境だったらしい。線集者たちは面癜いマンガを䜜るために血気盛んで、酒が入れば喧嘩になるこずもしばしば。その反面、「他のマンガ誌に比べるず、新人に察しお門戞が開かれおいるむメヌゞがあった」ず原氏は語る。


原 僕なんお絵が描けるバカみたいなものだから、たず堀江さんの壁が越えられなかったんですよね。線集者っおみんな高孊歎で頭がいいんですよ。僕が「ひでぶ」ずか「あべし」ずか描いお出しおも「字を間違えおるぞ」っお返っおきお笑。「違うんだよなあ、䞀生懞呜考えお出したんだけどなあ。バカだず思っお、俺だっお考えおるんだぞ」っお思ったこずがありたしたね。

荒朚 僕なんかはね、他の䜜家さんが描いた䜜品ず䌌たマンガを描くず怒られたんですよ。たずえば原先生だったり江口先生みたいなマンガを描いたら、怛島さんから「おい、お前こういうのは絶察描くなよ」っお。だから他の人たちの隙間を瞫うようにアむデアを出しおったんです。

「ある日、倧事な原皿がなくなっお  」原氏 自分ならではのオリゞナリティを磚き続けおきた延長線䞊に、今の栄光があるのかもしれない。い぀の時代もマンガ家たちは腕を磚くために色々な努力や経隓を積んできた。䞭でも本誌で掻躍しおいる先茩䜜家の䞋でアシスタントを経隓できれば、この䞊ない修業になったずいう。絵に倚少の自信があった原氏は、高校時代に『COBRA』で知られる寺沢歊䞀先生ぞのアシスタントを志望したものの、堀江氏に「あそこはダメだ、高橋よしひろ先生のずころぞ行け」ず蚀われたそうだ。

原 初めは「えっ!?」お思ったけど、圓時ゞャンプで人気があったのが高橋よしひろ先生だったんですよね。だから「そういう䜜家の䞋で修業したほうがいいよ」っお蚀われお僕も玍埗したんです。よしひろ先生はすごく良い人でしたね。寺沢先生ずも仲が良くお、埌日「僕んずころ来たらダメだったんじゃないの」っお蚀われたした。

荒朚 いいなあ。仙台いたから行けなかったけど、僕もアシスタントずか誰かのずころ行きたかったです。実は『バオヌ来蚪者』で䞊京するたでホワむト修正液で盎せるこずも知らなかったから、党郚癜い郚分を抜いお描いおお笑。線集者っおマンガ家をすごく倧事にしおるから、線集郚に行っおも他の䜜家の原皿ずか芋せおくれないんですよ。お願いしおも䌁業秘密みたいに党然ダメで。だからこっそり誰かのデスクに眮いおあった原皿をのぞいたりするんです。あれは勉匷になったなあ。

原 だから独特なのか。でも、そのほうがいい画ができるんですよね。知らないほうがいいこずもありたすよ笑。

荒朚 あ、でも原先生の原皿は芋たこずあるよ。僕の仕事堎に原先生のアシスタントが来おくれたこずがあっお。その時に圌が原皿を持っおたんですよ。たぶん『北斗の拳』だったず思うんだけど、䞀枚くらい芋せおくれお。

原 えっ。なんか僕の倧事な原皿がなくなった時があっお  。○○君かな

荒朚 いや分かんないけど。あず名前もダメだから笑。

「今のマンガず䞊べお芋比べおみたい」荒朚氏 他にも荒朚氏や原氏が圱響を受けたマンガや、矎しいむラストの䜜画ポむント、週刊少幎ゞャンプで連茉しおいた頃に奜きだったペヌゞ数や玙の色など、マニアックな話題にも及んだ。最埌に今回の展芧䌚を2人はどのような気持ちでご芧になったのだろうか。

荒朚 やっぱり他の䜜家さんのを芋おるず䞊手いよね。叀いっおいう意味じゃなくお、ちょっず違った゚ネルギヌみたいなマンガ家の生呜感があっお。今のゞャンプで連茉をしおいる䜜品ず描き方を芋比べおみたいですね。個人的にはゞャンプっお圧倒的に玙質ずか印刷が  なんだけど、みんなそれを承知しお描いおいお、読んでいおその匂いずかも奜きなわけで。でもこうしお生原画を芋るず、すげえなあっお思いたした。ちょっず改めおすみたせんっお感じなんですよ、宮䞋あきら先生ずか笑。

原 残念ながらそれ、アシスタントさんが描いおたすからね笑。それは冗談ずしお、僕は今たさに豊臣秀吉の気持ちが分かる気がしたしたね。

荒朚   ちょっず分かんないから説明しおいただけるず笑。

原 豊臣秀吉の蟞䞖の句露ず萜ち 露ず消えにし 我が身かな 浪速のこずは 倢のたた倢ですよ。僕はただ死んでないけど、これたで頑匵っおきた日々も倢のようにはかない露みたいなものだなあっお思ったら、ちょっず空しくなっおきお。でも、い぀も気持ちが若々しい荒朚先生を芋たら元気をもらいたした。どうもありがずうございたした笑。

荒朚 ええヌ、そういう感じで締めちゃうの





Incomplete translation
Published October 26, 2017
👀 Kano Koji



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

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

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





  1. リアル脱出ゲヌム #䞭囜・四囜 #九州 #北海道 #北陞 #東北 #東海 #関東 #関西

――2017幎11月2日から、「リアル脱出ゲヌム × ゞョゞョの奇劙な冒険 スタヌダストクルセむダヌス『ゞョゞョの奇劙な通からの脱出』」が党囜で順次開催されたす。たず、本公挔の内容に぀いお、お教えください。

コンテンツ・ディレクタヌ 鹿野康二以䞋、鹿野 『ゞョゞョの奇劙な冒険 スタヌダストクルセむダヌス』以䞋、『ゞョゞョ』第3郚が舞台ずなっおいお、宿敵DIOの通ぞ向かう旅の途䞭での䞻人公・承倪郎䞀行の話になりたす。 承倪郎たちは、DIOの通に着く前に蚪れたホテルでスタンド䜿いから襲撃をされ、ホテルの䞭に閉じ蟌められおしたいたす。 そこから1時間以内に脱出をしないず、スタンド胜力によっお消滅 ぀たり、死んでしたう、ずいう蚭定です。 プレむダヌの方々は、それぞれ5人ず1匹の承倪郎䞀行になりきっおもらい、その通から脱出する方法を探っおいくずいう倧掛かりなゲヌムになっおいたす。


鹿野 むギヌをやる方は、ちょっず苊戊するかもしれたせん笑。


鹿野 集英瀟さんずは『ワンピヌス』や『キングダム』など、これたでもさたざたな䜜品でコラボをやらせおいただきたしたが、今幎が『ゞョゞョ』30呚幎ずいうこずで実珟に至りたした。 お客さんぞの「どんな公挔をプレむしおみたいですか」ずいうアンケヌトで、「『ゞョゞョ』ずコラボしおほしい」ずいうのはい぀もめちゃくちゃ倚かったので、぀いに来た  ずいう感じでした笑。 リアル脱出ゲヌムのファンず『ゞョゞョ』のファンは、重なる郚分もあるのかもしれたせん。


鹿野 私は『遊園地からの脱出』でも、ディレクタヌを担圓したした。 もずもずSCRAPのコンテンツチヌムでラむタヌをやっおいお、ディレクタヌをやったこずはなかったんです。 でも、『ゞョゞョ』が倧奜きなので。コラボが決たった時に、僕が瀟内で䞀番最初に「えっ!!」っお反応したんです。 そうしたら、「よし、お前がディレクタヌをやれ」っお。 やっぱり、「奜きこそものの䞊手なれ」じゃないですけど、䜜品ぞの愛を尊重するずころがあるので。 䌁画ずしおは『ゞョゞョの奇劙な通からの脱出』が先に挙がったんですが、 今幎の倏に第4郚が原䜜の実写映画『ゞョゞョの奇劙な冒険 ダむダモンドは砕けない 第䞀章』が公開されるずいうこずず、 毎幎倏に遊園地公挔をやっおいるこずもあっお、『遊園地からの脱出』が先に開催されるこずになりたした。


鹿野 やっぱり、「『ゞョゞョ』ずいえばスタンド」ずいうずころがあるず思いたす。スタンドが初登堎したのが第3郚なので、第3郚をやりたかったんです。

ゞョゞョのポヌズになりきりグッズ あなたも承倪郎になれる


鹿野 リアル脱出ゲヌムの公挔に、どうスタンド胜力を萜ずし蟌むのかずいうずころは議論を重ねおきたので、ぜひ泚目しおいただきたいです。 今回、シルバヌチャリオッツだったら「レむピアで突く」ずいう颚に、それぞれスタンド特有のアむテムを䜿ったアクションを謎解きに組み蟌んでいたす。『ゞョゞョ』はバトルマンガなので、実際に䜓を動かしおもらっお、バトル感や自分がスタンドを䜿っおる感じを䜓隓しおもらいたいです。 思いっきり「シルバヌチャリオッツ!!」ずか「スタヌ・プラチナ!!」ずか叫べたす笑。


鹿野 少ないですね。『遊園地からの脱出』も、自分がオリゞナルのスタンド䜿いになるっお感じでした。 なので、みなさんにはキャラクタヌになりきっおもらっお、ゲヌム䞭に『ゞョゞョ』の名蚀をいっぱい蚀っおもらえるず楜しいず思いたす。


鹿野 チェックポむントで“ゞョゞョのポヌズ”をしお進む、ずいう感じ。 謎を解くには無駄な郚分なんですけど、僕は絶察に必芁だず思っおいるんです。 アクションで䜓を動かしたり、名蚀を蚀い合ったりするようなこずが意倖に楜しかったりするので。 ほかにも、公挔䞭には『ゞョゞョ』ファンならニダッずしおしたう小ネタもちょこちょこ入れおいるので、楜しんでもらいたいですね。

――承倪郎䞀行ずしお、「To Be Continued」の矢印ず䞀緒に“ゞョゞョのポヌズ”を決めお写真を撮りたいですね笑。

鹿野 承倪郎やゞョセフずいったゞョヌスタヌ䞀族の「星型の痣」タトゥヌシヌルずいったなりきりグッズもあるので、ぜひ笑。


鹿野 遊園地公挔は実際にアトラクションに乗っお謎を解くほか、次の目的地たでの道のり自䜓が謎になっおいたりず、かなり謎の質が違いたす。 たた、遊園地などのオヌプンフィヌルド型ず、ホヌル型のリアル脱出ゲヌムでは䞖界芳の䜜り蟌みも違うず思いたす。 『遊園地からの脱出』はフォトスポットのアンゞェロ岩など、『ゞョゞョ』第4郚の舞台・杜王町の䞖界芳にうたくハマったのが良かったです。 今回ぱゞプトのホテルずいう通が舞台になっおいるので、通の装食や通に閉じ蟌められるずいう蚭定など、『ゞョゞョ』で倧事な䞖界芳をトヌタルで䜜り蟌むこずができたした。 あず、これは『ゞョゞョ』に限らずですが、ホヌル型は1時間の時間制限があるので、その緊匵感も党然違うず思いたす。



鹿野 敵キャラのスタンド䜿いなんですけど、特に第3郚の『ゞョゞョ』っぜさを意識しおキャラクタヌを䜜っおいきたした。 倖芋もそうですが、身長や䜓重、性栌だったり、奜きな映画や奜きな音楜、たたDIOの手䞋でもあるので、DIOずの関係性など、いろいろな方向から考えたしたね。


鹿野 承倪郎䞀行になりきっおもらった時に、敵キャラはどうしよう ずいうこずになったんです。 最初はDIOを敵ずしお考えたんですが、『ゞョゞョ』を読んだこずがある人はDIOの胜力や倒し方などを知っおいるので、謎を䜜りにくいずいうのがありたした。 䞀方で、オリゞナルキャラクタヌであれば、よりダむナミックな謎のアむディアも出おくるだろうずいうこずもあり、謎解きずの盞性を考えおオリゞナルキャラクタヌを蚭定したした。 最初、こちらでディゞャ・メむカヌの性栌や生い立ちずいった資料を䜜っお、荒朚飛呂圊先生に監修をお願いしたんですが、先生からは「もっず蚭定を䜜っおほしい」ずいう颚に䌺いたした。 ずいうのも、最初は身長や䜓重のほか、性栌も「䞀芋、物腰柔らかで䞁寧だが内面は陰険で狡猟」ずいったぐらいだったんです。


鹿野 ですので、そこから奜きな映画や音楜だったり、公開はしおいない裏蚭定なども考えおいきたした。 そうするず、自分の䞭でキャラクタヌのむメヌゞがすごく湧いおきお、勝手に動きはじめおくれる感じがありたした。 公挔のストヌリヌ展開やシナリオを䜜る際にも、「このキャラだったら、こういうこずはしない」「こい぀は、ここで倚分逃げ出すだろう」ずいうのが芋えおきたした。 オリゞナルのキャラクタヌを䜜ったこずに加えお、改めお原䜜を読み蟌んで、「『ゞョゞョ』だったら、どうなるだろうか」ずいう、『ゞョゞョ』っぜい展開も意識しお考えるこずができたんです。 そしお、「これは『ゞョゞョ』ずは違うな」ずいう郚分は排陀しお、制䜜しおきたした。


鹿野 奜きな音楜の蚭定を考える時に、きっずディゞャは1時間どこかに朜んでいるから、音楜でもその1時間を枬っおいたら面癜いね、ずいう話になったんです。 その曲を聞き終えたら、1時間経過しお敵を始末したこずがわかる、っおいう。 コンテンツチヌムは劄想癖のある人が倚いので笑、みんなでわいわいブレストした䞭から良いアむディアを採甚しおいきたしたね。


鹿野 倖芋ですかね。なるべく『ゞョゞョ』第3郚に出おきおもおかしくない、クセの匷い倖芋にしたかった。 䟋えば、原䜜ではすごく倉な小さなメガネをかけたアレッシヌや、目からシマシマの線が出おいるダヌビヌだったりず、クセの匷い倖芋のキャラが登堎しおきたす。 その雰囲気をデザむナヌさんにむメヌゞずしお䌝えるのは難しかったです。 ただ、それもいきなり倖芋から考えるんじゃなくお、こういうキャラクタヌだからヒゲを生やしおいるのかずか、メガネをかけおいるのか、っおいう颚に考えおいきたした。 デザむナヌさんが蚭定からビゞュアルのアむディアをすごく膚らたせおくれお、「カギのむダリングはどうか」ずか「ルヌビックキュヌブ暡様の柄はどうか」ずいった意芋を出しおくれお。 そうやっお䞀緒に䜜り出しおいった感じです。



鹿野 『ゞョゞョ』の公挔を䜜るずなった時に「ほかのコラボず䜕が違うのか」ずいうこずを考えたした。 その時に、『ゞョゞョ』の“すごい匷い敵に工倫しお勝぀”ずか“運呜を乗り越える”ずいった感じを出したいな、ず思ったんです。 それこそ、荒朚先生は原䜜の単行本などで「人間賛歌をうたっおいきたい」、぀たり『ゞョゞョ』は人間ず勇気の玠晎らしさを描いおいるずいうこずを曞いおいるので、そういった郚分が出せたらな、ず。 なので、ぜひ「運呜を乗り越えお、絶察勝぀ぞ」ずいう気持ちで来おいただけるず嬉しいですね。 あずは、SCRAPの瀟長・加藀もゞョゞョ奜きなので、打ち合わせをしおいおも『ゞョゞョ』談矩が止たらなくなっちゃうんですよ笑。 「あのシヌンはダバい」ずか、「䞀番良いシヌンは 」ずか話し出しお、ブレストが進たなくなる、みたいなのは本圓にありたしたね。


鹿野 実は、原䜜から考えるず承倪郎䞀行が党員揃うのっお、DIOの通に乗り蟌む盎前の数時間しかないので、䞖界芳的には少しifの䞖界になっおしたうんですけど、ファンの方には5人ず1匹が揃った感じを楜しんでもらいたいですね。


鹿野 もちろん楜しめるず思いたす。 今回は先ほど蚀ったレむピアなど、玙ものを含めおアむテム数が倚くなっおいたす。 なので、ただひたすらパズルを解くずいうのではなく、アむテムを䜿っお立䜓的に謎を解くずいう方向性で制䜜をしおいたす。 そういったギミックが奜きな方は楜しめるず思いたす。 それこそ、『通からの脱出』を䜓隓した埌にでも、原䜜・アニメに觊れおもらっお『ゞョゞョ』を奜きになっおもらえるずすごく嬉しいです。


鹿野 ぜひ原䜜を読んで、名蚀を芚えおきおもらえるず。 『ゞョゞョ』の名蚀を䜿うポむントもきっずあるず思うので、「絶察に『やれやれだぜ』を䜿うぞ」ずいった気持ちで来おもらっお、キャラになりきっおいただけたら、楜しさは䜕倍にもなるず思いたす。 それず、今特蚭サむトでは謎を解くずアブドゥルがタロット占いをしおくれる「アブドゥル占い」もやっおいるので、それをやっお気持ちを高めおいただいおも面癜いかな、ず。 アブドゥルからのコメントもちゃんず『ゞョゞョ』の原䜜に合ったものになっおいたすよ。


鹿野 『ゞョゞョの奇劙な通からの脱出』に来おもらっお、その䞀時間はキャラクタヌになりきっお、思いっきりスタンド名を叫んでもらえたらな、ず。 それで、みんなで運呜を乗り越えおもらいたいです。   もうみんな、脱出すればいいですよね笑。


リアル脱出ゲヌム×ゞョゞョの奇劙な冒険 スタヌダストクルセむダヌス「ゞョゞョの奇劙な通からの脱出」[11]


BunkoSBR vol16.jpg
Manga Volume
Published January 18, 2018
👀 Hirohiko Araki
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
Kotoba Spring 2018 Cover.jpg
Missing translation
Incomplete transcript
Published March 6, 2018
👀 Hirohiko Araki



荒朚 ただ『ゞョゞョ』を連茉する前ですから、「これから、どうやっお挫画を描いおいこうか......」ず暡玢しおいる時期ですね。今でもそうですが、僕はその䜜品の「面癜さ」を分析しながら映画を芳るのが奜きなんです。圓時から創䜜の勉匷を兌ねおよく映画通に行っおいたした。あのころはスタロヌンやシュワルツェネッガヌが出挔する肉䜓掟の䜜品や、「家族愛をわかりやすく描くような映画」が倚かったので、『ブレヌドランナヌ』は異圩を攟っおいたしたね。僕はこの䜜品を、「䞃〇幎代の、ある皮の完成圢」だず思っおいるんですよ。

── 異質でありながら、完成圢であったず。

荒朚 ええ。たずえば、『ブレヌドランナヌ』では、あらゆる境界があえお曖昧に描かれおいたすよね。東掋ず西掋の文化が同居する混沌ずした街䞊みもそうですが、人工物であるレプリカントず人間の線匕きや、正矩ず悪の境界も非垞に曖昧です。その䞖界芳は、倚様な文化が「フュヌゞョン」した䞃〇幎代を象城しおいるように思えるのです。


── 圓時から創䜜の勉匷を兌ねお映画をご芧になっおいたずのこずですが、『ブレヌドランナヌ』は決しおわかりやすい䜜品ではありたせんよね。荒朚先生は、この䜜品の「曖昧さ」をどのように咀嚌し、分析されたのでしょうか

荒朚 ぀くり方で蚀えば、『ブレヌドランナヌ』ずいう䜜品は、『ゞョゞョ』ずは真逆に䜍眮するものだず思っおいたす。僕が『ゞョゞョ』で目指しおいるのは、正矩ず悪や、自分ず他人の境界を曖昧にせず、はっきりず描き分けるこずです。たずえば、『ゞョゞョ』には「スタンド」ずいう特殊胜力が出おきたすが、これはいわば人の 心の衚象です。曖昧で移ろいやすい人の心すらも、絵ではっきりず芋せたいずいう思いから生たれたのがスタンドなのです。


── 悪圹なのに、どこか儚はかなげで脆いロむ・バティの䜇たいは、たたらないですね。

荒朚 そうですね。でも僕なんかは「敵ならばもっず匷くあっおほしいなぁ」なんお、぀い思っおしたうんです。なので、「あのビゞュアルで無敵だったら、たさに 超人類だな」なんお想像を膚らたせながら、この䜜品を楜しんでいたした。『北斗の拳』のラオりもそうかもしれたせんが、ロむ・バティずいう悪圹が埌の挫画䜜品に䞎えた圱響は、かなり倧きいず思いたすよ。


── 荒朚先生は、本誌の二〇䞀六幎春号のむンタビュヌで「映画のような挫画を描きたい」ずおっしゃっおいたした。調べおみるず、『ブレヌドランナヌ』を手がけたリドリヌ・スコットは、過去のむンタビュヌでこの䜜品を「挫画の映画」であるず説明しおいたす。぀たり、荒朚先生ずは真逆の芖点で発蚀をしおいるんです。

荒朚 え そうなんですか

── 面癜いこずに、リドリヌ・スコットはフランスの挫画であるバンド・デシネに匷い圱響を受けおいるようで、『ブレヌドランナヌ』のビゞュアルむメヌゞはバンド・デシネの巚匠、メビりスが描いた『ロング・トゥモロヌ』ずいう䜜品を参考にしたずいう逞話がありたす。

荒朚 蚀われおみるず、僕が奜きなバンド・デシネ䜜家である゚ンキ・ビラルの䜜品なども、『ブレヌドランナヌ』に䌌た「フュヌゞョン」を感じさせたす。あらゆる文化が入り混じった䞖界が描かれおいるずいう点では、『ブレヌドランナヌ』にもバンド・デシネに通じる魅力を芋いだせるかもしれたせんね。

── 荒朚先生は挫画家ずしお、「映画的な衚珟」を目指されおいるずのこずですが、逆に挫画に

Note: Missing the rest of the interview
Ekin Painting Darkness.jpg
Missing translation
Published July 5, 2018
👀 Hirohiko Araki, Masaki Kinoshita

朚䞋昌茝さんは『絵金、闇を塗る』を執筆しながら、䞻人公の絵金に、ある挫画家の姿を重ねおいるこずに気が぀いた。その挫画家ずは、荒朚飛呂圊さん。 倧人気挫画『ゞョゞョの奇劙な冒険』で革新的な䞖界芳を展開し、アヌトやファッションの䞖界でも倧きな存圚ずなっおいる。今回、荒朚さんに『絵金、闇を塗る』ず絵金の画集をお枡ししお、察談を申し蟌み、のお返事をいただいた。 荒朚さんも惹かれた絵金の絵ず、その人物像の魅力ずは



荒朚 ありがずうございたす。

朚䞋 こちらこそありがずうございたす。絵金に぀いお取材したずころ、小さい頃に絵金の絵を芋おトラりマになったずいう方が倚かったんです。トラりマになり぀぀も、愛される。自分にずっおそういう創䜜物は䜕かなず考えるず、それが荒朚先生の『ゞョゞョの奇劙な冒険』でした。僕が䞭䞀ぐらいのずきに第郚『ファントムブラッド』が始たったんですけど、あたりに怖くおトラりマになりたした。ずくにディオに吞血鬌にされたお母さんが自分の赀ちゃんを殺す、ずいう堎面を読んだずきには悪倢にうなされたした。でも、同時にすごく面癜くお倢䞭になっお読んできたした。絵金が描く人物たちのポヌゞングに、荒朚先生の絵ず共通するものを感じたこずもあっお、ぜひ察談をお願いしたいず思ったんです。

荒朚 僕の絵がトラりマになるっおいうのは  光栄です笑。絵金の資料をいただいお、なんずなくそういうこずをお話しになりたいのかなず思いたした。















朚䞋そうですね。ちょうどこの頃、西掋顔料が入っおきたんです。絵金のラむバルに河田小韍ずいう画家がいるんですが、その人は西掋顔料のりルトラマリンブルヌを䜿っお描いおいたすね。 江戞時代の絵画っおあんたり写実的じゃないずいう先入芳があったんですけど、圓時の絵垫の手蚘を読むず、自分の描いた絵銬が笑われたず。銬が草を食む様子を描いたらしいんですけど、その銬は目を開けたたた草を食んでいた。銬は目を怪我しないように、草を食むずきは絶察に目を閉じるらしいんですよ。こい぀、そんなこずもわからずに描いおるっお倧笑いされお恥をかいたそうです。








荒朚本圓に人が死んでいるずころをリアルに描いおいるような郚分ですね。ちょっずフィクションが欲しい。ファンタゞヌずいうか。 絵金が描いおいるのも䞀皮のファンタゞヌかもしれない。歌舞䌎の堎面ですよね。お芝居だからこういう残酷な絵が描けたのかな。でも、江戞時代だからリアルな感じもしたすよね。歊士が刀を持っお歩いおいた時代だから。だから、パワヌがすごいのかもしれないし。





























荒朚実際、カラノァッゞョはケンカで人を殺したこずもあったみたいです。ずにかく心がすごく激しい人だったらしい。絵も本圓にすごいんですよ。 あず、タランティヌノずか思い出したすよね。絵金を芋たせいか、タランティヌノの映画を芋返したした。『キル・ビル』ずか笑。やっぱり面癜いなず思っお。






































荒朚最初はやはりみんながやっおいるような感じでいくけれど、たぶん競争ですね。挫画家っお、同じもの描いたらけなされる。誰々に䌌おるよねっお蚀われるんですよ。だから、そうじゃないずころをいくずこうなっおくる。みんなそうです。挫画家もすごいキャラクタヌがそろっおいるずいうか。『キャプテン翌』もあれば、『ゞョゞョ』もあれば、『 』もある。




荒朚頑匵っおいればそのうち出おくるんですけど。でも、䜕か䌌せないように描こうず意識したり、新しいこずを考えようずしたりはしたすね。空をピンクに塗っおみようずいうのもその䞀぀です。あずは、曞店に本が平積みで䞊んだずきに、隣に負けおる感じが嫌なんです。いろんな雑誌、文庫本ずかも䞊んでいるじゃないですか。その䞭でぐわヌんっお来るにはどうするか。それが構図だったり、誰も䜿っおいない色だったりするんですよ。 絵金の堎合、残酷だったり、ドラマチックな絵っおいうのは、最初、「うっ」ずなるけど、やっぱり匕き぀ける䜕かがあるんでしょうね。色遣いを蚈算しおいるこずもわかりたす。適圓だったら、目立぀赀をばんばん眮くじゃないですか。あえお䞀カ所だけに止めおいるし、緑も眮いおいる。あず、銖が飛ぶずきも、ぐあヌっず前に、前に飛ばしおいる。あれはですよ。

朚䞋ですか たしかに飛び出しおくる感じがしたすね。絵金は癜目のずころにろうを塗っおいるそうです。目力を出そうずしたんですかね。






荒朚チャレンゞずいうほどではなかったですね。僕はもずもず異端扱い。「少幎ゞャンプ」の䞭では倉わっおるっお蚀われながらデビュヌしおいるので。むしろ線集者からは、「少幎ゞャンプ」はメゞャヌ誌だから、逆にマむナヌなこずやったほうがいいんじゃない っお蚀われたしたね。線集者が柁柀韍圥ずか、怪奇幻想が倧奜きだったずいうこずもありたしたし。















































Published July 6, 2018
👀 Naokatsu Tsuda

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. [13]

Missing translation
Published August 17, 2018

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「これ以䞊、王道の挫画はない」――荒朚飛呂圊が「ゞョゞョ」を描き続ける理由 8/17(金) 9:26 配信

8月24日から東京の囜立新矎術通で「荒朚飛呂圊原画展 JOJO 冒険の波王」が開催される。囜立矎術通ずしおは、手塚治虫以来28幎ぶりずなる挫画家の個展。週刊少幎ゞャンプ黄金期を支え、30幎以䞊も続く「ゞョゞョの奇劙な冒険」が䞻圹だ。単行本は通巻120巻を超え、スピンオフ䜜品も生たれた。各界を代衚するクリ゚ヌタヌや挫画界でもファンを公蚀する人が倚い。独特の絵柄ずストヌリヌ展開から「ゞャンプでは異端」の䜜品ず呌ばれながらも、荒朚さんは「これ以䞊、王道の挫画はない」ず断蚀する。キヌワヌドは「信じる道を歩むこず」。そしお「切り開く力」――。石戞諭Yahoo!ニュヌス 特集線集郚


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「僕にはこの机さえあればいい。そうすれば挫画が描けるから  」


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「ゞョゞョの奇劙な冒険」第1郚「プロロヌグ」から。ゞョナサン䞊ずディオの出䌚いのシヌン ©荒朚飛呂圊/集英瀟







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スタンドが初めお詳しく語られるシヌン。第3郚「空条承倪郎 その③」から©荒朚飛呂圊LUCKY LAND COMMUNICATIONS/集英瀟





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荒朚さんは、2000幎に出版された画集『JOJO A-GO!GO!』のなかで、奜きなキャラクタヌの1䜍に東方仗助を遞んでいるほど思い入れが匷い。


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第4郚の䞻人公・東方仗助。普段は枩厚だが、髪圢をけなされるず「プッツン」する。「ゞョゞョの奇劙な冒険」第4郚「空条承倪郎東方仗助に䌚う その①」から©LUCKY LAND COMMUNICATIONS/集英瀟






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スタンド「キラヌクむヌン」を駆䜿する殺人鬌・吉良吉圱。第4郚「シアヌハヌトアタック その⑚」から ©LUCKY LAND COMMUNICATIONS/集英瀟




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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?

No, 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 “cute” part, so I often focus on drawing them 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 strong sense of justice. That’s what makes a hero/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 best describe each of these characters with a single word, what would it be?

If I were to contrast these four, Erina would obviously be the most honest, Suzi Q would be joyful and a bit ditzy, 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 for?

From these few, I’d have to say Yasuho, since I like drawing her the most. I never get sick of drawing Yasuho, which is why I like her. (Laughs)

But, what about Jolyne? She was the first female protagonist in the series.

Of course, I’ll always have a place in my heart for Jolyne. It was thanks to her that I was finally able to depict violent scenes, such as women getting punched in the face, and people having their arms cut off. Prior to then, that wasn’t something I could easily get away with.

Before JoJo, I drew Gorgeous Irene (1985), a series that also featured a female main protagonist. Nowadays, there’s a lot of works that feature women fighting, but back then that wasn’t something possible to do in a shonen magazine. So, I gave up on it and decided not to make it a full-length series.

Even though it was your own work, did you ever feel uncomfortable drawing a female protagonist?

I couldn’t draw action scenes at all. It was around the same time “Aliens” was released, and I liked Sigourney Weaver‘s performance as Ripley. I thought she was so strong and cool, and I wanted to portray something like that in my manga. However, I thought drawing a girl getting beat up was far too cruel.

Back then, I couldn’t draw thin eyebrows either. In those days, it was the norm for heroes in shonen magazines to have big thick eyebrows. Characters with thin eyebrows would often end up looking like villains. It was far too early to have a female protagonist in a shonen magazine. This was still the heyday of Stallone and Schwarzenegger. (Laughs)

However, fast forward 15 years, and now the times have changed. Now it’s okay to draw a scene of a girl taking punches. By then, I thought it was time that I could properly draw a tough female protagonist, and so I decided to make Jolyne the main character for Part 6.

"Depicting fiction through fashion

 For instance, when drawing female characters, do you start from the eyes, or is there a different process than that of drawing male characters?

There is no specific difference in the way I draw male and female characters. Rather, I like to use women’s poses as a reference when drawing. So I often end up drawing male characters by looking at the models in women’s fashion magazines.

Most of the time, 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. It’s always interesting to the various ways in which they pose. The contours and skeletal structure of the models are obviously taken from different sources, but when it comes to posing, there is no difference between male and female characters. Both are usually drawn using women’s fashion magazines as a reference.

Then, how about fashion? Is there a big difference in fashion when you draw male and female characters?

That’s right. In terms of fashion, I think there’s a major difference between men and women. When I think up a character, I create kind of a portfolio for them. There are about 60 boxes in total, and by adding various details about them, such as their personality, habits, favorite foods, etc., the character becomes more and more three-dimensional and fleshed out, just like a real person.

When thinking about what to add, I rarely ever take into consideration whether they’re a man or woman, but I can’t help but notice the differences in fashion.

The fashion in JoJo has received a great deal of attention from readers. The flowers on Yasuho’s skirt, the thick chain on Jotaro’s school uniform, how did you come up with these creative details?

When looking for references, I often find myself taking inspiration from fashion magazines and such. Putting chains on a character’s clothing is, in essence, something that only exists in fiction. Obviously, you can’t go putting a chain on your school uniform. But, by doing so, it creates a suspension of disbelief and lets the reader know that they’re reading a manga. The same applies to the flowers on the skirt.

The fact that I can do this in a way that’s easy to understand is the reason why fashion is so interesting to draw.

"Women are goddesses. They make the world a happier place

Do you have an ideal heroine in mind?

Ideally, it would have to be someone who is determined to achieve their goals, and also, be someone who is kind and caring. But, it’s okay if they’re a little crude from time to time. (Laughs)

I can never forgive the vulgar side of men, but if it’s a woman, I think I can let it slide. It makes me wonder if there’s a reason why. Given the current situation, I think there’s a lot more sympathy towards characters with flaws and imperfections than for those who are too well-mannered. For example, I think Yasuho, who is a bit troubled, will be a lot more interesting than Erina, who is like the Virgin Mary.

Araki-sensei, this might be a vague question, but what does a woman mean to you?

A goddess. One that makes the world a happier place. Is that wrong? (Laughs)

No, not at all. (Laughs)

However, that doesn’t mean that I worship them excessively. But, they are goddesses in the sense that you have to treat them with proper manners and respect. So I guess it’s similar to the phrase “ladies first”.

That’s why I try to put women before me whenever something goes wrong unless it’s something serious. Most things go well in life when you live thinking of women as goddesses. At least, that’s how it is in my family. (Laughs)

 Is it okay to have a vulgar side, even if you’re a goddess?

It’s okay. I mean, the women in Greek mythology are scary. (Laughs)

Zeus’s wife is very angry and jealous, isn’t she? But I think that’s what makes the story interesting. So I think it’s better to have a vulgar side. (Laughs)

[Translated by Morganstedmanms (JoJo's Bizarre Encyclopedia)][15]


荒朚飛呂圊むンタビュヌ JOJO30幎のヒロむンの裏偎


―― 今回は「の奇劙なヒロむンたち」ずいうテヌマで、『ゞョゞョ』シリヌズにおける女性キャラクタヌの魅力などに぀いおお話を䌺っおいきたいず思いたす。荒朚さんが女性キャラクタヌを描くにあたっお、䜕か意識しおいるこずやこだわっおいるこずはあるのですか

荒朚 特にないんですよね。女性だからずか、男性だからずか、そういった圢では区別しおいなくお、しいお蚀えば、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たり埗意じゃないから、どうしおもかっこよさを意識しお描くこずが倚いですね。かっこいいずいっおも、そこにはいろいろな定矩があっお、僕の堎合はたず孀独であるこずだず思っおいたす。瀟䌚から認められおいないけれど、自分の信じる正矩を貫いおいる。それがヒヌロヌであり、ヒロむンなんですよ。ちょっず䞖の䞭からはみ出おいるずころがかっこいいんです。

―― 前のペヌゞで、゚リナ、スヌゞヌ、埐倫、康穂の4名の女性キャラクタヌをむメヌゞしおファッションシュヌティングを行なっおいるのですが、それぞれのキャラクタヌをひず蚀で衚珟するずしたらどんな感じになりたすか

荒朚 この4人を察比させるのであれば、゚リナはやっぱり誠実で、スヌゞヌは明るくおおっちょこちょいで、埐倫はポップでは぀ら぀ずしおいお、康穂はいちばん珟代的な子ずいう感じですかね。

―― この䞭でいちばん思い入れがあるのは誰ですか

荒朚 僕は今描いおいるのがいちばん奜きなので、この䞭だず康穂ですね。康穂っおちょっず病んでいる感じがあっお、それが䜕かいいんですよ笑。

―― 埐倫はどうですか『ゞョゞョ』シリヌズで初めおの女性の䞻人公でした。

荒朚 もちろん、思い入れはありたす。女性にパンチを食らわしたり、腕を切られたり、そういうバむオレンス描写ができるようになったのはやっぱり埐倫からなので。それたではなかなかできなかったですからね。『ゞョゞョ』を描く前に、『ゎヌゞャス☆アむリン』,85 幎ずいう女性が䞻人公の䜜品を描いたこずがあるんですよ。今でこそ女性が戊う䜜品はたくさんありたすけど、圓時の少幎誌ではあり埗なくお、描いおいお気持ち悪くなるし、「これはダメだ」ず思っお長線にするのをやめたした。

―― 自分の䜜品なのに、描いおいお気持ち悪くなったんですか

荒朚 アクションシヌンを描くのがダメでしたね。圓時は『゚むリアン2』が公開された頃で、シガニヌ・りィヌバヌ挔じるリプリヌが匷い女性でかっこいいなず思ったから、僕もマンガでトラむしおみたんだけど、やっぱり女の子が殎られたりするのはちょっず残酷すぎお描けたせんでした。それに、圓時は现い眉も描けなかったんですよ。あの頃の少幎誌の男の䞻人公はみんな眉が倪くお、それが普通だったので、现い眉のキャラクタヌっお䜕か悪圹に芋えおくるんですよね。そういう時代だったから、少幎誌で女性の䞻人公を描くのはただ早かった。ただスタロヌンずシュワルツェネッガヌの時代だったんですよ笑。ただ、それから15幎近くた぀ず時代も倉わっお、女の子がパンチを食らったりするシヌンを描いおも平気な感じになった。これならちゃんずタフな女の子が描けるず思っお、第6郚は埐倫を䞻人公にしたんです。


―― たずえば、女性キャラクタヌを描くずきは目から描き始めるずか、男性キャラクタヌのずきず手順が違ったりするのですか

荒朚 そういった描き方の違いも特にないですね。ずいうより、絵を描くずきは基本的に女性のポヌゞングを参考にしお描いおいたす。なので、男性のキャラクタヌも女性ファッション誌に登堎するモデルずかを芋ながら描いおいるんですよ。男性ファッション誌のモデルはただ立っおいるだけずいうのが倚いんですけど、女性誌のモデルは腰をぐっずひねったり、銖をぐいっず曲げたり、ポヌゞングがいろいろあっお面癜いんですよね。茪郭ずか骚栌みたいなずころはさすがにそれぞれ別のものを参考にしたすが、ポヌゞングに関しおは男ず女のキャラクタヌで違いはなくお、どちらもだいたい女性ファッション誌を参考にしお描いおいたす。

―― では、ファッションはいかがでしょう。男女のキャラクタヌを描くうえで、ファッションの違いは倧きいですか

荒朚 そうですね。男女で倧きく違っおくるのは、ファッションの郚分だず思いたす。僕は、キャラクタヌを考えるずきは身䞊調査曞みたいなものを぀くるんですよ。党郚で60項目ぐらいあるんですけど、性栌ずか口癖ずか奜きな食べ物ずか、いろいろず现かく蚭定しおいくこずで、キャラクタヌがどんどん立䜓的になっおいくずいうか、実圚の人物のように生き生きしおくるんです。そうやっお蚭定を考えるずきでも、ほずんど男ずか女ずいうこず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おも違いが出おきたすね。


荒朚 ファッション誌ずかを芋お、参考にするこずが倚いですね。チェヌンを぀けたりするのは、芁するにファンタゞヌなんですよ。孊生服にチェヌンを぀けるこずっおたずないじゃないですか。だから、そうするこずで、ファンタゞヌになっおいくずいうか、「これはマンガなんです」っおこずを衚珟しおいるんです。スカヌトに花がたくさん぀いおいるのもそう。それがわかりやすくできるずころが、ファッションを描いおいお面癜い郚分ですね。


―― 理想のヒロむン像ずいうのはあったりするのですか

荒朚 目的に向かっお匷い意志を持っおいお、そのうえでどこかにやさしさがあるずいうのが理想ですよね。あずは、ちょっずゲスな郚分があるのもいいかな笑。男のゲスな郚分は蚱せないけど、女性のゲスな郚分は蚱せたす。その背景に䜕か理由があるのかなっお思っちゃうんですよね。今の時代状況を考えるず、品行方正なキャラクタヌよりも、どこかに欠点があったり、悩みを抱えおいるキャラクタヌのほうが読んでいお共感する郚分が倚いず思いたす。聖母マリアみたいな゚リナよりも、ちょっず病んだ感じの康穂のほうが間違いなく面癜くなるんだろうなっお。

―― 挠然ずした質問になりたすけど、荒朚さんにずっお女性ずはいったいどういう存圚ですか

荒朚 女神ですね。䞖の䞭を幞せにする存圚。ダメですかね笑。

―― ダメではないですよ笑。

荒朚 だからずいっお、過剰に厇め奉るずいうこずではなく、マナヌを守り、きちんず敬意をもっお接するずいう意味合いでの女神なので、レディファヌストみたいな考え方に近いのかな。だから、䜕かもめ事が起きたずきも、よほどのこずがない限り、女性を䞊に眮くようにしおいたす。女性ずいう存圚を女神だず思っお生掻しおいるず、倧抵のこずはうたくいくんです。少なくずも、わが家はそうですね笑。

―― 女神なのに、ゲスな郚分があっおもいいんですか

荒朚 いいんです。だっお、ギリシャ神話に登堎する女性たちはダバいじゃないですか笑。れりスの奥さんずか、ものすごく怒るし、嫉劬深いですよね。でも、そういうずころが話を面癜くしおいるず思うので、ゲスな郚分っおやっぱりあったほうがいいんですよ笑。


Ripples of Adventure catalog.jpg
Published August 24, 2018
👀 Hirohiko Araki

The aim was to bring guests and characters together

-- So this compilation of large, exclusively-drawn original artwork features various characters who have appeared in JoJo's Bizarre Adventure throughout the years.

★ I had a hard time figuring out who be included, but in the end I decided to use the silhouette of each character, and make them so that they all look different. Originally, I wanted to draw the JoJo Family characters spanning all eight generations, but then I started thinking about various things, such as how to fit only eight characters on 12 sheets, or maybe to go with six JoJo characters and six villains instead. Finally I decided to balance it out on 12 sheets based on silhouette-based differences, male-to-female ratio, and so on. So I ended up including Bruno Bucciarati with a bob cut (from Part 5), Gyro Zeppeli wearing a hat (from Part 7), and Iggy the dog (from Part 3). For women, I included Jolyne Cujoh with her double-layered hairstyle (from Part 6), and Yukako Yamagishi (from Part 4), since she was the only one with long hair from a silhouette perspective.

-- I was surprised that 12 sheets had to be filled with artwork, which is quite a lot.

★ Since these pictures had to be displayed at an exhibition, the first thing that came to mind was Leonardo da Vinci's "The Last Supper." That mural features Christ and the 12 Disciples, so from that perspective it coincides with the number 12. And from my own recollection, the duodecimal system has 12 at its base, with 24 being a multiple of 12, the number of hours in a day. From that I can see it's a "repetitive number" connected to eternity, while phrases like the 12 disciples and 12 gods tell me it's a "number of good fortune." So when creating the collection of 12 sheets, I really stuck to that number 12, including 12 characters, along with 12 Stands as well. Also, since Judas the Betrayer is a significant figure in "The Last Supper," I thought of using "There's Always a Traitor" as a theme for this artwork. So I gave the characters these profound expressions, implying that they might be on each other's side, or might not be, and a traitor might be among them, as I think this adds a sense of drama to the project. In addition, I was thinking about a deep meaning behind the poses and style of drawing I should use for the characters, so each one would leave a lasting impression on guests.

-- These art pieces are enormous in size, with each sheet stretching 2 meters high and 1.2 meters wide.

★ My theory behind this was that, by drawing these characters the same size as humans, I could eliminate the border between fantasy (the manga world) and reality (the readers' world). I thought this would bring significant meaning to the concept of large-format exclusive artwork. Since I drew them like this to create an illusion of bringing together guests and characters, or unifying them rather, I also made sure the horizon of these pictures was at human eye level of about 160 centimeters. My aim was to display these 12 sheets so that visiting readers could feel as if they were entering into the same space as the characters. If they're able to experience this feeling, then I'm truly satisfied.

-- Once you finished drawing this large-format artwork, what can you say you gained from the experience?

★ Even though some of the characters included in this artwork have already died off, drawing them again like this, all together in the same time and space, was quite an amazing experience. It's like the joy I might feel when being reunited with old friends. Also, I developed a deeper affection for each of the characters, something I'd never experienced before. For example, since Jolyne has a life-sized face, it felt like I was putting makeup on an actual woman's face when I was brushing in the color. I felt as if she was right in front of me, and I grew more fond of her because of that, which was a pretty interesting experience. Manga artists usually sit at a desk to create their works, and the opportunity to do life-sized original artwork rarely comes around, so it was an honor to do this project. I feel as if I've ventured into a new world through this experience.
Incomplete translation
Published October 10, 2018
👀 Hirohiko Araki
- 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)]

Missing translation
Published November 24, 2018
👀 Hirohiko Araki



 そうですね。バトルの䜜り方ずか  そういう䞖界芳ですよね。キャラクタヌがたくさん出おきお、読者にそれぞれのファンが付いお。キン肉マンはリングの䞊ではありたすけど、戊っおいく構図ずか。あず、ゆでたたご氏は同䞖代ずいうこずで、すごく目暙ずいうか励みになっおいる。それっお挫画家ずしお幞運だなっお。目暙がないたた挫画を描いおいないずいう意味で、幞せなこずだず思いたす。







——スタンド名にも数倚くのバンド名や曲名が登堎したすが、荒朚先生が特に奜きなアヌティストをあえお挙げるずするなら  

 そこいきたすか笑。ほずんど奜きだから描いおいるんですけど  䟋えばキング・クリムゟンずか奜きですし、ピストルズもいいですよね。




 それはしょっちゅうずいうか、それが党おかもしれないですね。物語の展開は実は蚈画しおいなくお、こうなるだろうなっおいう最埌だけ決めおおいお、あずは流れですね。だから、4郚の吉良吉圱のキラヌクむヌンのずきは、匷すぎお  ちょっず䞻人公が勝おるのかなっお思いたしたね笑。本圓にこのたただず連茉自䜓が非垞にマズいっおいうか、将棋をしおいお詰たれおいる感じがすごくあっお、自分で远い蟌んでしたったずころがありたした。



 その䞭で僕は手で描いおいるんですが、色を塗ったずきにね  䟋えば料理をしおいるずきに「この味なんだろう」っおいう、驚きがあったりするじゃないですか。あれが絵の䞭にあるんですよ。手で描いおるずね、「おお」っお思う時があっお、あれが奜きなんですよ。その連続ずいうのが手描きの魅力で、いたのずころ僕は、あたりフォヌマットが決められおいるデゞタルデヌタでそれを味わうず、ちょっず楜しみがなくなっおしたうので䜿っおいないんだず思いたす。









 2012幎に絵画展をやらせおいただくこずになった時に、日本をテヌマにキヌビゞュアルを描くこずになりたしたゞョゞョのキャラクタヌたちず、日本を感じられる颚景を組み合わせた8枚のカラヌ原画を描き䞋ろした「ゞョゞョ日本八景」。それで、富士山を圓然入れるっおなった時に、承倪郎に合うずいうか、むメヌゞが富士山ず承倪郎で気に入ったずいうか。䜕お蚀うんだろう  日本最高峰ず最匷のパワヌっおいうんですかね。それで䜕枚か連䜜しおるんだず思いたす。䜕か頌たれるず、あの組み合わせがいいなっお。それずは別に、桜ずゞョルノっおいう連䜜もあるんですけどね。











Published November 25, 2018
👀 Hirohiko Araki
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.


GWVolume 1 (AnimeBlu-ray).png
Incomplete translation
Published December 19, 2019

Casting interview with Kensho Ono, Giorno Giovanna's voice actor. (source collector Blu-ray booklet, translated by Nabu)


How did you envision the original series?

The publication was well underway when I was young. My big brother had all the volumes. I began to read them in middle school, but my first memory is that I didn't understand anything (laughs). I reread them later as an adult. That's when I understood what Stands were and other subtleties that you wouldn't get as an adolescent, like the subtle negotiations that come out of the relationships between characters and the evolution of the story that comes out of these relationships, going ahead at full force. It is a very profound series. The more you read it, the more the story impacts you on an emotional level. One day, I went to look at an exhibit from the author, Mr. Hirohiko Araki (the JoJo exhibition from August 22 to October 1, 2018, at Roppongi, Tokyo). When we looked at the chronology of the publication, Daiki Yamashita (Narancia's voice actor) noticed then that we weren't even born when the first part was publishing (laughs). What I mean to say is that this series is great; it has lasted for years and continues to be adapted as an anime, causing the same enthusiasm in the readers and the viewers. It was at this moment that I realized again the scale that this series had.

As you said, it is a work that one enjoys more as they reread it.

Yes, firstly because it is full of details and text. In my opinion, you always miss something when you read it for the first time. When you reread it, you always discover something else. It is a really dense series.

You voice one of the characters in this series. Can you talk to us about the auditions? Were they as intense as the series?

Indeed, JoJo gives the image of an intense and passionate series, and I presented myself at the audition in that state of mind. I was telling myself that I would have to raise my voice. It was all the more true since one of the exercises during the audition was to repeat "Muda" rapidly in quick succession for as long as possible. I suffered the most there. After my first try, they told me that my performance was OK, but I wasn't satisfied. I asked if I could redo it.

Because you knew you could do better?

After doing something once until you reach your limit, I told myself that I could go further on the second try. And I didn't want to have any regrets. I wanted to make the audition team understand that I was ready to redo it as many times as was necessary. I followed my emotions (laughs). I don't know if they had that image of me, but I think they saw I wasn't someone who would give up.

This relentlessness is surely useful when you voice a JoJo character.

In JoJo, you find a theme of a hymn for humanity. The protagonists, as well as the antagonists, have the rage to live. It is particularly true for this arc, which contains fights to the death where nobody ever gives up until the end comes in quick succession. Perhaps I managed to give this impression at the audition.

Please tell us now what was your approach about Giorno when you were told that you got the role?

Giorno is a calm and discreet boy who doesn't talk often. My aim was to clearly highlight each of his lines, getting to the bottom of things to convince who he's speaking to and ensure that he is being listened to when he spoke.

When he first appeared, I had the impression that Giorno was already a complete and achieved character. He already has ideals and an unbreakable determination, and does everything that must be done to accomplish his ambition. He's always ready to take on the challenges that wait for him. For example, when he knocks out Leaky-Eye Luca, it is an accident. However, Giorno is quick-witted and immediately understands that he risks suffering from other gang members trying to take revenge. This allows him to take advantage of his meeting with Bucciarati to come closer to his dream.

Has the image that you had of Giorno evolved with the recording sessions?

In substance, not really. His power and his relationships with the characters evolve, but apart from this, Giorno has the same will as at the start. However, in the third episode, we see him behaving much more like a teen of his age. It slightly softened the image I had of him. Personally, I had no intention to give this episode any comedic tone. I was fully invested in the dubbing, as usual. Giorno himself is not a character who cheats. Maybe it is this contrast that makes the gag (laughs). When he says, "No! It's impossible!" Giorno, who is so intelligent, looks like a bumbling fool, but that's what makes his charm.

Would you say that there are similarities between you and Giorno? For instance, when you compare your 15-year-old self to him...

No, I wasn't anything like him at age 15 (laughs). It would be scary to have a friend like him (laughs). However, if I had to find one similarity between him and me, it would be my habit to conclude any conversation by summarizing everything that has been said, particularly in a conversation between a lot of people. Apart from this one thing, I don't behave like him at all (laughs).

What did you feel when you found yourself in the studio?

I realized that I was dubbing JoJo thanks to the intonation of the words and all the terms that are specific to the series. I even unconsciously took on some verbal tics, to the point it didn't feel right if I didn't use them (laugh). Sometimes I was asking myself why this or that word didn't have the same intonation. Was that an error, or was that on purpose? I couldn't distinguish things anymore.

In fact, you were fully invested, in body and spirit, in each word of each line?

Before the recording session, we always make corrections or make notes on the script. In my case, they are notes on how to pronounce some words. But these are details that the viewer won't notice. However, even if the difference was indistinguishable, it had to appear on the script. The whole team of the series and the voice actors were attached to these nuances. But, honestly, I don't know how much the viewers perceive these subtleties. However, if I'm talking to you about this, it is because I trust in the work that we have accomplished.

Everybody on set loves JoJo from the bottom of their heart. We were seeking to transmit our love for the work while staying as close as possible to it. For instance, we counted how many times Giorno was saying "Muda." And yet this cry comes up so often that at the end, you ask yourself if it's so important to get the numbers right (laughs). It is a token of respect towards the original work, and it is what makes it charming.

Among the first four episodes, which scene left an impression on you the most?

It would be the introductory scene in the first episode, which is completely original and absent from the manga. It immediately sets the tone for Giorno's character. In this beautiful city, he's passing near young drugged kids in the alleys, and we see pickpockets. In short, he is surrounded by crime on a daily basis. In this scene, Giorno doesn't speak, and you don't see his face, but you understand that he sees what's going on and is affected by it. He loves his town but cannot do anything about it to rescue it for now, despite his will to change things. Of course, Giorno is not entirely innocent and wants to join the mafia. My takeaway from this scene is that it shows us a righteous Giorno with a strong sense of justice that he's obtained from a troubled childhood.

Then there is the scene in the fourth episode where he has a grudge against Polpo for having insulted an old janitor's life. At this moment, you understand that beyond his thirst for justice, Giorno is also capable of killing in cold blood. When he joins the mafia, he knows very well that he won't be able to go back.

If you could use Gold Experience's powers, what would you do?

Gold Experience can give life to inanimate objects, and then it evolves with its capacity to create individual pieces of a body or heal wounds. I think that it is a very powerful ability so if I had to use it... It would be to make pranks, like those you see on overseas programs like putting a fake snake on random passersby and shouting "Beware! A snake!". This Stand is made for these types of hidden camera pranks.

But it would be a real snake (laughs)!

I would create a harmless snake with cute eyes (laughs).

Thank you for this interview. To conclude, do you have any words for those who will read these lines?

Firstly, I thank them for buying this box set. In the fourth episode, Giorno's adventure is only beginning. He will now meet all of Bucciarati's team. The plot will become more and more interesting. I hope that you follow it to the end.


Casting interview with Yuichi Nakamura, Bruno Bucciarati's voice actor. (source collector Blu-ray booklet, translated by Nabu)


How did you envision the original series?

When I began to read Weekly Shonen Jump in primary school, the series was already being published. I believe we were at the third part. I was very young, so it was still too difficult for my age. Simply on an artistic level, we are more drawn towards series with simpler and clearer lines, which were easier to understand, contrary to JoJo's detailed style. The story was also difficult to follow each week. I didn't take an interest in it at the time. Then when I was in high school, I saw the manga volumes at a friend's house. I began to read them and had a lot of fun. That day, I thought to myself that it was a series aimed at a readership that was a bit older than the main demography of Shonen Jump. Throughout the first, second, and third parts, the point of view becomes more and more mature. The first two parts are shonen-like, as we have more standard battles. But starting with the third part, things become subtler. At this moment, I understood why the series had absolute fans. It had a style that couldn't be found anywhere else, a way to show things, a story, and a unique setting. I am convinced that like me, many people didn't get hooked because they had begun to read JoJo too young. To those people, I would advise them to go back to it once they are adults.

In this series, you voice Bruno Bucciarati.

To be honest, I had gone through some auditions for the previous series. For the first two parts, I had sent a demo tape and had been selected to give an audition at the studio. Sadly, I fell ill the day of the casting audition and I couldn't go. I had been asked to audition for the third part too, but my schedule didn't allow it. I was disappointed, but I told myself that it was an ironic twist of fate. After all these missed calls, I have been proposed Bucciarati's role. I have read all the JoJo volumes that have been published at this time. My favorite parts are the third and the fifth. Moreover, Bucciarati is my favorite character in the fifth part. I was already very happy to be able to voice him at an audition without worrying about the result. It is why I gave it all my soul.

What did you feel when you learned you had been cast ?

I am not someone who will absolutely request a character because I love them. In the interest of the series, I sincerely prefer that a character has the voice that fits them the most. While I adore Bucciarati, I didn't feel I fit the character the best. During the casting audition, I hadn't received signals at any point that I would get the role. So, when I got the good news, I first calmly thought about how I would take on the role when the recording sessions began. I didn't want to slack off, even more so because I love this work. I wasn't sure that the basic image I had of Bucciarati would be the right one.

In that case, what was your approach to the role for Bucciarati?

Bucciarati is a character who evolves and his image changes a lot between the start and the end of the series. I had trouble knowing what I should take from the series to inspire myself and play the part. When I first discovered him in the manga, I thought he was a victim. Then we quickly learn that he is in fact a leader. In the second half of the story, he is more composed and supports Giorno and his team. So should I change my way of playing in each part, or should I build from the Bucciarati at the end of the series? After thinking it over, I stayed on my first impression. If I saw him as a victim at the beginning of the manga, then I had to voice him as such. It is how I built my way of playing. The fact that he's a righteous, sincere, and charismatic leader will come out little by little along the way.

On the one hand, I am sure that Bucciarati himself has never lived through a battle as intense as the one he is going to live through. In episodes 5 to 8, Bucciarati is just starting to ask questions about the Boss's identity. He begins to doubt, but he isn't ready to change. I even believe that he didn't think that there could be other Stand users outside of his organization. It is visible in the way he panics when he fights Giorno in the second episode. His experience and fights allow Bucciarati to become a more composed person and take the time to analyze his foe before battling them.

Are there similarities between you and Bucciarati? If so, what are they?

In my opinion, we are totally different (laughs). When I was asked to audition for the role, it was a real dilemma for me because although I love Bucciarati, I didn't feel I was the most qualified to interpret him. It is certainly because we don't have practically anything in common. On the other hand, it is also an advantage because it allows me to observe with an objective eye to analyze his personality better.

Once you were at the studio, have you discovered a new charm about the series?

What I will say counts for the entire work. Every character is built well. They each have their own personality, their own way of living, and their own determination. What I like about this work is that everybody has their own charisma. Anyway, what makes the charm of this fifth part are the fights, which are more built around cunningness and intelligence rather than brute force. As soon as the fight with Zucchero, you don't know what's going to happen. In either the manga or the animated series, I think it is fun to try to resolve this type of mystery. The only power that we can call a direct one is Mista's, I think. Mista is very strong, but what would happen to him without his gun (laughs)? Would Sex Pistols function if Mista threw pebbles with his hand?

There are famous scenes with Bucciarati, such as the one when he tastes Giorno's sweat and finds out it tastes like a liar, or when he discovers that there are two yachts. Do you prepare yourself more when you have to record these famous lines?

About the famous lines, the recording team had warned me about the fact that the fans would surely be waiting for them, but I was told not to overdo it; you have to make it memorable while staying natural. The problem is to know which part in particular is famous. When you look at the manga, these can be lines that are highlighted and put in a big bubble, as well as short sentences that are difficult to see at first glance. If one insists too much on the famous lines in an episode that lasts less than half an hour, it becomes tedious to listen to. When, for instance, there are two or three famous lines in as many lines of text, we make tests at the studio by insisting on the lines or by insisting on the whole paragraph... Ultimately, the most important thing is highlighting what we want to convey. Without this, the sentence becomes imbalanced and loses its meaning. Although it's not obvious, there are many dialogues where several famous lines follow each other. When you read it in the manga, it flows well, but it isn't nice to the ears when you record it with the sound.

The lines don't have the same impact between the manga and the animated series?

Let's take Giorno's battle cry, for example, who repeatedly shouts "muda." In the manga, you turn the page, you see one speech bubble with the word "muda" written eight times, and you tell yourself that he's saying it many times. However, in the series, this same battle cry lasts two or three seconds. So it's much more challenging to have the same impact. You realize the differences between media in moments like these.

If you could use Sticky Fingers's power, what would you do?

It would allow me to make shortcuts, like a door that allows me to go anywhere I want. Or like Bucciarati, who uses it to go up and down, when I'm too lazy to go to the toilets, I could make a zipper that I could hang on to and which would bring me directly to the toilets like on roller blades (laughs). I would just have to say "Close!" In addition, with the speed at which a zipper moves, it opens up a lot of possibilities.

In the battle against Zucchero, you see that his head is detached from his body. So, Sticky Fingers' power allows him to separate the head from the body without killing. With this power, I could leave my head in the living room while my body could go somewhere else. It opens up even more possibilities (laughs).

Yes, it does make one dream (laughs). Well then, to conclude, do you have a message to the fans reading this?

Throughout the series, I discover more and more how unique JoJo is. Some of the characteristics show that it is made to be adapted into an anime, but other things are really difficult to adapt. The whole voice and directing crew is trying things out and progressing forward to get the best final result. It is why this series is an accomplishment, in my opinion. Of course, no episode is left aside, but sometimes the team is willing to sacrifice themselves to make this or that episode perfect. This is also the "passion" for JoJo. The people who work on the series are all fans of the original manga. I think that you won't be disappointed with the work done. I am sure that among those who have bought the box set, a lot plan on binge-watching JoJo (laughs). So please stay loyal to the series.


Interview with three of JoJo's Bizarre Adventure: Golden Wind's producers, Takamitsu Sueyoshi from Shueisha, Nobutaka Kasama from David Production, and Hiroyuki Omori from Warner Bros. Japan (translated by Nabu).


As you are all producers, could you describe your respective roles to us?

Omori: For my part, I am close to the project's creation, from the beginning of adapting Golden Wind into an animated series. I think about at which period the anime will release, I discuss it with Shueisha, who is responsible for the original work, and then I establish the schedule with Mr. Kasama.

Sueyoshi: I am a producer at the level of the original work. I receive Omori's requests about the anime adaptation, which I analyze from the point of view of the author, Hirohiko Araki. Given that the original work is still being published, my mission is to make sure everything fits perfectly together.

Kasama: As for me, I am an animation producer. I am thus the closest to the content itself as responsibility goes. For the Golden Wind series, I first received a detailed adaptation proposal, from which I assembled a production team, developed a precise schedule, and launched the creation of the script, design, and storyboard. Therefore, my role is to manage the team of the series.

Tell us about the start of the project. How were the discussions between producers for the anime adaptation of Golden Wind?

Omori: In the entire work of JoJo, the recurring theme is that of human relations. However, each part of the manga has a totally different style. At the start, we must define together which aspect of the story the author, Hirohiko Araki, wanted to highlight the most during said part. We share our points of view and put our thoughts together.

Kasama: Since Warner Bros. Japan and Shueisha were already on the project since the third part, their teams know very well that with each new season of JoJo, the places, characters, and themes change. I was asked to review everything from the start with each new part. We thus had to think about what was the main attraction of the fifth part, Golden Wind.

And what is this main attraction?

Omori: Araki said it himself: it is the life of young people who have nowhere to go and their melancholia. This part shows us youngsters who go forwards despite the difficulties they have faced in life. However, the characters themselves don't complain about the lives they've had. It is more a feeling of melancholy felt by the spectator. For me, it is this aspect that represents the main color of Golden Wind. However, not all the characters are saints. Giorno and his friends, as well as their enemies, they're all gangsters. We are talking about evil vs. evil. It is not a Manichean story during which justice triumphs over evil. That said, although it represents evil too, Bucciarati's team doesn't forgive someone who attacks the weak or children. Giorno gives a perspective of rebellion to Bucciarati against a Boss that he disapproves of. In a way, it is him that guides them in the right direction.

Sueyoshi: In the project file, there were the words "expand the series even further". It is an important matter.

Omori: Since Golden Wind speaks about the mafia in Italy, we have this image of boys with flair, and I think that the content is very masculine in the spirit of the second part. In the second part too, we see Joseph and Caesar who are very laid back and macho in Italy. As the first two arcs were the first to be adapted into an animated series, the audience's reaction had been very good. In memory of this reception, I wanted this new part to live through the same success. In addition, because of my profession, my objective is to sell DVDs and Blu-rays. I must give it the best image possible (laughs), and by extension to attract more viewers than before. But that is the case everywhere in the world, not just Japan.

Kasama: I must add that in the original work, Golden Wind goes with a shift in the type of readership. Starting with the fifth part, the clothes are fashionable, which is for me another one of the series' draws. Be it in Japan or overseas, in the anime conventions, the cosplays of JoJo are more drawn from the fifth and sixth parts.

It is true that starting with Golden Wind, fashion takes a more important place. Let's talk about the direction team: for this part, you have opted for a system with three directors, a general director who supervises the series and two directors. What was the purpose of this?

Kasama: We wanted young talents (laughs). This time, we called upon Naokatsu Tsuda to supervise the series, accompanied by the director Yasuhiro Kimura and Hideya Takahashi, so that everyone brings their personal touch. Tsuda is very good when it comes to pacing. Takahashi excels in emotions like during the dramatic scene about Giorno's youth in the second episode. As for Kimura, his strong point is dynamic and explosive images, such as the teasers or the opening. In JoJo, you find a bit of everything, from psychological battles to car chases. Since each episode has its own particularity, we had to have a diverse team to get the best out of everyone.

Mr. Omori, Mr Sueyoshi, what is your opinion on the question?

Omori: I also had the idea of building up a team of youngsters. I'm not saying that I wasn't satisfied with the work so far. It was just a For me, having Tsuda as a director supported by veterans like Kenichi Suzuki reminds me a bit of the duo Jonathan Joestar and Zeppeli. The veterans receive the energy and the enthusiasm of the youth, and the youngsters receive the knowledge and the experience of the veterans. So, effectively, it is beautiful to see two generations far away working hand in hand, but it's also a challenge when going forwards. By the way, it is a bit like the theme of this series: to go forward no matter the risks. That's the spirt in which we have put together the current team.

Sueyoshi: For my part, I am taking over as a producer from the person in charge since the first series. It is certainly because Shueisha wanted to bring a new point of view. I told myself that it was for the same reason that two new directors had joined the team. In my point of view, it is comforting to see two new directors arrive at the same time new members are joining the team around JoJo.

Nonetheless, Coda, who has been singing the opening of JoJo for a long time, is still participating in this part.

Omori: Since in my view we were going on the theme of a return to roots, I wanted to find the duo of Toshiyuki Omori and Coda from the first series. There was also the possibility to call Kohei Tanaka, but since he was also present on the third part, it wasn't a proper return to roots. We discussed together about the choice of the composer and we agreed on Omori and Ms. Neko Oikawa, with whom he had already worked with.

What kind of song did you order?

Omori: I wanted something that would evoke a run at breakneck speed, passion and violence. I had Bucciarati's team racing forward though obstacles in mind. I mentioned that I wanted to give this feeling of going forwards despite the difficult circumstances.

Did the people in charge of the original work's publication give their opinion on the song?

Sueyoshi: Omori had made me a list of key words for the lyrics and since it suited the image I had in mind, I didn't ask for more except for a stylish song. The result has matched my expectations. I also cried the first time I heard it! Let's not forget the visuals of the opening. I love the moment where Aerosmith rolls on Narancia's arms. I never get tired of this part.

Omori: Everybody has their favorite part. Mine is the one with Abbacchio in the hourglass, as well as the scene where the colors on Narancia change progressively. I had already fallen in love with the scene after having seen the edited story-board.

Now tell us about the recording team.

Kasama: As is the case in each season, the key is to find voices that correspond perfectly to the characters. Who can interpret the tough characters of the manga as perfectly as possible? We discussed about it with the sound director Yoshikazu Iwanami, the producers, and the directors for a long time. I think that we've gathered an excellent recording team.

How is it that the Ono family name keeps coming up for the main character?

Kasama: It is purely coincidence.

Omori: During the auditions for JoJo, we were only thinking about the roles and the characters. In some series, you can ask for a voice actor who can sing or anything else but it's not the case for JoJo; only the acting counts. By the way, we tell them in advance that the rest has no importance. For this, the casting director Daiki Shirakawa is peerless.

Indeed, Mr. Kensho Ono, who is voicing Giorno, has told us that he has been asked to repeat Giorno's battle cry as many times as possible and that it has been very hard.

Kasama: During the auditions, we ask the voice actors to do scenes where they must raise their voice, scenes where there is a lot of text, emotional scenes, often which are much longer than what we effectively find in more ordinary series.

Omori: The work of a voice actor demands to have a lot of endurance. By the way, the more experienced ones take up sports, proving that this practice has its worth.

Sueyoshi: The other day, Kensho Ono and Yuichi Nakamura (Bucciarati's voice actor) brought a machine that made breathing difficult. It made us laugh because it looked like the Ripple mask from the second part.

How does the production of the series happen?

Omori: It's always a pleasure to see an episode finished. Secondly, when one makes an animated series, companies give different objectives and missions to their employees. Sometimes you can get into conflicts but in this series, everybody is advancing in the same direction. There is a real common spirit that unites us. It is surely the inspiration from the original work. When I read the second part of the manga for the script of the TV adaptation, I bawled during Caesar's death while I was still in my office (laughs). That's how I understood that the scene had to be tear jerking. We then wrote a dramatic opera piece just for the ending of the episode. This is the strength of the original work.

Sueyoshi: Me too, I take a lot of pleasure in working on this series. Sometimes there are difficult moments, but we forgot them once you see the final result. I am very grateful towards the opening credits team in particular, as well as the voice actors.

Kasama: What characterizes JoJo is that between each department, we share our ideas and our knowledge. For instance, if we are told "I would like this Stand power to be rendered in this or that art style", then we put it into practice. When we say it like this, one could believe that we're having fun experimenting in animation, but from another point of view, this can create disorder and bring the series down. We've had a lot of luck until now because these experiments work every time and are even associated with JoJo. It's like we're blessed by the gods (laughs). It is a privilege for those working in the animation industry to find a series like JoJo, in which you give it your all, body and soul.

Do you give yourself some challenges, like this introduction scene from the first episode? Do you get feedback from the author of the original work when it comes to adding scenes that were absent from the manga?

Sueyoshi: Indeed, we do ask for Araki's opinion but I believe that he's always followed us.

Kasama: To narrate how Bucciarati and his team are in their current positions, we wanted to tell their origin stories in more details than in the manga. We had asked the writers' team, who has been present since the first season and is composed of Yasuko Kobayashi, Shinichi Inotsume, Kazyuki Fudeyasu and Shogo Yasukawa, to work on it and then we asked Araki's opinion.

Sueyoshi: The new part is directly after the fourth part without any pause between the two. That's why in the manga, we directly start with Koichi without really having an overview of Giorno's situation. Thanks to the modifications that we brought to the animated series, everything becomes more clear.

Kasama: We can thank the writer Kobayashi for her writing talent and her cross-referencing of information. The bread crumbs of information that are spread throughout the original publication of the manga which were done to keep the reader in the mood have been reorganized as to not disorient the audience who will discover the story with the anime. The scenario is beautiful and its content is dazzling (laughs). Ever since the first season, we had been talking about adapting the "JoJo" that the readers had in their hearts to the screen. Many think that the animated version is faithful to the manga but we don't simply follow the order of the story. We try to transmit the emotions that we had while reading the manga as well as the moment that left an impression on us. Kobayashi's basic concept of admirably building her script was to make sure that people love Giorno. To do so, we had to be methodical in the order of the scenes compared to the original wok. It is a masterpiece.

Omori: On the other hand, precision is sometimes necessary when it comes to some minute details. For instance, the number of "muda"s that Giorno says, which corresponds to the number in the bubbles of the manga. Because it's said too fast, we slow down the sound track to count them. If it matches then we keep the tape (laughs).

Kasama: It is also fun to put in some references to the different parts from the series. In the first episode of the fifth part, we see a photo on Jotaro's desk and it corresponds to one that was taken way back in the twenty-fifth episode of the third arc. We reutilize our material. In the manga, the scene with the photo doesn't appear in the third part. However, Tsuda and I remembered about this photo on Jotaro's desk which was in the fifth part. At the time, we had consequently decided to include it to the series while telling ourselves that we would reuse it for the fifth part's adaptation. And after several years, mission accomplished (laughs). It is a work with really passionate fans, so we make sure to introduce these kinds of references whenever possible.

To conclude, a message for those who will read this interview?

Omori: The story is quite lengthy, but I think that you will be on the edge of your seat the whole way. Moreover, I would tell you to watch the series several times, because you will surely notice new details.

Sueyoshi: We have talked about the original work a lot, but if you discover JoJo with this animated series and if you appreciate it, you should also read the manga. You will then be able to compare the manga to the anime and see the differences and even be surprised by some of the choices made to adapt the series, which are the fruits of Kasama's efforts. In brief, the manga and the anime have a lot of things to entertain you.

Kasama: Each arc of JoJo has its fans. To adapt the fifth part, the members of the team are from the generation that has known this part when it was published during middle or high school, and this knowledge shows in the series. Everybody is very honored to participate in this project that adapts a work that has marked them in their very soul. It is a work with which they have lived through their adolescence and I hope that you will take as much pleasure in watching it until the end as I had producing it.


Production interview with Yasuko Kobayashi, screenwriter for the animated series. (source collector Blu-ray booklet, translated by Nabu)


You have been in charge of the series' structure since the first season. In your opinion, what is the main charm of Golden Wind?

In my opinion, it is because the heroes are gangsters. Until now, JoJo's heroes were all on the good side of justice, especially in the preceding series, Diamond is Unbreakable, which insists on the hero Josuke Higashikata's will to protect his town. So when you suddenly begin a season whose hero is a mafioso, it leaves a strong impression. Sure, there was a pause between the broadcast of the two series, but not for the manga, where its publication continued from week to week. Let's not forget that Giorno is Dio's son. It's a part that contrasts with the rest of the series.

Indeed, it is true that this part is very different from the others. In that case, what do you think is the charm of JoJo as a whole?

I think it is Mr. Araki's unique style, who makes it so all the story arcs are tied together. Mr. Araki refines and perfects his work little by little. Although there is obviously an evolution over the course of the years, I find that the author's original touch persists and makes up JoJo's charm.

To screenwrite this new series, did you receive instructions about the producers and directors' wishes?

More than simply telling me their wishes, we began by discussing together about what we would do. We are a team who has been working together for a long time already. We go forward by exchanging and sharing our points of view.

For this series, Mr. Naokatsu Tsuda, who was director until now, became a series supervisor and has teamed up with two other directors, Mr. Yasuhiro Kimura and Mr. Hideya Takahashi. Did it make any difference for the structure of the series?

Nothing really obvious in any case. Each of us gives their opinion when we meet together and Mr. Kimura as well as Mr. Takahashi both seem to be calm and level-headed people in my opinion. They take care not to get swept up by their passion for JoJo and have an objective look on the series. Just to be clear, I'm not saying that Mr. Tsuda isn't a level-headed person (laughs). Sometimes, when you love the original work too much, it may not always have good consequences on the adaptation into an animated series. For JoJo, the entirety of the team is a fan of the original series but everyone keeps in mind that they must consider the animated adaptation first. This is our strength.

The producers and directors went to Italy to scout locations. Did it bring changes to the script?

In general, the script of the animated series follows the original work closely. The main objective of the location scouting was more to observe the places and to transcribe the local mood onto the screen. The scouting has been very useful from an artistic point of view.

The screenwriting team, comprised of Mr. Shinichi Inotsume, Mr. Kazuyuki Fudeyasu, Mr. Shogo Yasukawa and yourself, hasn't changed compared to the original series. How do you split the work among yourselves?

We understand each other without exchanging any words (laughs). We know our respective areas of expertise, for instance we know that Mr. Fudeyasu is good with fast-paced episodes. We know by instinct which episode will go to who, "this episode is for Inotsume, that one is for Yasukawa". That said, we are versatile and thus the first who finishes their work takes the next episode. On the other side, if one has trouble finishing an episode, they receive help from the others. During our meetings, the episodes have generally already been distributed but it doesn't stop us from giving our opinions about the script of the episodes that don't concern us.

So we're talking about a team acting in unison?

Exactly. We've been working together since the adaptation of the first part. The series was broadcasted for the 25th anniversary of JoJo's serialization. And today, we got through 30 years of publication. It is crazy how time flies!

You spoke about having difficulties with some episodes. Could you give us an example?

Yes, the fight on the Lagoon for example. It is a fight that happens entirely on a yacht. We were afraid that when it would be adapted into an animated form, it would become a bit boring. Even if we wanted to shorten it, there were no scenes that we could take away. Some would have asked themselves what is the power of this Stand, how it works, etc... (laughs) We had a lot of discussions with the production team in order to maintain continuity in the course of events before they embarked on the yacht.

Zucchero's attack is one of the most complicated mysteries in the series. Was it difficult to adapt this scene for the script of the series?

I think it was also difficult for the production team who had to draw and animate the fight. But for the script, I have often hesitated on the way to give scenic cues. During the fight, Bucciarati and his men are always on the move in the boat. When we had to draw the storyboard, it would have been very complicated to tie between the two. So, I had to adjust the sequence and clearly describe it in the script. Once an episode is finished, it all goes so fast that everything seems natural, but believe me, there was an enormous amount of work beforehand. I watched the episode on TV and you clearly see the outstanding production work. I was very impressed.

So let's thank the production team for this exciting and stressful fight. Abbacchio's flashback in episode 6 was also very impressive. The order of the episodes about the characters' past has been completely shaken up compared to the original manga. Who introduced this idea?

I think it was me who suggested it as I worked on the structure of the series. By presenting the characters' pasts rather early, it allowed the audience to understand them better. When I put the idea forward, it was still very vague, I only asked if we could show the characters' pasts, without going into details.

In the episode containing Abbacchio's past, we see how Bucciarati recruited him to his team, a scene which was absent from the manga. In episode ten and twelve, we get to see the Hitman Team's past followed by Fugo's past, both of which are much more fleshed out. The anime has several of these original scenes. How were they directed?

When writing an original flashback scene, you have to first ask for Mr. Araki's consent and then determine if it's possible given the circumstances. For example, in Fugo's case, his past is described in the spin-off novel "Purple Haze Feedback". We asked Mr. Araki whether we could base his backstory in the anime on this story or if it was better to write something new. Based on the conversations we have with him, we discuss the possibility with the anime production team, and then ask Mr. Araki to check one last time. Some original scenes were planned at the start of the writing process, while others were conceived by the production directors over the course of a few meetings. Other times it was decided during the production or editing process of an episode. This sequence of adding an original scene eventually comes together to form a completed whole. The chief director, Mr. Tsuda, as well as all the staff members are JoJo fans. This allows them to add elements to the story while keeping in mind what comes next and the subsequent resolutions. An example of this in episode five when Bucciarati rents a yacht. We had talked about whether to add this detail in order to foreshadow the fight against Zucchero and Soft Machine and the strategy he would employ.

Did you discover new points of views through Mr. Tsuda and the rest of the team who are fans of JoJo?

There are parts of the manga where you think to yourself that Mr. Araki must have written them without knowing what would happen next. But we received advice to make sure they would fit well with the whole story. It was notably the case with the hierarchy within the Hitman Team as well as their story. That's where you realize that the production team has read the original work taking note of the most minute details.

What aspects demanded the most efforts or gave you the most trouble in this new season?

As I said earlier, it is by going through and linking the different parts that JoJo becomes more and more complete as a work. On the other hand, the adaptation into an animated series becomes more and more complicated... JoJo's main draw is to be Mr. Araki's work. Had it not been him at the helm, it wouldn't have the same flavor. There are many things that work well in the manga but which would become bland once adapted into an anime. For Golden Wind, if you only consider the plot, you could make it into a single movie. And yet, the manga doesn't just draw out its content but it is very dense and detailed. We have the impression you can't adapt this intense flavor into the animated series. The contemporary trend is to have pace. If we had to faithfully reproduce the manga's density into the anime, the audience would have been bored by the lengthy scenes. On the other hand, for the fans of Mr. Araki's work, every line and every word pronounced by the characters are sacred. When you talk about it with the staff, there is inevitably someone to tell you that this or that can't be cut. There is also the problem of the episode's length, as well as the point of view of the fans who would be disappointed if one specific line or facial expression didn't appear on the screen.

One episode is about 30 minutes long, during which you must include a climactic scene. The more passionate you are about JoJo, the more difficult it is to select the scenes and the lines...

Indeed, since there are scenes or lines that you adore, you want to include them at all cost. The problem is that in barely one minute and a half of anime, you can find yourself with three or four climaxes in the manga. Thus, you have to harmonize them. We often play with the end of a manga chapter which is used as an appetizer for the next chapter.

I told you the other time that while our team is made of JoJo fans, they knew how to keep an objective point of view for the adaptation into an animated series. Nonetheless, the meetings become tense when it comes to cut down some scenes or lines. There are often exchanges like "This line is indispensable!", "Yes, but it will break the anime's pace."

However, I am more from the generation of Baoh the Visitor', from the same author, and not from the JoJo generation. It allows me to take a step back from JoJo and to focus on the work at hand, which in my opinion gives me an ideal position in the creation team. On one hand, having someone like me who can take a step back, and on the other hand having the absolute JoJo fans, I think that the balance is perfect.

By the way, who is your favorite Golden Wind character?

It is very difficult for me to answer because all the characters are complete and well designed. From an ability point of view, I would sway towards Sticky Fingers. I don't know where the author got such an idea.

It's true that Mr. Araki has a lot of imagination to come up with a character who doesn't just destroy when it strikes but can also reattach the pieces and uses zippers to unravel and remake things.

An inspiration like this can only be graphic. In any case, the visual impact is powerful. To see a body cut into pieces through zippers stays in your mind. But Sticky Fingers is not the only Stand to have an atypical power in this part. Some Stands are intelligent, others can speak. When you read the manga, sometimes you ask yourself whether the lines come from the Stand or the user. Mr. Fudeyasu must have had all the difficulties in the world figuring out which of the Sex Pistols was speaking in episode 7 and 8 (laughs).

To conclude, do you have a message for the fans who will read these lines?

I want to thank them for having obtained this box set, in this era when people often only collect the first volume of the series that come out (laughs). These are surely passionate JoJo fans. In any case, if they have this box in their possession, it is that they have judged that this anime is worth buying, which sincerely moves me. I think that we have done a very good work with this adaptation. I hope that you will follow it and support it until the end.


Cast interview with Daiki Yamashita, Narancia Ghirga's voice actor. (source collector Blu-ray booklet, translated by Nabu)


How did you envision the original series?

I discovered JoJo when I was in primary school, if I remember correctly. I think it was with the sixth arc, Stone Ocean. My first impression wasn't really good, because I was terrified by one particularly bloody scene. Unlike other manga published in Shonen Jump, JoJo is very detailed, sometimes with realistic drawings, so to be honest, I didn't have much interest in it when I was young. Then between the age of 18 and 20, I stumbled upon the manga's third part in a hair salon. Given the popularity of the series, I began to read it. And then I found it awesome. It is a bit like the food you can't eat as a child but that we love once we're adults (laughs). I couldn't read everything at the hair salon, so I went to a friend who was a JoJo fan to ask him to lend me his volumes (laughs). I read the third part first in one go, then he told me to begin with the start. The anime began broadcasting afterwards. I told myself how this or that scene would render on screen. At the end, everything is very close to the manga, I was awestruck. It was at this moment that I told myself that the whole team behind this work was surely made of fans. I watched the whole series from the first to the fourth part.

You voice Narancia Ghirga in this part.

To be honest, I had already auditioned for the fourth part. Unfortunately, I hadn't been selected at the time. But I kept being hopeful to one day act as a character from this series.

When I was informed to audition for Narancia's role in the fifth part, I was over the moon. I was so afraid to get swept up by the admiration I had for the world of JoJo that I had stage fright (laughs). I thought that if people saw that I liked this series too much, I would be mistaken as an ephemeral "fan boy". Thus, I followed the script and stayed natural during the audition. I only remember being exhausted after giving it my 100% or even 120%. So I won't hide that I was really happy when I was told I got the part.

Narancia is the kind of character you get attached to more and more as the story progresses. It is probably the case for any character but particularly for this one. In his first scene, you discover a dumb kid (laughs), with his endearing side highlighted. I personally love this side of the character, which I am careful to respect when I interpret him.

How did the recording session go?

For our first scene in the fifth episode, Mr. Enoki and I had been maybe too implicated in our roles as Narancia and Fugo. The staff told us to relax a bit (laughs). But little by little, I became imbued with the world of JoJo's fifth part, with the atmosphere of the recording studio, and it was just before the fight against Formaggio that I found my footing.

In the fifth episode, you see Narancia having math lessons. You then guess that he didn't have a full education during his childhood. Then you understand what happened to him in the eleventh episode. After living through these difficult moments, Bucciarati's words touched him at the bottom of his soul. It is then that he decided to give everything for this man who yelled at him for his own good. Narancia is a righteous boy and I think that he is the most loyal of Bucciarati's men. He is someone who works hard to satisfy his loyalty. It is notably visible during his fight against Formaggio. This is why he's so cunning when it comes to battle. Even though he's so bad at math (laughs), when he must fight or follow Bucciarati's orders, he's the coolest among everyone. I sincerely hope I have been able to show this side of the character with my interpretation. In any case, I invested myself a lot.

It's true that he is an endearing character with his childish side but he also has an acute fighting sense. This is what makes Narancia's charm.

Exactly. And the core at the center between these two sides of his personality is Bucciarati, to whom I think Narancia is a bit too attached to. It shows his lack maturity and it is what makes the character's charm.

Are there any particularities unique to acting in JoJo?

Yes, the style of speaking which is close to the way thugs speak. We do everything to respect the original work. There is also a balance between the characters which makes it so we record almost everything together, which makes the work easier. The passion in the acting is something alive. During a fight scene, the acting is entirely different depending on the performance of the opponent. When you look at the level of the others' acting, you think to yourself that you can go further. I don't know if it isn't more about competition than collaboration, but still this way we have of working together in the studio is very important.

During the fight against Formaggio, we really get the impression there is a duel of voice actors between you and Mr. Fukushima.

Yes, it was about who would shout the loudest (laughs). While recording JoJo in the studio, we give it everything from our very first attempts, as if we wanted to kill our foe (laughs). Jun Fukushima is my senior and is affiliated with the same agency as me, so I didn't want to let myself get crushed.

At the time the episode got broadcasted, we also felt all of the staff's commitment. The drawings, the direction and everything else. At the moment of the recording, we don't know what the soundtrack will be, what the sound effects will be, we don't see at all what will be the final result. Even us voice actors discover it only when the episode gets broadcasted. For my part, I had goosebumps. Especially at the moment the flames went from red to purple as well as the piano part just after hitting him. It was simply brilliant. Let's not forget the impressive camera effect which gives the impression the scene has been filmed with a drone. I look forward to watching the following episodes now. As a fan, this episode really shocked me. I was exhausted only after watching it (laughs). All the more when I tell myself that I played in this episode, I was so swept up in it that I would forget to breathe.

Yes, it is true it is an exhausting episode to watch.

The fight is really fast-paced. Myself having played in that episode, I have found that the exchange between adversaries were fast and then the monologues follow really quickly, it's an unending pace. I hope it will be something that will have excited the audience, making them say "OK, so there's no time to breathe here".

Are there similarities between you and Narancia? If so, what are they?

I suck at mental math.

You didn't hesitate for a second (laughs).

In everything involving numbers, I also get stuck on simple calculations (laughs). I think that I can still do better than Narancia... In any case I am bad at anything involving mathematical demonstrations. When I see the quizzes with the boxes to check, I can't understand a thing. When I didn't know what to write, I would write "2". I had a little game and tried to see how many "2"s I could fit in one box (laugh).

If you could use Aerosmith's powers, what would you do with it?

I love Aerosmith and think it is very cool but I think that you couldn't use it in this era. A radar that allows you to spot living beings through their breath, it's like making a reconnaissance flight in an espionage mission. For starters, it's illegal. It is an ability that would be more useful to detectives or spies, so I would have to reconvert my career, which is impossible.

It could be useful to spot traffic jams and find a better itinerary?

A lot of navigation systems already do this (laughs). Frankly, for me it would just be a gadget, a remote controlled plane. Or else I would have to get into hunting. Then I could use it. I could track deers, or spot bears to avoid attacks. It is useful to find preys or enemies.

Thanks for your answers. To conclude, do you have a message for the fans that will read this?

I hope that those who will buy this box set will also buy the rest to see how much the team has invested themselves in the series. The fight against Formaggio only represents a small part of the story but I hope that this adventure will have touched you and that you will take pleasure in comparing the animated series to the manga. The anime offers a new method of expression and allows to flesh out some parts. When you will watch the series in DVD or Blu-ray, you will perhaps discover something new. I personally also felt the great work of the production team when I watched the episodes on TV. I hope that you will realize their commitment to the series. Then, about the story itself, we are dealing with teenagers who are about twenty years old who are fighting valiantly for a cause. It is an encouragement to help us live bravely too. I wish that you could see them enjoy life and that the energy that they will give you will help you in your day to day lives. Thank you all.


Interview with Daiki Shirakawa, casting assistant (source, GW Booklet, translation, Nabu)


Mr. Shirakawa, can you tell us what is the job of a casting assistant?

In the majority of anime, a sound producer is called to manage the administrative side around the casting. But sometimes it is necessary to employ an extra casting director. For instance, we often contact a manager who has a robust relationship of trust with the production studio, or someone who has a particular affinity with the original work. About JoJo, I don't know what kind of judgement was passed onto me, but I had worked before with David Production and Warner, and I had said at the time that I really liked JoJo. That's probably why I got offered this role.

It is difficult to define what a casting assistant is since it can wildly differ between series. I am not able to tell you in a definitive fashion what a casting assistant does. It is mainly the sound director or even the production committee who makes decisions about the casting. But with the presence of a casting assistant, the sound director can focus on the recording, on the soundtrack, on the sound effects, and delegate the management of the casting to the assistant. That was the case for JoJo, where the sound director Mr. Yoshikazu Iwanami, had decided to focus on the technical aspect of the sound creation and it is me who manages the administrative side around the casting process with the agreement of the members of the production committee. Although that doesn't mean that Mr. Iwanami doesn't listen to the actors' auditions or that I am the sole decision maker.

In a way it is you who directs the selection of the cast?

I do not truly direct, let's say that I manage this part. Nowadays, almost all the series have a production committee. You don't take decisions alone anymore. I collect the opinions of the committee members, gather them, give mine, and we decide together. It is like presiding an assembly.

I see. For JoJo, how does the casting process go? Are there instructions that are specific to the work?

For the main characters, we begin with an initial selection process through demo tapes. Then, we ask them to come perform several trials in the studio before we make a choice. For the secondary characters for which we don't have auditions, it is the directors, the sound director, and the committee members who define an image of the character and suggest names. I gather the opinions and I seek someone who could match their expectations. We then have another meeting to make a decision.

But there isn't any special treatment with JoJo. It is more or less the same as the other series. We decided depending on the demo tapes and in-studio auditions. For instance, we never ask the voice actors whether they like JoJo (laughs). Everything hinges on one's ability to embody a character. Nowadays, voice actors do a lot of different things. For instance, they must participate in events or conventions or know how to sing. But for JoJo, we don't ask them anything like this. We just look at their profile and listen to their performance. I would even go as far as saying that we select them by their resume.

For Golden Wind, we started with selecting Trish, Bucciarati's team, and the Boss. Among them, the first two roles to have been assigned were the main characters of the story, Giorno and Bucciarati. I know that there are several points of view on the part but the story hinges on Giorno and Bucciarati. The committee's view was that if we didn't show the relationship between those two characters, then it would be difficult to have a good picture of the whole team.

For the third part, I heard that it was Ms. Reiko Suzuki, Enya Geil's voice actor, who had been chosen first. But this time you follow the order of importance of the characters.

Enya Geil was somewhat of a special case (laughs). For Stardust Crusaders, the first auditions were for Jotaro and his companions, Enya Geil, Hol Horse, Anne the runaway girl, and Holy, Jotaro's mother. While the roles were being discussed, everyone was unanimous about Enya Geil's voice actress. It is why she was chosen first (laughs).

For the fifth part, the team's balance hinges on Giorno and Bucciarati and that is why we had to decide them before anyone else. After many discussions with the committee, I think I remember that it was Bucciarati who was chosen first. Then immediately after we agreed on Kensho Ono to act as Giorno.

I suppose that afterwards, you based yourself on those two characters to choose Bucciarati's men?

Indeed. We then started to piece together Bucciarati's team immediately after the two characters. That said, they were selected in the blink of an eye. We had numerous difficulties though, we had several actors who were equally as good so it had been very difficult to choose.

Did you select Bucciarati's men depending on their personality?

A lot of people think that during an audition, we just see if the voice matches a character. In fact, more than the voice, what we are looking for is if the voice actor's acting is convincing. It was all the more important in that case since we needed a balance between the members of the team.

In my point of view, Bucciarati is younger than Abbacchio and Mista but he has the charisma of a leader. Besides him, we have Giorno who is younger than Bucciarati but who has the aura of a star and possesses an explosive power. It is why I wanted a voice actor from the previous generation to interpret Abbacchio. Then, I was envisioning an actor who would be slightly older than Bucciarati's to interpret Mista. On the contrary, we needed younger actors to interpret Fugo and Narancia. However, Fugo would be more educated than Narancia, who would be scary when he would get angry although it had to be justified. It is a delicate balance. Then, we had chosen the actors depending on their acting compared to Giorno and Bucciarati so that they would make a team. I exaggerated when I said that we didn't take the characters into account to find a matching voice, but it is true that the balance between the characters was a more important point of consideration than the choice of the cast. In fact, we do it like this ever since the start of the series and I think this method is used for many other series.

In fact, Bucciarati and Abbacchio are the same age and Mista is younger than the both of them, but what you meant to say is that you think about the characters depending on their relations?

Exactly. The balance in a cast doesn't really take the characters' real ages into account, but more how we read them in the original work. There is no universal method. However, during the committee meetings, we exchange our opinions about the relationships between the characters, as I told you earlier. It is possible because Mr. Araki's work is grandiose. At the end, we have gathered a team of actors who seems ideal to me.

What about Trish?

Trish as well is a character who is subject to interpretation but for our part, we were already going for someone young. For starters because the character is young, but mostly because she needed protection. We wanted someone young but also someone tough. On one hand, I was telling myself that we shouldn't make her too strong, as we would diverge from the character. Trish has the look of someone strong, but she is only 15. Her life is in danger because of a father she never knew, and at the beginning she is somewhat resigned. The one we have chosen to interpret Trish, Sayaka Senbongi, has a soft and gentle voice but she is able to act with great power. It is certainly this aspect that pleased the committee.

You were talking about a balance within Bucciarati's team, but what about their main rivals, the Hitman Team?

After being done with Team Bucciarati, Diavolo and Doppio's casting, we gradually transitioned towards the Hitman Team. The flash-back scene reuniting the team in the 10th episode was already in the script so we were discussing it in our meetings. But we stayed rather true to our first impressions about the balance of the team.

There were characters who were mainstays among the assassins. Did you begin with someone just like Giorno and Bucciarati?

No, contrary to Bucciarati's team, the members of the Hitman Team were decided simultaneously. With the exception of the 10th episode, the Hitman Team is almost never gathered together. I think that the first roles to have been given were Melone, Formaggio, and Ghiaccio. For Melone and Ghiaccio, we needed two eccentric characters so Junji Majima and Nobuhiko Okamoto almost immediately clicked during the auditions. Likewise for Formaggio, thanks to Jun Fukushima's superb performance during the auditions. I think that the battle between Formaggio and Narancia was really intense and really well played. That said, during the auditions already, he had given us an intense and hotblooded performance. Chronologically speaking, Formaggio is the first member of the Hitman Team to stand against Team Bucciarati. He is very important because the rest lays on his shoulder, and I think that we had an exceptional interpretation for the character.

Did you also take into account a balance between the Hitman Team and Bucciarati's team?

Yes, of course, the assassins had to be able to cause trouble for Bucciarati and his men. I would even say that they must give the impression that they could beat them. Among them, Risotto is the highest in the hierarchy, he had to have some majesty emanating from him. Risotto's voice actor, Mr. Shinshu Fuji, works a lot on dubbing western movies. I thought that having someone like him to voice a character with Risotto's presence and appearance would be perfect to gather the team.

Those who took the most time were Prosciutto and Pesci, two characters beloved by the JoJo fans. We really wanted to keep this mentor and disciple relationship. The definitive choice for Tatsuhisa Suzuki to play the mentor (Prosciutto) and Subaru Kimura to play the disciple (Pesci) is the ideal balance that we were looking for.

Then for Illuso, whose power is to drag his foes into a mirror world, we had to have someone able to interpret his prideful soul. He isn't a character who attacks frontally but more in an indirect manner. I think he is very difficult to interpret. To find a voice actor able to combine these two aspects of his personality, I was thinking about an older person and Ken Narita was exactly the person we needed.

At this point, many characters have made their appearance. Is there someone who impressed you more than the others?

Personally, I really like the scene where Pericolo tells Giorno that he can call him by his name (laughs). The clever thing is that he doesn't say "call me however you like", he obliges him to call him by his name, which creates a kind of pressure as if we were dealing with a dangerous character.

But, I remember that the supervisor Mr. Tsuda wanted a classy voice for Polpo. I think that this instruction was taking his Stand Black Sabbath into account since like the previous seasons, it is the same actor who voice acts for the Stand and its user. I thought to myself that it would be cool to have a cool voice for Polpo. Hideo Ishikawa was a very good choice. His habit of rolling the "r"s and his vivacious interpretation of Polpo make the character very interesting.

As for Sale, who fights Mista, I thought that he could perfectly have been a main character and I simply wanted someone cool. Likewise for Zucchero, physically speaking he's not someone you'd call a pretty boy (laughs). But since I wanted him to be a duo with Sale, I wanted someone who could harmonize with Sale's acting along with a light touch of stupidity if possible. I know that they don't often appear together on screen but from a story perspective, they make a really good duo. We had to keep this balance and so we found ourselves with two actors from the same agency, Mr. Kaito Ishikawa and Mr. Shinya Takahashi.

You mentioned liking JoJo, so in your opinion, what is the main charm of Golden Wind?

It was more or less the case in the previous parts, but I think that here, the team spirit is very important. There are some similarities with the third part, although the travel aspect was very present in that case. The third part is a kind of a road movie whereas in the fifth part the travel aspect is more in the background compared to the team spirit. Of course I think about Bucciarati and his men but also about the Hitman Team which is a close-knit and obstinate team. In any case, that's what was drawing me in when I read the manga. That's also why I wanted the team spirit in the casting team to be as strong as it was between the characters. Also, I think that Golden Wind makes a great leap forward on a fashion level.

To conclude, tell us who is your favorite character or Stand in Golden Wind.

My favorite character in this part is Trish. I think that she marvelously combines strength and weakness. It is too soon to unveil what happens next in the series, but we will soon discover this aspect in the oncoming episodes. I am also very attached to Fugo. He easily gets angry and can be frightening, but he's the most educated in the team. As for Stands, my favorite has to do with Trish but I can't talk about it yet (laughs). But I also like Sticky Fingers a lot. Only a man like Araki could succeed in creating such an incredible power based on zippers.


Interview with Junya Enoki, Pannacotta Fugo's voice actor. (source GW booklet, translation nabu)


How did you envision the original series?

The publication had already started when I was a child. My first impression was that of a work that many people were appreciating for a long time. Around the first time I read the manga, I first felt fear. I was still in primary school. The intensity of the art overwhelmed me. I thought to myself that it was perhaps a little bit too complicated for me.

I learned that you had discovered the manga with the sixth part.

Exactly. Starting with the introductory scene of the manga, the main character, Jolyne Cujoh, speaks about an obscene event that happened inside prison. I remember having been very frightened (laughs). Then when I read the manga again as an adult, I realized that this historical work was already trying things that even manga today wouldn't dare to do. For instance, the concept of Stands or also the Ripple. It is a work in which the author of the manga, Mr. Hirohiko Araki, deploys the entirety of his genius.

What do you think about the fifth part, Golden Wind?

I had the image of barbaric and violent fights in the previous parts but with Golden Wind, we entered into something much more classy. More than a simple battle between the will to win of each character, here they also seek to vanquish their foes with their brains. And I also like the Italian atmosphere of the locations of the story.

You voice act as Fugo in this fifth part. Could you tell us about the audition?

If I remember correctly, I had to act out excerpts from his first appearance in the restaurant, as well as his fight against Illuso. The casting team had told me to interpret the Fugo who is usually calm, and the Fugo who snaps. I had to shout a fair bit and I remember going home with a really sore throat (laughs). From the waiting room, I could hear the other voice actors who were going before me yell. Even as soon as the audition stage, the atmosphere was already fiery. When I learned that I got the part, I was very happy to be able to take part in a series which is appreciated by so many people. But on the other hand, I felt a lot of pressure because I didn't want to disappoint the fans.

What has been your approach to acting as Fugo?

I read the manga to get a sense of his behavior. To know why he suddenly snaps without apparent reason or on the contrary, why he's usually so calm. I had to analyze his dialogue to strengthen my acting. However, I do not like to know too much in advance what will happen next. I read the chapters depending on the recording schedule. I know that Fugo will leave the group later in the series, but if I read the whole part, I worry about anticipating and deviating from the character at some point. So I read the script and discuss about it with various members of the staff.

Isn't it difficult to find a reason to Fugo's sudden bouts of angers? How did you tackle this?

I think Fugo is primarily someone who's psychologically unstable. Even when he has a normal conversation with someone, at his core, he's always ready to explode. This is why he snaps at the slightest annoyance, even the most insignificant one. However, when Trish wipes her hands on his jacket in the ninth episode, you see that he's holding himself back as much as possible to not lose control in front of the Boss's daughter. It proves that he has a reasonable side in him when the situation calls for it. Besides, had he angered the Boss, it would have been the last thing he'd had done in his life. Fugo is an intelligent man who knows how to stay in his place.

I see. Speaking about the example of the jacket scene, can I ask you what do you think about the original scenes where Fugo gets angry?

I am simply happy that these original scenes have been written in. Since Fugo leaves the story before the end of the part and he has only one fight, the one against Illuso, adding original scenes for Fugo certainly helps him get a place in the audience's heart, which fills me with joy.

In the 12th episode, we discover Fugo's past.

This is also an original scene. What his professor had done to him wasn't explicitly said. To act as the young Fugo, I used a higher-pitched voice. Then I also made it possible to let his explosive side come out.

Are you also voice acting his Stand, Purple Haze?

Yes, I suppose that sound effects were added to my voice, but I still made sure to respect the original work's lines and adapted my tone to stay true to the manga and please the audience watching the series. I tried to use the voice the audience probably had in mind. The shouts I do when Purple Haze strikes, for example, as well as his other lines were diminished with the addition of the soundtrack, but he speaks a lot. During the recording, we first recorded Fugo's part and then we got to Purple Haze. It had been very challenging. But thanks to those efforts, the character finally had his big scene.

Do you have any similarities with Fugo?

Perhaps that like him, in my heart I am always ready to explode.

I beg your pardon?

There's a storm permanently brewing in me, like a ferocious beast. My reasoning allows me to stay in control though, which is better when living in society.

Still about Fugo, we can note the strawberry motif on his tie and his shoes. What do you think about those strawberries?

I am not really into strawberries. Perhaps a strawberry-flavored ice cream from time to time. But I don't know where the inspiration for Fugo's clothing style comes from. Does he like strawberries? Although they are supposed to keep a low profile, why is he wearing clothes full of holes? These holes weren't there when he was young, so did they appear over time? Or is it a representation of his soul which is being unveiled bit by bit? I would be surprised if that was the case (laughs). We will never know but it's funny.

Now, could you talk about your favorite scenes? Or a scene with another actor that impressed you?

The fights against the members of the Hitman Team are all memorable. For the battle between Fugo and Illuso, we were yelling constantly. It came to the point that Illuso's voice actor, Mr. Ken Narita, had said that it was taxing. But when I told him that it was hard for me too, I remember that he answered: "But you're young, it'll be OK!" (laughs). But I have to confess that it was funny to hear Illuso shout during the broadcasting of the episode on TV. It was exactly the image that we had in mind when reading the manga. There is also the spaghetti scene with Narancia, a scene beloved by the fans. I made sure to play it in the studio in the exact way I had in my mind when I read the manga. Apparently, it really pleased Daiki Yamashita, Narancia's voice actor.

Indeed, Mr. Yamashita told us in a previous interview that he's eagerly waiting for the recording of the 11th episode.

I know, he also told me (laughs). It only increased the pressure I felt already. I had thought a lot about the way I would tackle this and I was well prepared. I asked myself why he would say that, how loud he would say it and with what intonation. Plus, although he asks for permission to give Narancia spaghetti, he's already made up his mind. I deduced that no matter what the staff of the restaurant or Bucciarati would say, he would give spaghetti to Narancia. I remember having analyzed this scene in detail and thinking to myself that I had to speak loudly. I hope that the audience will appreciate this bit.

What is your favorite Stand?

I really like Sex Pistols's fighting style. In a world where Stands exist, to fight with a revolver may seem disadvantageous but to be able to change the trajectory of the bullets with a Stand means modifying his weapon with a Stand power, which changes everything. It is a power that works on many enemies. In the 7th episode, it allows Mista to hit Sale's leg, giving him the advantage. I also like the fact that Kosuke Toriumi, Mista's voice actor, voices the Sex Pistols. I am really aware every time they enter the scene.

If you had Purple Haze's power, what would you do with it?

That's a complicated question... Apparently Purple Haze's virus is capable of evolving. Perhaps you could use it in hospitals to create a serum able to fight off any pathogen? In my opinion, Purple Haze is only useful for killing or saving people. He must be used for the good of the community. The ideal would be to ally with Giorno to make new serums.

In our everyday lives, it could be used to exterminate pest insects.

But it would also destroy the surrounding vegetation... unless you could create pellets that the insects would eat (laughs). In any case, it could be useful to society.

Thank you for answering our questions. To conclude, do you have a message for the fans who will read this?

I want to thank from the bottom of my heart those who have acquired this box set. Do not hesitate to watch Fugo's great episode, the 13th one. I hope that you will appreciate the efforts that I made to give life to Purple Haze. After this episode, things will change rapidly. In episodes 14 to 16, the very popular Prosciutto will enter the scene. It's time to admire the bravery of the Hitman Team. Thanks for everything and continue to support the series.


Tatsuhisa Suzuki (Prosciutto's voice actor) X Subaru Kimura (Pesci's voice actor)


How did each of you envision the original series?

Suzuki: I was in my last primary school years when the Golden Wind part was published. For me, it was a shonen for adults. There was a lot of text, a plot that was rather dramatic, for a kid my age it was rather difficult to grasp. But this dramatic side is what makes JoJo's charm. When you are a child, you don't have all the keys to understand, you just find this or that Stand cool, it doesn't go further than that.

Kimura: I'm a bit to say it, but in fact I read JoJo for the first time for the auditions. Of course I knew the series but only by name. But once I dived into it, I was hooked immediately. Like my colleague says, it is a mature work. It is all the more true for the fight with Prosciutto and Pesci, notably in how the speak.

Suzuki: Yes. Particularly for people like us whose job is to wield words, when you interpret those characters, you feel the power of things said in an indirect manner. When we play a role, we must understand each and every word of our lines and also keep up the rhythm. It is when you say it out loud that you realise the real worth of those speeches. It was something new for me. I was really surprised when I thought to myself that these words were published when I was only a schoolboy.

You both play Prosciutto and Pesci. How did it go?

Suzuki: Me and Subaru immediately clicked with each other without even having talked to each other before (laughs). We formed a dynamic duo right from the start.

Kimura: That's true we were quite a pair.

Suzuki: The first time that we acted together, I had already my "Prosciutto's puzzle pieces", which fitted perfectly with Subaru's "Pesci's puzzle pieces". We then only had to build a harmonious frame together. But the majority of the pieces were already in place.

Kimura: If I can say so myself, it was really easy to adapt to my "big brother". I had in me the linchpin of Pesci's evolution since I read the manga. At the start, Pesci lacks confidence and Prosciutto calls him "mammoni". Prosciutto's words are stuck in his heart without him being unable to understand them immediately, but little by little, he grasps their meaning until he awakens and steps into the fight. In fact, he discovers over time the meaning of Prosciutto's teachings. Pesci exists thanks to Prosciutto, it is Prosciutto who's guided him along the way.

You appear for the first time in the tenth episode, during the hitman team's flashback.

Suzuki: Yes, it was truly an honor to have this scene to develop the characters' profile, although I was really surprised to start with an original scene (laughs). JoJo is a work that has many die hard fans. The production team must constantly feel an enormous pressure and yet they plunge into new challenges that prove their strength and their will. I thank the team to have presented the hitman team united like this. And I learned that the fans were pleased with this part. Knowing this and having participated in this, it gives us a lot of confidence. I am proud to have been part of the hitman team.

Kimura: For me it was like passing through two auditions. The first audition, thanks to which I got the part, then our first appearance is a second audition that I have in front of the audience. I can't tell you how much pressure I felt. In any case, I am glad I managed to pass the second one with success.

What do you pay attention to when you play your characters? Does the recording team give you indications?

Suzuki: The first instruction from the recording team was to respect our text to the letter. If we thought that there was a mistake according to the manga, we could always correct the script. So, I checked the text first.

Kimura: Exactly, that's what we were told (laughs).

Suzuki: The problem is that to keep up the pace with Prosciutto's long lines, I had to slur my words. If for example in the manga there are two lines with the same meaning, in the script, I asked if I had to use the first of the second one, or if there was a line that mixed the two. We have discussed multiple times about choosing lines.

It is true that if you want to stay true to the original work, sometimes there are lines that really look like each other except for some nuance between the two.

Suzuki: Exactly. Let's not forget the direction or the editing that can be different from the manga. In the animated series, the movements must have continuite. It is of the utmost importance to respect the original work, yes, but with an adaptation into a series, it isn't enough. In most cases, what's drawn in the manga isn't enough for the screen. But with some modifications, you can create a perfect link between the original work and its adaptation. You just have to know how to do it. In concrete terms, sometimes in the manga some speech bubbles are drawn in an aggressive manner but when you only take the sentences in sequence, there is no more aggressiveness. The question is then to know how to render this aggressiveness on screen through the words with reorganizing the speech or the dialog. For this, you must first think about the meaning of the words used in the manga and to take the direction of the series into account. Then the voice actor plays on the nuances. It is all these aspects put together that create the finale result.

What about Pesci?

Kimura: Pesci is a character that listens to the only person that speaks to him head to head, Prosciutto, while grasping little by little the meaning of his words. So my acting was mainly based on Pesci's reactions to his mentor's words. If Prosciutto calls Pesci, I can only say "Yes? What? What is it?" (laughs). Pesci reacts to each of Prosciutto's actions. He follows him like a shadow. He doesn't entirely understand what he says but tries to follow his instructions. He's often completely wrong, but sometimes Prosciutto congratulates him on a job well done, which makes him happy. Pesci evolves around the actions of his role model, Prosciutto.

You say you didn't see each other before the recording to discuss about your roles, but you still respond to each other tit for tat.

Suzuki: It's true. Prosciutto has always felt Pesci's hidden potential. I thus told myself that he had to engrave his word in Pesci's heart so that we understand Prosciutto's real strength. When for example he repeats to Pesci: "When we think about offing someone, its mean that it has already been done!", before shooting three bullets in Mista's head, he means "Watch, that's how we do it, it is up to you to learn from it". I adds the action to his words so that Pesci understands the meaning of his words. It is what makes Prosciutto's personality. When I was in front of the microphone, I focused first on transmitting those words to Pesci.

Kimura: And I received everything clearly!

Let's say you could use The Grateful Dead and Beach Boy's powers, what would you do?

Suzuki: That's a difficult question! If I said I wanted to make all my colleagues grow old, it would make me look bad (laughs).

Kimura: You mean turn the young and most solicited voice actors into old guys (laughs)?

Suzuki: That would be horrible. The thing that would grow old the fastest would be my self-love (laughs). Seriously though, I would like to help solve environment problem. To put back into order the ecosystem, to make infertile soil grow old several years to make them able to produce life again. Of course it wouldn't be the ideal solution to every problem and some people would probably have a grudge against me. It would be a blessing in disguise.

Kimura: That would be awesome: I will sound ridiculous besides such a project but in fact... I recently took up fishing.

Suzuki: (laughs)

Kimura: I go to the sea to fish for sea perch. With Beach Boy's power, I would immediately spot the fishes. Then, when a fish comes close to my line, I would catch it in the blink of an eye. It would bite the hook and could not let go.

Suzuki: The other fishermen would have a hell of a grudge against you.

Kimura: I would not stop fishing up big fishes, I would look suspicious (laughs).

Suzuki: Let's not forget fishing competitions. You'd take all the trophies.

Kimura: Cool, I could live from fishing!

Suzuki: That's a really impressive goal in life (laughs).

Thanks for having answered our questions. To conclude, which scenes from your episodes would you tell the fans who will read these lines to watch?

Suzuki: The fighting scenes! It's brilliant to watch the characters from the manga in motion when they fight. As an actor, we only participate in the "audio" part of the series but you must also admire the work of the animators and the rest of the team on this work. The animation is fluid, the action is fast-paced, just like in the manga but in a different way. You discover a new approach to the original work. I hope that the series will globally please you.

Kimura: Although I may appear self-centered, I'd like you to pay attention to Pesci's evolution, through his vocabulary, his expressions and his relation with his mentor, between his first appearance and the moment when he realises, through his heart and not words, Prosciutto's determination. This is a whole process to observe. The line I love which is for me the start of his evolution is in the tenth episode when he says that coffee makes his tummy all rumbly. This same Pesci, who's ordering a glass of milk and is being mocked by his teammates, finally becomes the Pesci that we discover at the end, thanks to Prosciutto's teaching which touches his spirit.

Suzuki: This scene also has touched me. Prosciutto is half-dead, but it is a bit like a reward for his work.

Kimura: I am happy that you also think like this. Since the coffee scene, you note an incredible evolution until his awakening to his nature as a gangster, then when he's ready to crush the turtle with Bucciarati's team inside.


Kosuke Toriumi, Guido Mista's voice actor.


How did you envision the original work?

I was in middle school when the manga was published for the first time. I had a subscription to the weekly Shonen Jump at the time, so I read everything from the first chapter. Although it is difficult to put the fight scenes to screen, I think that this work is drawn with a lot of seriousness in its details. Even the characters who appear for only only episode have a past and a complete profile. I think that the author Mr. Hirohiko Araki, has his own universe, but the more the arcs that follow each other and pile up, the impression one has of the work changes. I notably think of in the third part whose tone is completely different from the first two parts. Having read the manga in middle and high school, then having read it again as an adult, I notice that we understand more of the work when you are adult. When I was young, I understood what I could grasp and I did feel that it was a complicated work, but with you comprehension capacity increasing with age, you take more pleasure once you're adult. For instance, how the dialogues are built: as an adolescent, you read it in your head and sometimes you ask yourself what's the meaning. But today, when I play the character and say his lines out loud, they take on another entirely different meaning. I understand more the meaning of these lines, the characters takes life like a real human being. There are many important lines in this work that only take their full meaning when you pronounce them out loud.

In this work you play the role of Mista. How did the auditions go?

For the first part of the audition on demo tape, I had auditioned for the roles of Mista and Abbacchio. At that start, I only had those two characters but to make my stamp, I also wished to audition for Bucciarati's part (laughs). Then for the studio audition, I've been asked to play bits of the fight between Mista and Sale and from the last episode of the story, among others. What had surprised me is that Sex Pistols was also present in the script but nobody told me if I had to play them or not (laughs). To be sure, I chose to play them and even then, nobody told me if I had to continue or if it wasn't needed. At the time, I thought that it was probably normal to play them. Then I played a normal conversation scene, and then I've been told that I was making Mista sound too intelligent (laughs). There, I still didn't know what to do. It wasn't the interpretation that I wanted to do. Mista has several aspects, I even think that he's the character who has the most in this series. It is very difficult to know which part of the character I had to highlight. Once the recording process has started, Mista finds himself in several different situations as the story progresses, but it's more difficult during the audition because we only have excerpts without much context. There's Mista the cheerful guy who's lighting the mood, Mista who's focused, calm and nerves of steel, or Mista who's smart and without hesitation, but there's also the hot-blooded Mista. You have to follow the character and it isn't always simple.

After you got the part, how did you approach the character? Did you wish to highlight his "mood-maker" side? Or rather is smart gangster side?

To tell the truth, I didn't think about it. There are of course original scenes, but most of the time, I was following the original work and I copied the expressions he took. The drawings were detailed enough to see the facial expression during the recording sessions. Thus, I used them as guides. And if I make a mistake, the director corrects me.

By the way, which instructions about the direction marked you the most?

In fact, we weren't given a lot of instruction, at least not for Team Bucciarati. All the more since we have dubbed more than half of the series. But at the start we didn't have many instructions. By the way, if we'd been selected through the casting process, it is probably for this reason. I remember some, but they didn't concern me. I remember well the instructions given for Melone's part (played by Junji Majima), it was very direct: "Make him even more perverted!" (laughs).

(Laughs) After having played through several episodes, did your image of Mista change?

No, not really. Mista has several personas depending on the situation and he's very stylish when he fights, that was the impression I already had of him. But there is a difference between the first time I read the manga and now: at the time, I didn't realise Mista was so cool laughs). I don't want to brag, but when I reread the manga, I thought he was so cool. I understood late what kind of character he was. I also noticed that he often ended in a bad state and often after having been hit with his own bullets (laughs).

In the fourteenth episode, when Mista attacks Pesci, we rediscover thanks to the series how scary and cool he can be.

Indeed, that's typically his gangster side that appears in this scene. Another one of his strong points is that he can be extremely cool, meaning at the opposite of the image we have of him.

Are there similarities between you and Mista?

Not really, no, I'm far from being as cool as him (laughs). Our only similarity is that we are both boys. Mista is a really strong person. He has a strong pillar standing at the heart of his soul. Even though we don't live in the same world, it must be really great to have his aptitude for keeping being optimistic, no matter the situation. So no, we aren't alike, but I would like to be like him. Ah yes ! We do have something in common : our voice! (laughs)

In the series, you not only play Mista but also Sec Pistols. You told us you played these characters during the audition. Did your interpretation change over time?

I don't really know (laughs). In the script of the casting, the six characters were present. At the beginning, I had given them each a function in the team. Number 1 was the leader, Number 2 was the group's clown, there was the daredevil, the wimpy one... I had little notes on the script. But today, I don't need them. Their first appearance had really impressed upon me. I must confess that I was envious of those who only had one Stand to voice (laughs), but as soon as I saw them, I found them adorable. When they walk with their little legs, or when they swim in the 19th episode. We even see them in episode 14 (laughs). They bring a touch of freshness in the most cruel scenes. Without denaturing the scene, when I see them, I feel better. The fact that they are animated reinforce their image as cute little beings.

Yes, it's true that they are adorable! But for you, it mustn't be easy every day. Did you already have to play seven characters in another series?

No, it's the first time. At my beginnings, I occasionally had to participate in crowd noise, but never seven characters at the same time. But in good conditions, it isn't as difficult as it looks. I only had a bit of trouble making a high-pitched voice during the pollen season... But since I voice each of Mista's lines beforehand, I am already warmed-up. Nonetheless, I take great care of my throat for the recording. Mostly for the episodes where they talk a lot because I know I have a lot of work ahead (laughs).

Which scene impressed you the most until now?

Of course, all the episode that are in this booklet (episode 17 to 20). Otherwise, I love the torture dance in the seventh episode. The way they torture their enemy is horrible but the dance sweeps away the cruelty. It's a stylish torture, if I may say so myself (laughs). I was even really surprised when I saw the final result on TV. I also have in mind the scene against Sale during which Mista shows his potential for the first time. It is there that we discover his gangster persona, since until now he was more the fun guy of the team. Besides, I think it is the one true Mista duel with an enemy, whom he fights from start to end (laughs).

If you could use Sex Pistols' power, what would you do?

It is a Stand mean to assassinate people, Mista himself says it... Knowing this, it has no use as long as I live in Japan. So, I would choose to leave peacefully with these little people. They can appear without having to be shot with a revolver. It is nice to have now six new members in the family. I would prepare salami for their meal. I could eat with them while enjoying a good bottle (laughs).

Here is a rather nice project (laughs). To conclude, do you have a message for those who will buy the box set and read these lines?

The Episodes 17 to 20 represent in a way the climax of the first part. Originally, Golden Wind has a story that deserves to be followed. But these episodes set the stage for something bigger that's coming. These episode must them make you want to watch the rest. Enjoy the box and watch them several times. You'll see, you won't be disappointed by the rest of the series. Thanks to everyone!


  • Yoshikazu Iwanami (sound director)
  • Takayuki Yamaguchi (mix)
  • Yasumasa Koyama (sound effects)

To begin, could you describe us what are your respective roles?

Iwanami: When you talk about sound in a video work, it includes the dialogues, the music and the sound effects. Each part is managed separately. For the dialogues there are the voice actors. For the music we have Yugo Kanno. It is Mr. Koyama who manages the sound effects. As sound director, my role is to integrate these three elements to the direction with the director.

Yamaguchi: Mixing means to record the dub and to synchronize the voices over the edited images, to mix the music and to add the effects depending on Mr. Iwanami's instructions and to integrate the sounds. At the end, I harmonize the sound tracks.

Koyama: As the manager of the sound effects, I work to create all the sounds other than the voices and the music tracks. I receive Mr. Yamaguchi's mix tape and I add various sounds, for instance the Stand sound effects that I mix with the rest.

Iwanami: To summarize, we have someone who mixes the voices and the music tracks, another one who creates the sound effects, we take it all back and we look at what we should change or not to finalise the work. When we work all three together, I begin by started the soundtrack. Mr. Yamaguchi works on the mixing and gives the baby back to Mr. Koyama.

Very good, so JoJo's sound is the result of your cooperation. For the fourth part, the producers had asked you something chic and pop. What were the instruction for this fifth part?

Iwanami: This time they wanted something chic. All the more because we are dealing with the great team of beautiful men. We thus preemptively discussed with the producers to know how to highlight them.

Yamaguchi: I remember they insisted on the team spirit (laughs).

Iwanami: We also had to take the location of the story into account. We had to have an Italian touch.

Team and Italy, then. Indeed, these are two primordial concepts in Golden Wind. But how do you represent them through sound?

Iwanami: About the music, contrary to the previous series, we have created an Italian atmosphere in the day to day scenes with melodies with an accordeon for instance.

Yamaguchi: For the team spirit, their was a special "Team" soundtrack. We use it often for the scenes with a strong impact, for instance, rather than using the themes of individual characters. I know that Mr. Iwanami paid special attention to it.

Iwanami: In this season, the scenes where the main team confronts the enemy are even more impressive than in the previous seasons. In the other series, there often was a central pillar, but this team, it is a group of pillars. On the other hand, it is the series where "JoJo" is showcased the least.

This is how you create the atmosphere of the series. Let's talk about a particular element among the three that you talked about at the start of the interview: the music. What were the exchange with the composer Mr. Kanno?

Iwanami: You must know that we don't give any instructions about the music genre. The only directive is "Music for this or that character. For more details, see the manga!" (laughs). In the fifth part, almost all of the enemy Stand users have their own theme. The more enemies there are, the greater the risk of setting into a routine is. So it is important that we understand that when a new enemy arrives. I know that we asked a lot of Mr. Kanno, but thanks to the wide range of res that he concocted for each Stand, the entire work takes on a new dimension. And above all, I love the themes written by Mr. Kanno. He has a gift for creating catchy melodies every time. He is really someone you can count on.

Personally, the score when the sun dawns at the end of the fight against Ghiaccio really gave me goosebumps.

Koyama: Yes, even the episode director Mr. Takahashi was happy to hear the theme where he hoped he'd hear it (laughs).

So, it is Mr. Iwanami who decides which track to use and Mr. Yamaguchi who adapts. In this series when plot twists come one after the other, it must be difficult to find the right tracks depending on each situation?

Iwanami: It is so tedious! (laughs)

Yamaguchi: Nonetheless, Mr. Kanno gives us tracks that are easy to handle. If we explain to him that we're going from a scene about this character to a scene about that character, even if the two scenes are distinct from each other, he manages to concoct melodies that can link up with each other without us noticing it. It notably plays on the rhythm and the pitch. Sometimes we need the music to stop before the climax. He also allows us to have tracks that we can mix together to make one, which isn't common in Japanese animation. Mr. Kanno is really an excellent composer.

Iwanami: During a discussion with Mr. Kanno, he explained to me that he made it so we could understand when we could cut and when we couldn't.

Yamaguchi: It is true that his instructions are clear. There are bits that we can't delete, others that we can cut in several places, enabling us to keep a score while shortening it. The tracks are often 8 bars long, or 16 for the longest ones, which isn't so long at the end. For instance in the episodes 22 and 23, qui perhaps the ones where we manipulated the tracks the most in all of the fifth part.

Iwanami: Yes, because we only find ourselves with two enemies and two totally different powers. We alternate rapidly between two themes depending on the character and the action.

Yamaguchi: Moreover, even between allies, there's the one who speaks and the one who stays quiet. Nothing is left to chance.

The audience can judge that. Let's talk about the sound effects. So, you add the sound effects after the voices and the score?

Koyama: Exactly. Mr. Iwanami presents the detailed tracks, Mr. Yamaguchi uses them as references to edit the score and the voices, which I use as a guide to add the sound effects behind. Working in that order allows us to fit in the son and the score together more easily.

Iwanami: If we handled all the tasks simultaneously, we'd end up with repetitive sounds, there would be conflicts between the different tracks and so on... It would be a real mess as far as the work is concerned. We couldn't understand each other. But if you know in advance what will happen, it's simpler. We have instructions for instance where the music should be at the forefront or where the music is present but the sound effects should be more audible. You hear it very well during the mixing process.

You often use surprising sounds for the Stands, for instance the sound of a VHS tape when Moody Blues is activated. Where do these ideas come from?

Koyama: For this particular case, it randomly came to me as I was listening to music. In the original work, there is no information about any VHS tape sound. I love the manga so I try to stay true to it as much as possible. But we mustn't forget that this arc has been published a long time ago and that without some updates, the series would sound too old.

Iwanami: At the same time, audio tapes can't be found nowadays.

Koyama: Precisely, it is done to give a retro aspect to it.

Iwanami: OK I see. So the loop is closed.

Koyama: Another element about Moody Blues, it is its ears that look like an old telephone handset. Thus the use of a phone tone. In fact, Mr. Kanno also use sound effects linked to the Stand powers in his tracks. His musical scores often give me inspiration for the sound effects. Some tracks are almost created out of sound effects. So sometimes I have the impression that there's nothing left for me to do (laughs).

Iwanami: There is also that Stand that makes people grow old. The track at that moment includes sound effects that reinforce the anxiety of growing old. Normally, it's the reverse, you use the music to give relief (laughs).

Koyama: You are talking about The Grateful Dead. The music is based on high-pitched noises. I had to add low-pitched sound effects to balance things out. As I said, I come to forget my primary job (laughs).

The music inspires you often, does it not?

Koyama: Mostly in the fifth part because of these complex Stands. But in my case, working on JoJo is more of a passion than a job (laughs). When I used to read the work, I would imagine which sounds would fit the best. Now that I can work, I always try to see if there aren't any ways to do better. I invest myself in all the works on which I have the occasion to work, but for JoJo in particular, I try to create sounds that nobody would have thought of.

What kind of instructions does Mr. Iwanami give you?

Koyama: Mr. Iwanami never told me in advance what kind of sound he would like. By the way, it is better because it would be too constraining.

Iwanami: Giving too many instruction stifles creativity and gives a bland result. We work together as professionals, everyone knows his job. I know that Mr. Koyama will bring his own personal touch. We three collaborated thousand of times, we understand each other without saying anything.

Let's go to the last element, the dialogues. Mr Iwanami, what instructions do you give to the voice actors?

Iwanami: Each dubbing session for JoJo is a trial, but I think that the actors take pleasure in it. The intensity of the acting and of the voices are at another level compared to the usual production. Simply put, it is as if everybody was shouting all the time. The mood on set is sports-like. And our job is to capture the most accomplished takes in the service of the series. We have a short amount of time to make it. The main skill you need to dub is the know how to anticipate the rise in tension to make the best take possible. When everybody is warmed-up, there is no point giving precise instructions. We ask the actors to be as intense as possible (laughs).

Yamaguchi: Me too, when I attend the recording session, I realise that you don't do things subtly, you make the ground shake. Of course the voice actors are experienced and have skill, but the passion that they put into it is necessary to JoJo. You must know that they usually end the sessions all sweaty (laughs).

Iwanami: Especially for the enemies entering the scene when they fight against Bucciarati's team. They must give it their all from the start. I ask myself if the enemy Stands's actor don't happen to feel more pressure than the others.

Yamaguchi: I remember that Mr. Ken Narita, Illuso's interpret, felt surprised after the first test take (laughs).

Do you remember things that went particularly well?

Koyama: For me, I think that the fight against Ghiaccio is the best since reading the manga. I think that the sound effects of White Album Gently Weeps are excellent. As soon as I was told about adapting the fifth part into anime, I thought a lot about how we'd dub Gently Weeps. Otherwise, I am also very satisfied about the activation sound of King Crimson. In the two previous parts, I had more or less a sound for the Stands in mind. This time, while trying to following the same line, I wanted to insert more discreet sounds. Thus, even without noticing it, the spectators feel the same discordant feeling as the characters.

It is very subtle... What about you, Mr. Iwanami and Yamaguchi?

Iwanami: Since it is my job, I am forced to tell you that for me, everything went well. On JoJo in particular, which is a work where the fans already have a clear and precise picture inmnd. There will always be people that oppose what we present. There are so many fans and as many diverse takes... Some make up their own image, and what we must do is to make them accept what we suggest. It is almost like a power balance. The older the work, the more immutable the picture the fans have of the work is. It is very hard to make them accept something else. Each episode, each scene, each shot, I ask myself if I succeeded, I'm never sure of anything. It is how I work so I can't tell you if a part in particular went better than the others.

Yamaguchi: I do agree. If I am asked what went well, I answer "everything". The mixing consists in harmonizing sounds. We record the sounds, we make it so the dialogues can be understood by the audience, in the intense moments, we put the music that is needed without forgetting the importance of the sound effects. If something doesn't go well, it means I haven't done my job (laughs). If however, I had to choose, I am rather satisfied about the voices of Sex Pistols, who are cute voices while keep the base voice of Mr. Toriumi. When I work on JoJo, I aim to not tinker too much with the sound. JoJo is a fast-paced series in which the sounds gives off a lot of information. If you change the voices of the characters too much, people may not understand what is being said. That is why I avoid changing too much, thus I keep a sort of audio balance.

Iwanami: You are right when you say that you shouldn't overdo it, it is the essential. We have great voice actors who manage to replicate the intensity of the lines. It would be a shame to waste such talent. It is why Mr. Yamaguchi seeks to find the best balance.

Yamaguchi: That is true. It is also why I try not to be too creative. In my position, I cannot highlight myself too much.

Thanks to your work, we can enjoy an excellent series, with pleasant dialogues, music and sounds that support the work. Let's change subject and tell me which are your favorite Stands.

Yamaguchi: Pesci's Beach Boy. It's the best for pranking and laying traps for people. But I always wanted to have Harvest, a Stand from the fourth part, by my side.

For what?

Yamaguchi: To bring me money, of course. I'm a greedy man, you know (laughs).

(Laughs). And you, Mr. Iwanami, what is your favorite Stand?

Iwanami: For now, there is no Stand that I'm particularly drawn to... You must know that I say how I feel out loud on a daily basis, when I'm tired, or when I want to go home, for instance. And since people hear my sometimes, I say "Don't pay attention, it is my Stand who's speaking, he's called Monologue". I often use it (laughs).

I see, your Stand says out loud what you have in mind (laughs).

Iwanami: However, it has no combat ability or any power (laughs).

Yamaguchi: It's only a Stand that drags its user down (laughs).

Thank you all three. To conclude, do you have a message for the fans who will read those lines?

Koyama: Well... I love JoJo!

All: (Laughs).

Yamaguchi: That's exactly what he said to Mr. Araki (laughs)

Iwanami: Allegedly because he was nervous...

Koyama: I'm not ashamed to say it, I am happy for being alive just because I could have the chance to meet Mr. Araki! It's a dream like any other!

Yamaguchi: (Laughs). Many viewers already know the story though the manga. But I want to warn you, you will cry in the incoming episodes. Stay until the end.

Iwanami: For me, Jojo is a life's work. I really want to work on the sixth part so please, encourage us by supporting the fifth.

Yamaguchi: (Laughs) On the Blu-rays, you can enjoy the 2.1 sound which is practically identical to the one used in the studio. I hope that you will like it.

Iwanami: With good loudspeakers or headphones, it takes on its full dimension.


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

アニメ『ゞョゞョの奇劙な冒険 黄金の颚』朚村泰倧監督&髙橋秀匥監督 クラむマックス盎前むンタビュヌゥゥりッ!!!!!“芚悟”を決めおゞョルノたちず共に駆け抜けた怒涛の3クヌルを振り返るッ!! いよいよ明日、最終話を迎える『ゞョゞョの奇劙な冒険 黄金の颚』。ブチャラティの呜を賭した機転により、王の䞭の王が手に入れるべき矢はゞョルノの手に枡った。そしお、矢の力でパワヌアップしたゞョルノのスタンド、ゎヌルド・゚クスペリ゚ンス・レクむ゚ムの拳が遂にディアボロに叩き蟌たれる 悲願のボス撃砎ずなるのか  !?


ここたで番組を芳おきたファンならば、その問いに玠盎に銖を瞊に振るこずはしないだろう。サン・ゞョルゞョ・マゞョヌレ島で、組織を裏切りボスを蚎぀ず決断したアバッキオずナランチャ。そしお、肉䜓が朜ちおも執念で動き続け、ボスを远い詰めたブチャラティ。安らかながらもゆっくりず死んでゆく人生ずは真反察の、苊難に満ちおいながらも激しく脈打぀人間賛歌の生き様だった。\ そしお、アニメスタッフもたた誇りを胞に䜜品制䜜に取り組み続けおきた。『ゞョゞョ』ずいう倧䜜を背負う名誉ず匕き換えの重圧は盞圓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「幞犏ずいうのはこういうこずだ」ず同様のこずを蚀えるように3クヌル戊い続けおきたはずだ。

線集郚は最終話を制䜜䞭の朚村泰倧監督ず髙橋秀匥監督にむンタビュヌを実斜。『ゞョゞョの奇劙な冒険』のTVアニメヌションシリヌズ第1䜜から携わっおいるdavid productionの笠間寿高プロデュヌサヌにもご同垭いただき、制䜜背景に぀いお䌺った。ディアボロずのバトルをはじめ、船䞊でのダンスや察チョコラヌタ戊での無駄無駄ラッシュずいったファン泚目のシヌン、そしお原䜜者・荒朚飛呂圊先生からのアドバむスなど、これたでの3クヌルを振り返っおいただいた。

【グッズ-ブロマむド】あんさんぶるスタヌズ! ぱしゃこれ/IDOL SHOT Ver.4【再々販】 『黄金の颚』では「チヌム察チヌム」を意識した高橋監督 ――遂にクラむマックスです。3クヌルを戊っおきたご感想をお聞かせください。


朚村泰倧以䞋、朚村党くその通りです苊笑。今僕らにはそれしか蚀うこずはなくお  どのくらい前からやっおいたしたっけ



髙橋 第5郚特有のこずでいうず「悲哀のドラマ」ずいうこずを意識したした。最終的に生死を賭けお戊う郚分もそうですし、キャラクタヌたちが必ず幞せではない境遇から始たっおいお、そこから抜け出そうずしおいるので。






敵キャラクタヌの行動原理にも共感できるようにしおいる朚村監督 ――『ゞョゞョ』は倧人が読んでも共感できる郚分の倚い䜜品ですよね。















――アバッキオがお兄さん的ずのこずですが、個人的にはブチャラティがチヌムのお父さんだずしたら、アバッキオはお母さん的な存圚かもず思ったのですが、いかがでしょうか 幎䞋のメンバヌのこずを现かく芋おいお、結構小蚀を蚀っおいるので。



「無駄無駄原画」のラッシュはもっず長くする぀もりだった朚村監督 ――䜜画や撮圱凊理などの映像面で特に工倫・苊劎されたずころは











船䞊でのマむケル・ゞャク゜ン颚ダンスを描くために1ヵ月研究した朚村監督 ――第7話の、船䞊でズッケェロを拷問する時にラゞカセで音楜を聞きながら螊る堎面も力が入っおいたした。原䜜ではたった数コマですが、ずおも印象に残る堎面です。



朚村あれ 僕が蚀ったんですか!?











朚村それで蚀ったら、第34話のシルバヌ・チャリオッツ・レクむ゚ムの胜力で身䜓ず粟神が入れ替わっお戞惑うずころは完党にギャグでした。あれ盞圓遊んでるんじゃないですか 原䜜よりかなり盛られおいたすよ。










朚村僕でしたっけ 倧䜓忘れちゃうんですよ苊笑。そう、そういう感じにしたした。







デザむン面は荒朚飛呂圊先生からのアドバむスが掻かされおいる朚村監督 ――荒朚先生からどんなアドバむスがありたしたか













むタリアぞロケハンに行った経隓がフィルムに衚れおいる朚村監督 ――むタリアにロケハンに行かれたずいうこずでしたね。






朚村原䜜だず、電車でのがっおいっお途䞭駅で降りおそのたた宣蚀するんですけど、宣蚀する堎所が䞀番䞋の海岞沿いなんです。だから、い぀の間にか䞋りおいるっおこずになるんです。しかし、映像でそうしおしたうず「あれ さっきたで山の䞭腹にいたはずなのに」ずなるので、新しく、ナポリの街や海が䞀望できる展望台のようなずころを蚭定したした。ゞョルノたちず同じ電車ではないのですが、僕らも䌌たような路面電車に乗っお圌らの足跡を远䜓隓をするこずで肌で感じたものや行ったからこそ分かるこずがありたした。


















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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Who was your favorite character in JoJo then?

That would have to be Yukako.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Published August 1, 2019
👀 Hiroyuki Omori, Takamitsu Sueyoshi

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

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

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

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

To start, what are your responsibilities as a producer?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Any final remarks?

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

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

Thank you very much! [20]

Published August 19, 2019
👀 Hiroyuki Omori, Takamitsu Sueyoshi

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

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

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

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

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

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

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

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

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

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

Sueyoshi: Ah, that's right!

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

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

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

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

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

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

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

Omori: So what is your favorite?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Omori: Thank you! [21]

Lucca comics poster.jpg
Missing translation
Published October 30, 2019
👀 Hirohiko Araki
Innanzitutto, Ú per noi un grandissimo onore averla qui. Vorrei sapere qual Ú 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 più coraggioso e colorato. Cerco di prendere il più 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 più 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 così ormai Ú 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 perché 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 Ú tenuta a Tokyo. Per quanto il lavoro svolto fino ad adesso, non credo di poter esprimere giudizi dato che Ú ancora in corso.

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

In realtà Ú molto semplice: in Giappone c’Ú 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 sì, 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 sé 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 Ú conclusa la trasposizione animata di Vento Aureo, la serie ambientata in Italia. Una delle cose che più 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 Ú 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, Ú 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, Ú cambiata molto, stilisticamente e narrativamente. Vorrei sapere se e come Ú 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 Ú 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 Ú 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 più forti, nonché quelli dei villain principali, hanno a che fare con la manipolazione del tempo. Come mai per lei Ú così importante per lei il tempo?

Semplicemente, penso che poter controllare il tempo Ú il potere più 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 Ú qualcosa che mi affascina da sempre e credo che sia il potere più forte di tutti.

A chi o cosa si Ú 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 Ú 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 Ú nato così. Lui Ú un personaggio che mi affascina molto, perché non fugge la sua natura. Kira accetta se stesso, non si combatte. Conosce se stesso, sa come Ú fatto e affronta la sua quotidianità giorno per giorno.

La sua passione per la moda Ú 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 Ú il suo personaggio preferito di JoJo?

Shigechi, un personaggio della quarta serie Diamond is Unbreakable.

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

È proprio l’appena citata Diamond is Unbreakable. Questo perché la città in cui si ambienta, Morio-cho, Ú 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 Ú 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 Ú tornato così tante volte all'interno della serie, riuscendo anche a reincarnarsi nella settima parte, Steel Ball Run?

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

Buongiorno a tutti. L’idea dalla quale Ú 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’Ú 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 Ú così legato?

In realtà Ú nato tutto perché mi Ú 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’Ú 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’Ú nessun accanimento nei confronti degli Zeppeli, ma sono semplicemente complementari alla famiglia Joestar, e per tale motivo la loro esistenza Ú 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’Ú 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 Ú fondamentale? Si parte da lì per creare la storia oppure Ú 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, Ú veramente molto importante, perché 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 Ú 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 Ú 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, Ú conoscenza comune che lei ascolta moltissima musica. È anche un concetto interessante, in quanto il ritmo Ú fondamentale per lo storytelling. In che modo la musica, e che tipo di musica, influenza il suo lavoro.

La cosa che mi influenza di più Ú proprio il ritmo. Ci sono diversi tipi di ritmica, stili musicali, tempi di battute che influenzano il mio lavoro. La musica Ú 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’Ú nel messo, aleggia una nebbia, ma perché la narrazione di JoJo Ú molto spontanea. Essenzialmente, però, mi Ú 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’Ú lo Stand di Keicho Nijimura, Bad Company, che Ú 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’Ú 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 più 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 Ú piaciuto molto Ú Babil Junior, e il suo protagonista va in posti desolati, come il deserto, sempre con la divisa scolastico. Lo trovo fantastico, ed Ú stato di grandissima ispirazione, mi Ú 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’Ú 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 Ú 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’Ú qualche personaggio che le somiglia o qualcuno in cui si rivede?

  • ride* Premetto questo: non Ú Rohan. Anzi, Rohan Ú ciò che io vorrei diventare. Detto questo, in realtà non c’Ú 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’Ú 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 Ú 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 possibilità di correggere quello che scrivo.

Grazie di cuore per questo prezioso incontro Maestro. È stato molto interessante parlare con lei di JoJo.[22]

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

A: It fascinated me. It was brought back to light after Vesuvius' eruption; 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 pronunciation 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 particularly 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.[23][24]

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 Ú ambientato in Italia. Come mai questa scelta?

Amo l'Italia e volevo venirci, questo Ú 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'Ú qui io lo amo.

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

Beh, chiaramente mi piace anche il cibo. Lo spaghetto nero di seppia, così 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? Perché Ú partito da qui per la storia e com'Ú il suo rapporto con la pizza?

Perché 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 Ú buonissima, purtroppo però non la so cucinare.

Capri Ú 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 lì 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 così bello, eppure dover essere così isolati.

Pompei Ú 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 così massicce. Che ne pensa?

In questo caso parliamo delle pose di JoJo: per me il senso delle pose Ú quella figura che ti rimane impressa. Ho studiato il Bernini, Dafne e Apollo e così via. Ciò che mi impressiona e mi piace di più vedere in assoluto Ú 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, Ú un fatto più 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 Ú 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?

Sì, e ovviamente Ú 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 perché 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 Ú meraviglioso. Io disegno manga da trent'anni, ma sono io a chiedere ora a voi cosa vi affascina di loro così 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'Ú?

Sì, la moda italiana Ú 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 modalità Kenshiro e oggi sembra invece più una Sailor Moon?

Araki: scusate, ma io all'inizio non ero tanto bravo a disegnare, per cui ora riesco a farlo più 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 Ú? Maurizio: un frullatore, poi avrò modo di spiegarlo. Araki: qual Ú 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 sì? Non lo sapevo affatto!

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

Sì, il vostro "mi rifiuto". In giapponese Ú "kotowaru".

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

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

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

Quelli di Bucciarati sono tatuaggi oppure abiti speciali?

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

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

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 Ú la sua città preferita?

La fiera di Lucca Ú 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 Ú un tipico piatto napoletano. Ci sono molti personaggi del manga cui manca una figura genitoriale. Da cosa deriva?

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

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

“ゞョゞョ愛”に敬意を衚するッ 『黄金の颚』監督コンビが明かす、情熱の制䜜秘話 2019幎11月22日 17時55分 2012幎から続くテレビアニメ『ゞョゞョの奇劙な冒険』以䞋、『ゞョゞョ』シリヌズの最新シヌズン『黄金の颚』。





第37話は実質的な最終回。いちばんの戊力を泚いだ 攟送終了から3ヶ月以䞊が経ちたしたが、呚囲からの反響はいかがでしたか 朚村 最終話付近でアニメの話題がTwitterトレンドに入っお、驚きたしたね。党39話の長線䜜品ではなかなかないので、「最埌たで芳おくださったんだな」ず玠盎に嬉しいです。 原䜜はもちろん、テレビアニメも囜民的なシリヌズに成長した感じがありたすよね。 朚村 そうですね。僕は『黄金の颚』アニメシヌズン4の攟送䞭に結婚匏を挙げたんですが、10幎ぶりに䌚った知人や芪戚から「『ゞョゞョ』、芳おるよ」ず声をかけられたした笑。僕がアニメ関係の仕事をしおいるこずすら知らなかったはずなのに 。『ゞョゞョ』の力は絶倧だなず感じたしたね。 髙橋 僕はSNSをやらないので正盎、芖聎者さんからのリアルな反響ずいうのはよくわかっおいたせん笑。ただ、スタッフのみなさんが最埌たで士気を萜ずさずに頑匵っおくれお、今でも本圓に感謝しおいたす。 珟堎䜜業のピヌクはどのあたりだったんですか 髙橋 ゞョルノの芚醒したスタンド、ゎヌルド・゚クスペリ゚ンス・レクむ゚ムが登堎する第37話『王の䞭の王(キング・オブ・キングス)』だず思いたす。第38話『ゎヌルド・E(゚クスペリ゚ンス)・レクむ゚ム』ず第39話『眠れる奎隷』は少しスパンが空いおからの2話連続攟送でしたから。 第37話が7月5日に攟送され、第38・39話が7月28日に攟送。3週間ほど空きたしたね。 朚村 最埌の2話は特別線ずいうか、䜜り手ずしおはどこか“お祭り”的な感芚が匷かったので、僕らにずっおは第37話が実質的な最終回でしたよね。 髙橋 朚村さんの担圓回でしたが、はたから芋おいおもヒシヒシず気合いが䌝わっおきたした。 朚村 第37話はスタッフ的にもいちばんの戊力を泚ぎ蟌んでいお、たさに総力戊ずいった感じでしたね。


▲ゞョルノに敗れ、第38話で“無限に”死に続けるディアボロ。シリヌズ屈指の悲惚な最期を迎えた。 最終話はたるたるプロロヌグずいう内容で、シリヌズでも異色のクラむマックスでした。原䜜通りではありたすが、挔出的には苊劎したのではないですか 髙橋 原䜜通りの流れでやるかどうか、最初に少しだけ怜蚎したんですが、やはり最埌に入れるのがふさわしいだろうずいう結論に達したした。

第5郚のテヌマは“運呜”ですから、第39話『眠れる奎隷』の゚ピ゜ヌドを最埌に持っおくるこずで、繰り返し芳た際にテヌマをより匷く感じられるんじゃないかず思ったんです。 朚村 そもそもですが、アニメで原䜜の蚭定や構造を倉えおいる郚分っおないんです。キャラクタヌの過去゚ピ゜ヌドを増やしたり、必芁に応じお堎所を倉曎したりはしおいたすが、改倉しおいるわけではない。だからこそ、゚ンディングに぀いおも原䜜準拠が望たしいだろうず。

▲最終回ずなる第39話では、持ち䞻の運呜を告げる奇劙な「石」の゚ピ゜ヌドが描かれた。 キャストの「ゞョゞョ愛」の匷さに驚かされた 今のお話からも制䜜チヌムの“原䜜愛”を感じたすが、キャスト陣の思い入れはいかがでしたか 朚村 それはもう匷かったです。みなさん完党にキャラクタヌを䜜り䞊げおきおいらっしゃるので、収録時のリテむクがほずんどないんですよ。 なかでも、ずくに“ゞョゞョ愛”が匷いず思ったのは誰ですか 髙橋 みなさん本圓に熱量が高いんですが、あえおひずりを挙げるなら、僕はアバッキオ圹の諏蚪郚順䞀さんです。収録䞭もセリフの解釈に぀いお指摘をもらっお、僕らが「たしかにそうだ」ず玍埗したこずもありたすから笑。 朚村 諏蚪郚さんはアバッキオが奜きすぎるんですよね。圓初、諏蚪郚さんはディアボロ圹でもハマるんじゃないかず思っお提案したこずがあるんですが、頑ずしお「アバッキオ圹じゃないず出挔しない」ず笑。

▲チヌムのブレヌキ圹でもあるアバッキオ。序盀は新参者のゞョルノず衝突しおいたが、次第に信頌を寄せるように。 印象的だったアフレコ時の゚ピ゜ヌドはありたすか 髙橋 小野賢章さんは「無駄無駄ラッシュ」に察しおかなりこだわりを持っおいお、本線の収録でも「もう1回やらせおください」ず䜕床も録り盎しをしたこずがありたす。 朚村 僕が小野さんのお芝居で芚えおいるのは第19話『ホワむト・アルバム』の最埌で、朝日をバックに「ミスタ あなたの『芚悟』は この登りゆく朝日よりも明るい茝きで『道』を照らしおいる」ずいう決めれリフです。



▲第31話で、ゞョルノは敵のチョコラヌタCV宮内敊士に察しお“無駄無駄ラッシュ”を披露。小野は、玄30秒間にわたっお「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䜓は、すべお鳥海浩茔さんが挔じおいるんですよね。 朚村 そうです。ナンバヌごずに性栌が違ったりもするので、6䜓すべおを別録りにしお、最埌にそれをミックスしお䜿っおいたす。


▲セックス・ピストルズは、それぞれ性栌もバラバラ。ミスタ圹の鳥海浩茔は、蚈7キャラクタヌを挔じ分けた。 監督オファヌは本気でドッキリだず思った ここからは、おふたりがいかにしお『黄金の颚』に関わっおいったかを教えおください。『ゞョゞョ』シリヌズに関わるのは、おふたりずも今回が初めおですが、原䜜やアニメシリヌズに぀いおは、どの皋床泚目されおいたしたか 髙橋 僕は孊生時代から原䜜を読んでいお、倧奜きな䜜品でした。

それもあっお、もしアニメを芳お違和感を抱いたら嫌だなず思っお、攟送圓初は少し避けおいたんです。ただ、そうは蚀っおもやっぱり気になっお『ファントムブラッド』を芳たら、めっちゃ良くおビックリしたした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。圓時は自分が関われるなんお倢にも思っおいなかったので、アニメスタッフぞのリスペクトを感じ぀぀も、どこかで距離を取っおいたした。

しっかりず芳るず嫉劬しおしたうずいうか、自分が関われないこずが悔しくなる。 では監督のオファヌが来たず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”だず思いたしたね笑。

ずっず疑っおいたんですが、アニメヌションプロデュヌサヌの笠間寿高さんずお䌚いしたこずで初めお「本圓にやれるんだ」っお笑。『黄金の颚』はずくに奜きな郚でもあったので、ずおも嬉しかったです。 朚村 僕は『週刊少幎ゞャンプ』を読んでこなかった珍しいタむプの人間なので笑、未読のたた倧人になりたした。ただアニメシリヌズはリアルタむムでほがすべお远いかけおいお、いち芖聎者ずしお楜しみにしおいたんです。

監督のオファヌが来たのがちょうど『ダむダモンドは砕けない』の攟送が終わる2016幎の幎末。「『黄金の颚』もやるよな。いったい次はどんな話なんだろう」っお思っおいたので、たさに青倩の霹靂でした。 では、そこから改めお原䜜をお読みに 朚村 そうです。原䜜未読のたたアニメを新鮮に楜しみたいずいう気持ちもあったので、オファヌを受けたずきは「原䜜読たないずな 」ず、ちょっず耇雑な気持ちでした笑。 実際に原䜜を読たれた印象はいかがでしたか 朚村 最高に面癜かったです。でも、じ぀は読む前はちょっず䞍安だったんですよ。 どうしおですか 朚村 「原䜜は未読」ず蚀いたしたが、実際は友達の家でちょこちょこ読たせおもらう機䌚があったんです。でも子どもだった僕は、密床の濃い絵柄や情報量に頭が远い぀かず、投げ出した経隓があっお笑。


「これをフルカラヌでアニメにできるんだ」ずやりがいも感じたしたし、ワクワクしたしたね。 総監督から授けられた「『ゞョゞョ』はプロレス」ずの蚀葉 監督を務めるにあたり、接田尚克総監督ずはどんなお話をされたしたか 朚村 接田さんが「ゞョゞョはプロレス」ず蚀っおいたのが印象深いですね。



▲朚村監督の蚀葉通り、『ゞョゞョ』では「なにィヌッ」や「ば、バカな」ずいった驚くシヌンが倚甚されおいる。 髙橋 僕が接田さんの蚀葉で芚えおいるのは「ルネッサンス」ですね。 「芞術埩興」ずいう意味の、「ルネッサンス」ですか 朚村 そうだず思いたす。初心に返れずいう意味なのか、ルネッサンス的な芞術矎を远求しろずいう意味だったのか 。 髙橋 途䞭ですぐに蚀わなくなったので、真盞は今でも闇の䞭なんです笑。 い぀か真意を聞いおみたいですね。ほかに接田総監督から蚀われたのはどんなこずでしょうか 朚村 “珟実のむタリア”より“むタリアっぜさ”を倧切にしおほしいず蚀われたしたね。 どういう意味でしょう 朚村 むタリアに行ったこずはなくおも、倚くの人の頭の䞭にピザやパスタ、ワむンずいったむタリアのむメヌゞはありたすよね。


荒朚飛呂圊先生もむタリアを取材されたうえで描いおいたすが、随所でそういう“っぜさ”は倧切にしおいるんですよ。 なるほど。みなさんもロケハンでむタリアに行かれおいたすが、そのうえで“っぜさ”を意識しおいるんですね。ちなみにロケハンはい぀行ったんですか 朚村 2017幎の7月25日に出発したした。たしか89日間の日皋でした。 髙橋 スゎい よく芚えおたすね。 朚村 珟地がものすごく暑かったので芚えおいるんです。熱波泚意報が出おいたくらいでしたから。 朚村監督は本線の攟送䞭にロケハン時の写真をTwitterに投皿されおおり、ファンのあいだで話題になりたした。 朚村 『黄金の颚』をアニメ化するにあたり、聖地巡瀌をしやすくしようずいうのは最初から目暙にしおいたこずだったんです。それこそ聖地巡りだけでむタリアツアヌが組めるくらいのものにしたくお。

フヌゎの過去描写は、荒朚先生のアむデアを膚らたせた シナリオや絵コンテずいった実䜜業は、い぀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おあっお、本栌的にスタヌトしたのはロケハンから垰っおきおからですね。 朚村 だから、ロケハンのずきはかなりフワッずした気持ちでしたよね。 髙橋 そうそう。戻っおきおからようやく「『ゞョゞョ』の監督をやるんだ」ずいうプレッシャヌを感じ始めたした。 朚村 そもそも僕らふたりはこれたでのシリヌズにたったく関わっおこなかったので、「自分に『ゞョゞョ』の絵コンテが描けるのか」ずいう䞍安もあったんですよね。 髙橋 ありたした。最初の絵コンテ䜜業がいちばんプレッシャヌを感じたした。僕は第2話『ブチャラティが来る』、朚村さんは第3話『塀の䞭のギャングに䌚え』を担圓したんですが、そのずきは接田さんからのプレッシャヌも半端なかったです。


▲朚村監督が初めお『ゞョゞョ』の絵コンテを担圓した第3話。ギャング入団詊隓が描かれる。 『ファントムブラッド』から『スタヌダストクルセむダヌス』で監督を務めおきた接田総監督は、今回、1話のコンテ・挔出を担圓されお以降は、数話でコンテや挔出に関わっおいるのみです。圹割ずしおは仕䞊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。序盀は僕らが䞊げたものを぀ぶさにチェックしおもらっおいたんですが、途䞭からはかなり任せおもらえるようになっおいきたした。 おふたりが䞀緒に仕事をするのも今回が初めおだず思いたすが、挔出家ずしおのお互いの印象はいかがですか 髙橋 制䜜䜜業に入っおすぐのころ、朚村さんの描きかけの絵コンテを芋たこずがあったんです。第3話の冒頭シヌンだったんですけど、それがめっちゃオシャレで驚きたした。 朚村 最初の絵コンテだったので、僕なりにむタリアっぜいオシャレさを狙っお頑匵っおいたんです。 髙橋 隣にいた接田さんず「むしろオシャレすぎじゃない」っお話しおいたしたよ笑。 どんな郚分にオシャレさを感じたんですか 髙橋 ごく普通の日垞シヌンなんですが、その切り取り方がセンスに溢れおいたんですよね。朚村さんはOPもPVもやられおいたすし、第5郚のビゞュアル面に関しおは最初から最埌たで頌りきりでした。

朚村監督から芋た髙橋監督はどんな印象ですか 朚村 絵コンテを芋お思ったのは、すごくロゞカルで緻密な方だなず。现かい挔出を䞁寧に積み䞊げおいく、たるで詰将棋のような䜜り方なんですよね。

ずくにそれを感じたのが第28話『今にも萜ちお来そうな空の䞋で』ですね。 アバッキオの退堎回ですね。 朚村 そうです。あくたでアバッキオがメむンではあり぀぀も、ほかのキャラクタヌ党員の感情をうたく積み䞊げおいっお。だからこそ、あそこたで泣かせるフィルムになったず思うんです。



▲アバッキオが死ぬ盎前のひずコマ。衚情や構図、背景の雲など、现かいこだわりが芋られる。 おふたりはたったく違う個性を持った挔出家なんですね。 朚村 そうだず思いたす。

タむプの違うふたりが揃ったのはたたたただずは思うんですが、今回はそれがうたいこずハマりたしたね。 それぞれ担圓する話数はどのように振り分けおいったんですか 髙橋 ふたりで話し合っお決めたんですが、お互いに自分が埗意な゚ピ゜ヌドや奜きな゚ピ゜ヌドを遞んでいったら、自然ず明確に分かれたした。

結果的に回想シヌンはほずんど僕ですし、アクションは朚村さんが倚めになりたした。 回想シヌンに関しお蚀えば、今回はアニメオリゞナルの゚ピ゜ヌドも倚かったように思いたす。これらはどのようにしお䜜られたんですか 朚村 ちょっずしたものであれば、こちらが䜜ったものを荒朚先生に確認しおいただきたすが、倧きなずころは先に荒朚先生からアむデアをいただくこずもありたした。


▲原䜜では深く远求されなかったフヌゎの壮絶な過去は、ファンのあいだでも倧きな反響を呌んだ。 ナランチャが奜きすぎお監督のオファヌを快諟 おふたりが個人的に奜きなキャラクタヌは誰ですか 髙橋 これはむンタビュヌのたびに蚀っおいたすが、ナランチャCV山䞋倧茝䞀択です。 朚村 毎回聞いおいるので、すっかり「髙橋さんナランチャの人」のむメヌゞになっおきたした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ヌを受けたず蚀っおも過蚀ではないですから笑。

本線䞭のナランチャ゚ピ゜ヌドはすべお担圓させおもらったので、個人的にはそれだけでも倧満足なんです。先ほど朚村さんの話に出た第28話も、僕ずしおはアバッキオ回であるず同時に、ナランチャ回でもあるず思っおいるんですよ。 アバッキオの死を受け入れられないナランチャの姿は、山䞋さんの挔技もあいたっおシリヌズ屈指の名シヌンずなりたした。 髙橋 そうなんですよね。山䞋さんは以前に別の䜜品でもご䞀緒したこずがあっお、そのずきも泣きのお芝居がすごくうたいなず感じおいたんです。


▲感情を玠盎に芋せるナランチャは、シリヌズを通しお芋せ堎も倚い人気キャラクタヌ。 朚村監督が奜きなキャラクタヌは 朚村 今はミスタが奜きです。勘やノリで生きおいるずころや胜倩気な性栌など、僕らが思い浮かべるむタリア人っぜくおいいですよね。

それでいお初察面のゞョルノの本質をすぐに芋抜いお信甚するなど、人間的にも魅力的ですし。スタンドが銃ずいうのもすごくカッコよくお、倧奜きです。 ミスタで奜きなシヌンはありたすか 朚村 第30話『グリヌン・デむずオアシス その』で、ゞョルノずミスタのふたりで銃を撃぀シヌンが奜きですね。





▲第30話では、ミスタずゞョルノのコンビ技が登堎。セックス・ピストルズにも倉化が芋られる。 話題になったOPのゞョルノの埌ろ姿は、朚村監督の発案 匟道の色倉化のお話が出た぀いでにお聞きしたすが、画面の色味が䞀瞬で倉わるなど、色による挔出が印象的でした。 朚村 画面の色がシヌン単䜍で䞞ごず倉わるのを「シヌン特色」、カット単䜍でピンポむントに倉わるのを「カット特色」ず呌びたすが、『ゞョゞョ』では『ファントムブラッド』からどちらも䜿われおいるんです。 髙橋 基本的にはバトルの決着が぀きそうなタむミングでシヌン特色を倚く䜿っおいたす。「ここからクラむマックスに向けお加速しおいきたすよ」ずいうこずを衚珟するための挔出で、これは『ゞョゞョ』シリヌズを通じおの特城でもありたすね。


▲カット特色の䞀䟋。通垞カラヌのシヌン内で、ワンカットのみ特色カットが差し蟌たれる圢匏。 そうだったんですね。シリヌズの特城ず蚀えば、OPの特殊挔出も毎回話題ずなりたすよね。 朚村 『黄金の颚』のOPは僕が䜜っおいるんですが、圓初の構想では最埌のGERverはありたせんでした。

でもディアボロverに切り替わるのが第34話で、そこから最埌たで同じだずちょっず飜きるかなず思い、䜕かひず捻りしたいずGERverを䜜りたした。 ゞョルノの埌ろ姿をDIOに䌌せおいるのも朚村監督のアむデアですか

朚村 そうです。


だからここで重ねおみたら面癜いかなず思ったんです。 ファンも倧満足のOPになりたしたね。 朚村 盛り䞊がっおいただいお本圓に良かったです。 髙橋 でも『ゞョゞョ』シリヌズのOP&EDっお、どんどんハヌドルが䞊がっお倧倉なこずになっおきたしたね。 朚村 止めようにも埌には匕けない状態なんですよね笑。

▲『黄金の颚』のOP映像のひずコマ。物語の展開に合わせお、シヌンが差し替わる“特殊挔出”はこのシリヌズの特色だ。 チョコラヌタ戊の塔が芋぀からず、原䜜を手に探し回った 本線を描くうえで、ロケハンがすごく圹に立ったず感じたのはどんな郚分ですか 髙橋 僕は日垞シヌンを担圓するこずが倚く、その際に料理を出したがるタむプなのですが、そこはむタリアでのロケがすごく圹立ちたした。たずえば第19話『ホワむト・アルバム』で、ブチャラティずミスタがブルスケッタを食べるシヌンなどがそうです。

ここはアニメオリゞナルの回想シヌンなので、最初はパスタかピザにしようかずも思ったんですが、ロケハンの際に食べたブルスケッタを思い出しお、こちらにしたんです。ブチャラティの「ブルスケッタを4぀ いや、やはり5぀にするか」ずいうセリフは、パスタを泚文しおいたら生たれなかったず思いたす。 「4」ずいう数字を忌み嫌うミスタの性栌がよく衚れたシヌンでしたが、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぀を泚文するこずが䞍自然ではないメニュヌずしおブルスケッタを入れられたのは、たさにむタリアで実際に食べたこずがあったからだず思いたす。 そうだったんですね。逆にロケハンの際に困ったこずなどはありたしたか 朚村 第1話『黄金䜓隓ゎヌルド・゚クスペリ゚ンス』ず第2話『ブチャラティが来る』に登堎する路面電車は苊劎したした。

原䜜に描かれおいる車䞡は叀くお残っおおらず、しかもちょうどロケハン時にストをやっおいお、電車に乗るこずすらできなかったんです。 ではあのシヌンは想像で 朚村 それが、運良く同じタむプの車䞡を掲茉しおいるブログを芋぀けたしお笑。それを参考に描いたりしたした。あずチョコラヌタ戊でヘリを捕瞛した塔もなかなか芋぀からず、あれも苊劎したした。原䜜を手に探したんですが、その堎所には塔らしきものはないんです。

いろいろず考察しお、きっずベネツィア広堎から近いずころにあるんじゃないかず仮説を立おお探した結果、ようやくミリツィ゚の塔を発芋したんです。 モデルずなった塔を自力で発芋したんですね。スゎいですね。 朚村 本圓に幞運でした。

▲『黄金の颚』では、建物もキャラクタヌの䞀郚。ブチャラティがボスを裏切る第21話では、船着き堎の階段が、チヌムの切ない別れを盛り䞊げた。 荒朚先生の頭の䞭には、䞀連の映像ができおいる 裏話をたくさん教えおいただきたしたが、制䜜しおいくなかで、アニメヌタヌ陣から“ゞョゞョ愛”を感じるこずはありたしたか 髙橋 もちろんありたす。個人的な感芚で蚀えば、男性陣よりも女性陣のほうが“ゞョゞョ愛”ずいうか、䞻匵が匷かったように思いたす。「リゟット・ネ゚ロCV藀真秀が奜きだから、ぜひ退堎回のカットを描かせおくれ。もう描ける機䌚がなくなっおしたうから」ずか。 朚村 「暗殺者チヌム」っお、女性陣に意倖ず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ずに驚かされたす。 朚村 もちろん僕らも『ゞョゞョ』が奜きなんですけど、アニメヌタヌさんたちはそれ以䞊の熱量なので、あえお少し匕いた目線でゞャッゞしおいくこずも倚かったず思いたす。



▲リゟット率いる暗殺者チヌムの面々。ゞョルノたちの行く先々で死闘を繰り広げた。 シナリオチヌムはいかがでしたか ずくにシリヌズ開始からシナリオを担圓されおいる小林靖子さんずはどんなお話をされたしたか 髙橋 小林さんはずっず「キング・クリムゟンディアボロのスタンドが䜕をやっおいるのかわからない」ずおっしゃっおいたしたね笑。 朚村 接田さんに「わかりやすく絵に描いお説明しお」っお頌んでたした笑。 ボス戊に぀いおは、䜕をやっおいるのかちゃんず理解できおいる人はあたりいないかもしれたせん。 朚村 僕も子どものころに匙を投げおいたすから笑。でもだからこそ、誰にでもわかるようにアニメで衚珟するずいうのは今回のミッションのひず぀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おいお驚きたした。 朚村 でも原䜜からほずんど䜕も倉えおいないんです。原䜜をきちんず読みこんだうえでコマずコマのあいだを埋めおいけば、自然ずこのアニメの動きになるんです。 髙橋 きっず荒朚先生の頭の䞭にはきちんずした䞀連の映像があっお、それをコマずしお抜き出しおマンガにしおいるず思うんです。本䜜で倚少なりずも再珟できたのなら、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匷みですよね。 最埌に、おふたり自身が感じる『ゞョゞョ』シリヌズの魅力に぀いおお聞かせください。 朚村 昔ながらの少幎マンガ感ですね。

「任務は遂行する。郚䞋も守る」のような、匷いセリフがちゃんずカッコよく聞こえる䜜品っお今はあたりないような気がしたすし、そこにすごくマッチョむズムを感じたすね。 髙橋 どれだけ過剰な挔出を盛り蟌んでも胃もたれしない䜜品っお、『ゞョゞョ』くらいしか思い浮かびたせん笑。

キャラクタヌやセリフの匷床がずこずん匷いので、どんな挔出にも負けないんです。「もっずいける」ず思わせおくれるので、䜜り手ずしおもすごくやりがいがありたす。 朚村 『ゞョゞョ』の挔出に慣れるず、ほかの䜜品ができなくなる気がしたせん 髙橋 そうですよね 䜕をやっおも、぀い物足りなさを感じおしたうんですよね笑。

▲第38話の重芁シヌン。呜を萜ずした仲間たちを思うゞョルノの姿が、ドラマティックに描かれた。 朚村泰倧きむら・やすひろ アニメヌション挔出家、アニメヌタヌ。倧孊卒業埌、2010幎よりアニメヌタヌずしお掻動を開始。䞻な挔出䜜品は『䞖界埁服謀略のズノィズダヌ』、『蟲垫 続章』、『矎男高校地球防衛郚LOVE!』、『銀魂°』、『CHAOS;CHILD』など。2016幎『䞉者䞉葉』で初めお監督を務める。奜きなゞョゞョキャラクタヌはプッチ神父原䜜第6郚登堎。 twitter@namachu 髙橋秀匥たかはし・ひでや アニメヌション挔出家。2004幎、『蒌穹のファフナヌ』の制䜜進行ずしお業界デビュヌ。以降、挔出助手を経お挔出家に。䞻な挔出䜜品に『To LOVEる -ずらぶる-』、『倏目友人垳 参』、『゜ヌドアヌト・オンラむン』、『フュヌチャヌカヌド バディファむト』シリヌズなど。『ポケットモンスタヌ THE ORIGIN』で各話監督を、『競女!!!!!!!!』でシリヌズ監督を務める。奜きなゞョゞョキャラクタヌはむギヌ原䜜第3郚登堎。

Published December 19, 2019
👀 Hirohiko Araki

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

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

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

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

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

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

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

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

Interviewer: Doesn't the president stand out?

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

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

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

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

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

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

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

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

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

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

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

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

Interviewer: A combination of Japanese and European?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


[Translated by Daxing Dan]

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

同時開催の「怛島勝䞀展」の展瀺䜜を遞んだ。  怛島勝䞀の絵から僕が勉匷させおもらったのは、ペン画の線。本質は、冒険に出おいくロマンを描いおいる。シル゚ットや、芋えおいない颚の描き方に圱響を受けたので、そうしたこずを䞭心に遞んだ。

 30幎以䞊描き続けおいる。䜜者の偎に倉化は。  若い頃は迫力を远求しお、力業で描いたりしおいる。でも、幎霢を重ねるず䜙裕が出おきた。若い頃はビヌトが激しいけど、今はゆったりした、倜のゞャズのような絵を描いおみたいずか、そういうのはある。

 これからもシリヌズを描いおいくのか。  「ゞョゞョ」的な発想で描く。読者もそれを期埅しおいるだろうし、ここで䜜颚を倉えるこずはない。䜕を描いおも、おそらくゞョゞョになっおしたう。ぶれないのが荒朚飛呂圊かな。

 シリヌズが終わるずきの構想はあるのか。  「ゞョゞョ」はキャラクタヌを決めお、そこにストヌリヌが぀いおいくような䜜り方をしおいる。今回は今回、来月は来月っおいう䜜り方で、キャラクタヌだけが動いおいく。そのシリヌズのラストの構想はおがろげにあるが「ゞョゞョ」のラストは考えたこずはない。


Incomplete translation
Published March 25, 2020


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

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

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

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

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

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

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

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

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

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

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




おふたりはずもに2012幎攟送の1st Seasonから制䜜に参加されおいたすが、『ゞョゞョ』の原䜜を本栌的に読んだのは、参加が決たっおからだそうですね。どんな感想を抱きたしたか

加藀 「めちゃくちゃよくできおいるな」が最初の感想でした。それたでメディアで取り䞊げられる『ゞョゞョ』っお、独特な擬音やポヌズ、匷烈なセリフなど、型砎りなずころばかりが泚目されおいたじゃないですか。それもあっお、たさかこんなに䞁寧にドラマが䜜られおいるずは思っおいなかったんですよね。


石本 そうですね。絵柄のクセがかなり匷いので、「これは人を遞ぶかな」ず思い぀぀、でもいざ読んでみたら面癜くおビックリ

加藀 埌で知ったんですが、荒朚先生っおすごく映画がお奜きなんですよね。それを聞いたずきに合点がいったんですが、『ゞョゞョ』は䞀芋するず荒唐無皜な展開のようにも思えるんですが、じ぀は情報がかなり敎理敎頓されおいお、マンガっぜい飛躍がほずんどない


加藀 マンガっお基本的には“決めゎマ”ありきの媒䜓ですよね。なので、そこを印象的に芋せるために、動きや芝居を倧胆に省略するこずも倚い。キャラの立ち䜍眮が䞀瞬で倉化しおいたりずか、アクションに぀ながりがなかったりずか。




石本 いえ、残念ながら笑。1st Seasonに参加した圓時は原画マンずしおは新人で、アニメの基瀎を勉匷しおいる時期だったこずもあり、たったくそんな䜙裕はなかったですね。



石本 1st Seasonの第3話『ディオずの青春』ですね。通が火事になり、䞻人公のゞョナサンCV興接和幞ずディオCV子安歊人がも぀れあっお萜䞋しおいくなかで、ゞョナサンが腰のベルトを抜いおディオを目がけお投げ付けるカットだったず思いたす。



石本 たさにその通りで、基瀎的な画力を鍛えおもらったのは完党に『ゞョゞョ』だったず思いたす。ずくに『スタヌダストクルセむダヌス』たでの䜜画はリアルなマッチョ路線だったので、骚栌や筋肉の぀き方など、アニメヌタヌずしおすごく勉匷になりたした。


石本 そこはいちばん頭を悩たすずころです。新しい郚になるずそれたで䜿っおいた技法が䜿えなくなるこずはザラなので、毎回いろいろず研究しながら構築しおいたすね。



加藀 1st Seasonを䜜り䞊げたメむンスタッフのおかげだず思いたす。初代監督の接田尚克くんやシリヌズディレクタヌの鈎朚健䞀さんが䞭心ずなり、シリヌズの根幹ずなるコンセプトをしっかりず瀺しおくれたので、ここたでブレずにやっおこられたした。


加藀 最初に提瀺されたのが「『ゞョゞョ』であるこず」でした。「『ゞョゞョ』っぜさ」ではなく、「『ゞョゞョ』であるこず」が倧切だから、擬音を画面に文字で出す手法やゞョゞョ立ちなど、アニメでは普通やらない衚珟もすべお原䜜に寄せおいこうず。


加藀 ファンにずっお原䜜を远䜓隓できるようなアニメを䜜るずいうのは、このシリヌズの呜題でしたね。たずえば原䜜では、䞍気味さを挔出するために霧や煙のような、名状しがたい気䜓が挂っおずぐろを巻いおいるコマがよく出おくるんです。


石本 僕もそれは新人の頃から刷り蟌たれおきたした。ただ䜜画班ずしおは、原䜜に描き蟌たれおいる線の量を完党に再珟するず珟堎が厩壊するのもたた事実なんですよ笑。描き蟌むほどに芋栄えがよくなっおいくこずは念頭に眮き぀぀も、それ以倖の手法で「『ゞョゞョ』であるこず」を成立させる方法論を暡玢し続けおいるんです。



石本 それが、なかなかこればっかりは口では説明できないんですよね。すごく感芚的なものですし、いただに芋倱いそうになるこずもあるので笑。


加藀さんは1st Seasonでは挔出ずしお参加し、その埌チヌフ挔出やシリヌズディレクタヌも務められたしたが、仕事ずしおはそれぞれどんな違いがあるんですか

加藀 1st Seasonでは絵コンテず挔出をやりたした。第2話『過去からの手玙』から始たり、7、14、20、最終話26話ず担圓したしたね。


加藀 圓時呚りのスタッフから蚀われおいたのは、「人を殺しお泣かせるのが䞊手いね」だったんですよ笑。

石本 僕もそう聞いおいたしたし、実際にそういう印象を持っおいたす。 加藀 あはは。たあ芁するに、ドラマチックなパヌトをしっかり情緒感を持っお挔出するこずを期埅されおの起甚だず思い、そこは意識しおいたした。


加藀 最初に担圓した1st Seasonの第2話です。ラグビヌのシヌンで、ゞョナサンが盞手遞手3人を匕きずりながらも前進をやめないずいうシヌンがあっお、それがすごく印象に残っおいたすね。




そしお続く2nd Season『スタヌダストクルセむダヌス』では、チヌフ挔出を担圓されたした。どのようなお仕事内容だったのでしょう

加藀 基本的には1st Seasonず同じなんですが、接田くんディレクタヌや鈎朚さんシリヌズディレクタヌがチェックしきれないず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぀ないだ映像の確認䜜業に行ったりず、補䜐的な圹割もしたした。

そしお、3rd Season『ダむダモンドは砕けない』でシリヌズディレクタヌずなりたす。こちらの具䜓的な仕事内容は

加藀 鈎朚さんが別䜜品に入っおいたので、その代わりですね。シナリオ䌚議に参加し、接田くんが行けない堎合は僕が代わりにアフレコやダビングなどの倖仕事を担圓しおいたした。改めお振り返るず、『ゞョゞョ』シリヌズではいろいろなこずを経隓させおもらっお、すごく新鮮な日々でしたね。


石本 たずえば第1話『空条承倪郎東方仗助に䌚う』だず、冒頭で仗助CV小野友暹に絡むダンキヌたちずかですね。それ以倖にも画面に映る通行人やモブキャラクタヌ名がないような端圹など、メむンキャラ以倖のほがすべおずいう感じです。


おふたりは1st Seasonから長幎お仕事をされおきおいるず思いたすが、それぞれの仕事ぶりにはどんな印象を持たれおいたすか

加藀 石本さんは、僕が想像しおいるよりも3040%くらい濃い絵に仕䞊げおくれるアニメヌタヌさんです笑。䜜業的にはかなり倧倉なので、珍しいタむプなんですよ。アニメヌタヌであれば、基本的になるべく少ない線で描きたいじゃないですか。䜓力的にもキツいですし、そのほうが枚数も皌げたすから。

でも石本くんはずくに指瀺を入れおいなくおも、ここぞずいうカットは率先しおガンガン濃い目に描いおくるんですよね。 石本 『ゞョゞョ』シリヌズは基本的に濃い䜜画が特城ですし、䜕より䜜画班のあいだでは圓時「濃さ合戊」みたいになっおいたので笑。


石本 玔粋にスゎい方だなずいうのが率盎な印象です。原画の修正指瀺が明確で、なぜこういう芝居にしたいのか、その意図がバシッず䌝わっおくるんですね。それず、䜕気に絵も䞊手いんですよ。むしろ僕より䞊手いんじゃないですか 加藀 そんなわけないでしょう笑。


石本 そうですね。普通の挔出家さんは文字やごく簡玠な絵で修正指瀺を入れるんですが、加藀さんは原画の線を盎接修正されるこずも倚いんです。それで、その絵がたた䞊手いんですよね。


加藀 違いたす。『ゞョゞョ』シリヌズに参加する前からそうなんですが、文字だけだず自分の意図が䌝わらない経隓を重ねおきたもので、い぀しかレむアりトの修正指瀺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お枡すようになっおしたっお笑。




加藀 プロデュヌサヌから盎接オファヌをいただいたず思いたす。 石本 僕も同じですね。メむンキャラのキャラクタヌデザむンは初めおだったのでプレッシャヌは倧きかったんですが、こういう怪奇モノは個人的にも奜きなゞャンルですので、ぜひやっおみたいなず。 加藀 ちょうど『ダむダモンドは砕けない』の終盀、仗助たちず吉良吉圱CV森川智之ずの最終決戊を制䜜䞭だったので、ずりあえずこれが終わっおから考えようず笑。


石本 たあでも、『ゞョゞョ』はすべおがそうですから笑。間違いなく倧倉ではあるけれど、その反面チャレンゞのしがいもあるので、い぀ものようにリサヌチず実隓を繰り返しながら䜜り䞊げおいった感じですね。 加藀 このシリヌズでの岞蟺露䌎CV櫻井孝宏っお、自分自身が事件に巻き蟌たれるこずも倚いんですけど、オムニバスドラマ『䞖にも奇劙な物語』におけるタモリさんのような、ストヌリヌテラヌの立ち䜍眮なんですよね。冒頭は必ず日垞から入り、そこから非日垞ずなり、最埌にはたた日垞に戻っおくるのがお玄束。



石本 いえ、むしろものすごく難しいキャラクタヌです。蚀葉にするのは難しいんですけど、目の描き方ずか、顔党䜓のバランスずか、シル゚ットずか、少し厩れるだけで露䌎っぜくならなくお。




加藀 最初に悩んだのはたさにそこですね。圓時の絵柄に合わせるのか、それずも最近の絵柄に合わせるのか。 石本 2本の゚ピ゜ヌドで絵柄がたったく違うのも違和感があるので、ビゞュアル的には統䞀しようずいうこずになったんです。集英瀟さんやワヌナヌさん、荒朚先生ずも盞談しお、結果的に最近の絵柄にアップデヌトしたした。


石本 そうです。最新ずなる『黄金の颚』で䜿った技法もフィヌドバックさせお、新たにキャラクタヌデザむンを起こし盎しおいたす。


加藀 もちろんファンサヌビスの䞀環ではあり぀぀、でも挔出䞊の必然性もあったので、これは自分でも䞊手く取り蟌めたなず思いたす。くわしくはご芧になっおのお楜しみですが、『ゞョゞョ』本線のファンの方にずっおは楜しんでいただけるのではないかず思いたす。


石本 䜜画的には、い぀もの『ゞョゞョ』らしく、楜しんで描くこずができたしたね。 加藀 倪陜ず空ずポップコヌンずいう、シンプルなアむテムをじ぀に荒朚先生らしいレンズず構図で捉えおいる䜜品で、挔出的には新鮮さも感じたした。これたでにないダむナミックさを、アニメでもしっかりず再珟できたず思いたす。



加藀 この゚ピ゜ヌドに関しおは、陜銬の異垞性をどうやっお芋せるかずいうずころがポむントでした。


石本 露䌎ず陜銬のプッシュアップ察決のシヌンは、オリゞナルですよね。 加藀 そうです。最埌のトレッドミルでの走行察決に説埗力を持たせるために、露䌎ず陜銬の因瞁をより明確にしおおきたかったんです。


石本 この゚ピ゜ヌドに関しおはアニメヌタヌの接曲倧介さんのアむデアが玠晎らしくお、たずえば冒頭の露䌎先生はしょんがりした感じを匷調するために、い぀もはピンず匵っおいる前髪をちょっず垂れ気味にしおいたり笑。


加藀 あのトレッドミル察決は、冷静に考えるず2台のトレッドミルでふたりが䞊走しおいるだけなので、そのたただずビゞュアル的にはかなり地味になっおしたうんですね。だから絵も音も挔技も思いっきり誇匵したものにしお、可胜な限り緊迫感を出すように工倫したした。


加藀 陜銬圹の内山昂茝さんは初参加なのでキツかったず思いたすね。おそらく『ゞョゞョ』の珟堎の過酷さに驚かれたでしょう笑。ですが、お芝居はすごくよかったです。



加藀 1st Seasonから、『ゞョゞョ』のアフレコはずにかく倧倉なんです。぀ねに最倧玚の熱量ず声量を芁求せざるを埗ず、この埌にもう1本収録があったらどうするんだろうず、勝手ながらこちらが心配になるレベルなんです。い぀もキャストの皆さんには「ごめんなさい」っお思っおいたすね。



加藀 4本ずもたったく違うフィルムになったず思いたす。『富豪村』は䞁寧でオヌ゜ドックスな衚珟路線だし、『六壁坂』は副監督を担圓した゜゚ゞマダスフミさんの個性が爆発しおいお、新䜜2本ずはたた違うテむストなんです。

原䜜ファンはもちろん、アニメ版のファンにずっおも本線ずはたた違った楜しみ方ができる䜜品だず思いたす。 石本 䜜画的にもいろいろな挑戊をした䜜品ですし、アニメオリゞナルのシヌンや芁玠もけっこう盛り蟌んであるので、ぜひ楜しんでいただきたいなず思いたす。 [26]


Incomplete translation
Missing translation
Published March 25, 2020


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

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


Cyber Festival poster.jpg
Published July 19, 2020


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

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

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

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

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

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

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

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

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

Jin, what about you?

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

What does Coda think?

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

Among Italian fans in particular?

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

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

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

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

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

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

So what did you think of Paris?

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

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

HT: Yes!

Jin Hashimoto?

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

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

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

How about you Daisuke Hasegawa?

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

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

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

Was it the first all together?

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

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

DH: I did a live duet with Coda.

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

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

JH: Indeed.

Coda: Actually it's quite rare.

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

Is this training mainly done abroad?

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

HT: So I think tonight is a rare opportunity.

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

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

That is to say?

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

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

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

Did you do this yourself?

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

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

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

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

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

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

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

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

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

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

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

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

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

Did this difficulty worry you?

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

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

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

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

JH: Really?

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

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

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

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

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

Thank you for the clarification. What about you Coda?

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

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

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

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

I have goose bumps. What about you Jin Hashimoto?

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

And how does Coda feel?

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

What about Daisuke Hasegawa?

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

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

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

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

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

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

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

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

Translated by Nabu.


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

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

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

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

- Jin Hashimoto : Il est chanteur et entraîneur de vocal. Il interprÚte l'opening de l'animé "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 série Tokusatsu, vous êtes aussi actif dans le groupe de reprise "Earth, Wind & Fire" intitulé "Earth, Wind & Fighters" ou encore dans le groupe "Betchin'". Vous êtes aussi entraîneur vocal pour de célÚbres chanteurs.

- Coda : Vous êtes chanteur, compositeur et guitariste, interprÚte 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 êtes connu pour le 9e ending de l'animé "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 chanté l'ending de l'animé "Gundam G no reconquista". Vous avez participé aux BO de dramas et de films dans bien des styles.

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

HT : Je suis présent sur les réseaux sociaux. Sur Twitter par exemple, j'ai des followers étrangers, certains sont asiatiques, d'autres viennent d'Amérique. 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'étrangers. Ca donne le sentiment d'être vraiment suivi.

Qu'en pense Coda ?

Coda : Oui je partage cette sensation. Quand on regarde Twitter notamment, les réactions sont énormes, je trouve. Surtout depuis que la saison 5 a commencé. 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 à travers différents pays.

C'est vraiment çà. J'ai un ami qui a un tatouage issu de JoJo's Bizarre Adventure où est écrit "Ora ora ora ora !" (rires) Les fans de JoJo s'étendent au-delà des frontiÚres. Enfin, Daisuke Hasewaga, quel est votre sentiment ?

DH : Une fois j'ai fait un live avec JO☆STARS à Phoenix aux Etas-Unis. Cette fois-là, des fans du monde entier nous attendaient. C'est à cette occasion que j'ai le plus ressenti la présence des fans internationaux. 10 minutes avant qu'on monte sur scÚne, il ont commencé à crier "Jojo ! JoJo !", çà nous a communiqué leur émotion.

Coda : Moi je me suis dit qu'ils allaient nous manger ! (rires)

Etes-vous déjà 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 allé en France il y a 8 ans environ. C'était un voyage privé. Je suis allé à Paris.

Alors, qu'avez-vous pensé 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 agencée.

J'espÚre 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 tournée européenne. C'est à cette occasion que je suis venu en France. Le programme de la tournée était chargé, nous étions souvent pressés. Dans la voiture, j'ai été réveillé 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 frotté mes yeux endormis. C'était vraiment comme ça. Je ne pouvais prendre le temps de visiter cette jolie ville.

J'espÚre que la prochaine fois vous aurez le temps... Et vous Coda ?

Coda : En ce qui me concerne, je ne suis encore jamais allé en France. J'aimerais bien y aller hein ... C'est un grand classique. J'ai vu la France surtout à travers des photos et vidéos, 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 vidéo, il y a des scÚnes tournées dans l'aéroport Charles de Gaulle. Donc j'aimerais bien y aller une fois.

J'espÚre que vous aurez l'occasion d'y aller. JO☆STARS et Daisuke Hasegawa, comment avez-vous commencé à faire des concerts ensemble ?

DH : Pour faire suite à ce dont je vous parlais juste avant, nous avons commencé par faire des concerts aux Etats-Unis. C'était nos débuts ensemble.

C'était la premiÚre tous ensemble ?

DH : Oui, tout à fait. En fait, on a fait des live au Japon ?

Coda : On ne fait pas seulement des évÚnements 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'était un évÚnement pour la saison 5 de JoJo's Bizarre Adventure.

DH : Avec JO☆STARS, mon premier concert était aux Etats-Unis.

JH : Effectivement.

Coda : En fait c'est assez rare.

DH : On se réunit surtout à l'étranger. (rires) Moi, je les regardais à la télévision, ces 3 là. Je regardais l'animé de JoJo's Bizarre Adventure et il y avait une publicité 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 à l'étranger.

Cette formation se fait surtout à l'étranger ?

Coda : S'il n'y avait pas d'invitations à l'étranger, on ne se réunirait pas tous...

HT : Donc je pense que ce soir, c'est une opportunité 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 marqué les esprits. Tout le monde se rappelle du passage "JoooooooooooooooooooooooooJo". C'est une chanson qui semble trÚs 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 invité et je suis allé chez maître Tanaka. J'ai reçu un CD et j'ai essayé de chanter par dessus. Alors le maître m'a dit "Ah, tu peux chanter comme ça?". Il a enchainé par : "A partir de là, on va essayer ensemble". Ca s'est fait rapidement. J'étais dirigé par maître Tanaka mais c'était vraiment chaud.

C'est à dire?

HT : Une fois par exemple, j'avais chanté de toutes mes forces mais il m'a dit "Tommy! Plus chaud !! Tu peux faire plus énergique !! C'est pas la bonne note ! Tu ne l'as pas atteinte !" Voila pourquoi c'était chaud.

TOMMY, vous avez une aura proche de l'univers de JoJo's Bizarre Adventure. Si vous étiez un personnage dans l'animé, quel genre choisiriez-vous? Aimeriez-vous tenter un style vestimentaire extravagant?

HT : Alors que je porte déjà ça! (montre son manteau) J'ai fait moi-même le design.

Vous avez fait ça vous-même ?

HT : J'avais une image en tête. Comme je chante l'opening de la saison 1, je voulais quelque chose qui rappelle la fin du XIXe siÚcle. Et un peu gothique.

Effectivement, vous vous démarquez. C'est assez différent de ce que portent les autres membres ! C'est génial, 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 préférée, 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 état d'esprit avez-vous abordé la chanson ?

JH : Quand j'ai chanté ce morceau, j'ai eu une image de puissance. J'ai réfléchi à comment exprimer cette "puissance"; j'ai essayé de chanter de plusieurs façons. C'est à la fin que j'ai réussi à placer ma voix. Il a fallu essayer plusieurs versions.

Donc vous n'aviez pas cette image en tête au départ ?

JH : J'ai cherché tout du long. "C'est peut-être ça? ou ça?" Au final, je me suis dit, ça a été 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 composé des titres de la saison 4 comme "Crazy Noisy Bizarre Town". Avez-vous une approche différente pour le chant et la composition ?

Coda : D'abord, je commence par chanter sans réfléchir. Je me demande : "Pourquoi ils me choississent ?". Bien sûr ils me demandent souvent un style de chant. Quand j'ai chanté pour la premiÚre fois "Bloody Stream", on m'a demandé d'être plus provocant. Je commençais à me demander dans cette cuisine d'animés. ??? J'ai commencé dans la saison 4 en composant le titre "Crazy Noisy Bizarre Town". Le cadre de la saison 4 devient plus ordinaire que jusqu'à présent dans la saison 3. C'est l'histoire d'un lycéen dans une ville au Japon. On m'a demandé de ne pas utiliser de gamme mineure, ils voulaient une gamme majeure pour donner un cÃŽte lumineux. En composant cette chanson, je me demandais "Comment est ce que je peux y mettre ma propre couleur ?" Je pensais forcément à une mélodie facile à retenir. J'ai réalisé que c'est ce qu'il fallait et les paroles sont venues aprÚs. AprÚs, la mélodie est vraiment sortie naturellement de mon corps.

Passons à Daisuke Hasegawa. Comment avez-vous commencé à travailler sur un opening de JoJo's Bizarre Adventure.

DH : J'ai commencé par chanter l'une des BO de la saison 4. Dans l'histoire, on entend la chanson à travers la radio. Ca a été l'occasion d'être entendu par le producteur. Voilà comment j'ai commencé.

Vous avez composé l'opening "Uragirimono no Requiem". Qu'avez-vous ressenti lorsque vous avez entendu cette chanson pour la premiÚre fois ?

DH : Quand je l'ai composé pour la premiÚre fois.. en fait j'avais d'abord écouté deux autres chansons avant pour l'opening de la saison 5. Au début, il y avait deux maquettes pendant l'éloboration de la BO. C'était moi qui chantait sur leurs démos. La premiÚre était trÚs cool et la deuxiÚme tout autant. La troisiÚme est devenue "Uragirimono no Requiem". Et quand j'ai entendu pour la premiÚre fois, elle m'a parue vraiment difficile. Je me demandais si j'étais à la hauteur.

Cette difficulté vous inquiétait ?

DH : En fait, ils m'ont demandé : "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 à ce que certaines notes ne soient pas parfaites.

Vous êtes capable de chanter de nombreux styles. Quel type de chanson auriez-vous envie de développer à l'avenir ?

DH : Le type de chanson que j'aimerais développer ? Il y en a pleins je pense. Chez JO☆STARS aussi il y a beaucoup de voix différentes. J'aimerais essayer le métal. Une voix Métal, type "Death". C'est quelque chose que je ne maîtrise 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 à des choses plus dérisoires. Chanter des chansons justes pour m'amuser, où 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 aigÃŒe 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 précisions. Et vous Coda ? n Coda : En pensant à la France, je me dis "Peut-être 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 sûrement avec la même voix/ (rires)

DH : J'aurai envie d'entendre la voix de Coda sur de la Bossa Nova !

Juste aprÚs vous allez nous faire un concert mais cette fois c'est exclusivement sur le web. Ca doit être assez différent de vos lives en tournée, comment le sentez-vous ? Tommy ?

HT : Quand il y a des spectateurs dans la salle, ça m'émoustille vraiment, mais il y a sûrement plus de monde que je ne pense derriÚre la caméra. A ces gens, je voudrais transmettre, les yeux dans les yeux, le "Jo" de "JoJo" ! J'aimerais vraiment créer cette proximité. C'est avec cet état 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 inquiétant de ne pas avoir cet échange direct, ce retour de la salle. Pour moi, les caméras deviendront en quelque sorte une partie du public.

Et comment le ressent Coda ?

Coda : Moi je pense que grâce à ce livestream on peut établir un lien entre la France et le Japon. C'est forcément mieux de faire un live sur place et de jouer devant nos fans français. Le contexte actuel étant ce qu'il est, je pense tout de suite au positif de la situation. Si ce n'était pas sous cette forme, à 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 vidéos de concerts. Comment dire ? Par exemple, quand on va voir Radiohead de loin, la scÚne parait petite, non ? D'une certaine façon, de chez soi c'est plus grand. Donc ca donnera une plus grande proximité que dans un concert normal. C'est difficile en ce moment avec le coronavirus, mais on garde l'esprit positif. Comme par magie, on espÚre vous faire passer un bon moment et je pense que c'est une bonne chose. Alors préparez vos siÚges, et chauffez la place ! Même via internet, on va chanter de toutes nos forces !

Pour ce festival organisé 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 êtes peut-être déjà tous prêts ? 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'espÚre vous rencontrer directement dans un futur proche. Aujourd'hui je vais chanter en espérant 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 éloignés, mais avec Internet, vous pouvez nous voir et nous écouter en un instant. C'est une époque formidable. Si on fait un rappel, criez devant votre écran ! Chantez avec nous ! Si on vous entend, on pourra mieux assurer. Chantons ensemble !

Merci à vous ! Je vous laisse vous préparer pour le concert qui va commencer, je me fais une foie d'y assister. Merci à tous pour cette interview, merci à vous !


Published October 25, 2020
👀 Hirohiko Araki

Vizmedia interviews with Araki.[27]


JoJo's Bizarre Adventure and Fashion (October 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. (January 27/2020)

Q: Where did the inspiration for Part 4 come from?

A: Diamond is Unbreakable is set in Japan, in a town called Morioh. It's a fictitious town, but I modeled it after an area of Sendai City in Miyagi Prefecture, where I was born and raised. The unusual people who live there... The mysterious people next door... The suspense and fear they engender - they became my inspiration. The idea was to create a closed city. So the Stands weren't the type that were actively moving ready to attack. There are also Stands that lurk and wait for you at home.

Q: Who is your favorite character in Part 4?

A: That would be Josuke... Up through Stardust Crusaders, the main character was like a mythical person... If the main character of Stardust Crusaders is like the hero in Greek myth, then the main character in "Diamond is Unbreakable" is the friend next door.

Q: Like your average Joe ?

A: Yes, an everyday likable character next door that possesses a Stand.

Q: What is your favorite Stand from Part 4?

A: For me, it's Shigechi's. His flaws and trashiness are adorable. He picks up stuff off the ground - I mean, who does that? But that's pretty scary.

Q: I know what you mean.

A: That's the appeal of Diamond is Unbreakable.

Q: Did you base the antagonist Rohan Kishibe off yourself?

A: He's not modeled after me, but I'm fascinated by him.

Q: Many people say he was.

A: I get that a lot, but that's not true. To him, life is art. Art is more important than human life.

Q: Right, that's the only thing he's interested in.

A: That's right.

Q: So that character isn't like you?

A: No, I value human life more.

Q: What do you remember most about writing JoJo's Bizarre Adventure?

A: I'd have to say Morioh Town - whether it's in Diamond is Unbreakable or later arcs. I enjoyed drawing the feeling of everyday life. I wanted to do a "mythical" manga involving superpowers and the like, but Diamond is Unbreakable gets closer to everyday life and that makes it feel more real. I had fun doing it.

Q: In America, many fans dress up as JoJo characters. What are your thoughts on that?

A: They look great. Their cosplay looks like CG, and they're totally in character. They do JoJo poses that, back when I drew them, I thought couldn't be done. I'm amazed. The level is great. The cosplay is so much better than back when I first wrote JoJo.

Q: They do it in groups.

A: It's beautiful.

Q: Do you ever see a possibility of making a visit to America?

A: Definitely, if the opportunity presents itself. If I can eat delicious food and meet movie star Benicio del Toro, I want to go.

Q: Maybe someone here has connections.

A: I'd like to go at least once so I can attend Comic Con.

Q: Do you have a message for American fans?

A: I'd like fans in America to be well and enjoy JoJo's Bizarre Adventure. JoJo's Bizarre Adventure will be introducing many new characters in both manga and anime. Please, look forward to it! Take care, everyone!

Araki Sensei Talks Golden Wind (October 24/2020)

Q: What is unique about Golden Wind?

A: Golden Wind deals with the sorrow of being born - about having no choice in life or only one place where one belongs. The sadness of a character that exists only in the dark underbelly of society. Human relationships, friends versus enemies, the beauty of betrayal... Those are the themes. It deals with the mafia... Can I use that term? Those are the motifs for the Stand battles. The men are important. Beautiful men.

Q: Beautiful men? There are women, too, right?

A: Yes, there are but drawing beautiful men was the main focus. The beauty in meeting one's doom... Men who can only exist in that world.

Q: How did you approach the character designs in Golden Wind?

A: I patterned Giorno's hair curls after Michelango's David. I got the idea from the curls around the forehead. Even the feathers. The curls came from sculptures and Italian motifs.

Q: Did you go to art museums and stuff?

A: Yes, of course. I wanted the characters, sculptures and fashion to be in the style of Rome. The fashionable people of Italy who bear the sadness of history.

Q: Who is your favorite character from Golden Wind?

A: There are many, but the one I enjoyed drawing was Mista. I love how his Stand fires from pistols. Mista is a positive fellow. He accepts himself, and is true to himself without doubts. I like that. On the Hitman team, it'd have to be Prosciutto - his brotherly relationship with his junior.

Q: Pesci?

A: Yes, Pesci. I like that. Their brotherly banter is great... The way his Stand accelerated aging seemed fun, even for me as the artist. There isn't a character I don't like. I even like all the antagonists.

Q: The ending of the Golden Wind anime uses R&B group Jodeci's "Freek'N You". Was this your choice?

A: I wanted to use gangster rap, but we went with a slower-pace song by Jodeci, who are great singers. There's a JoJo's in Jodeci.

Q: Yes, there is.

A: Maybe that wasn't a coincidence either. But they were selected.

Q: Do you have a message for American fans?

A: I'd like fans in America to be well and enjoy JoJo's Bizarre Adventure. JoJo's Bizarre Adventure will be introducing many new characters in both manga and anime. Please, look forward to it! Take care, everyone!

Good Life with Books logo.jpg
Missing translation
Published December 24, 2020
👀 Issey Takahashi




本圓に喜びでした。たさか10代の頃から奜きだったキャラクタヌを、自分が挔じさせおいただけるずは思っおいなかったので。実は「い぀か岞蟺露䌎がやれたらいいね」ずいうのは、僕ずマネヌゞャヌさんだけの秘密だったんです笑。しかも以前に倧河ドラマ「おんな城䞻 盎虎」でご䞀緒した挔出の枡蟺䞀貎さんからお話をいただけるなんお想像しおいなかったので、こんなこずがあるんだず感動したした。







 たた、露䌎を知っおいる人も知らない人も、倚くの人たちが玍埗しおくださるようなキャラクタヌを䜜っおいくこずが自分にずっお倧事なこずだず思ったので、俳優ずしお自分の台詞や動きで「どれだけ説埗力を持たせられるか どれだけ腑に萜ずせるか」ずいうこずに泚力しおいたした。















――ゞョゞョファンも高橋さんファンも気になるずころだず思うのですが、今埌、露䌎以倖でやりたいキャラは たた今回は郚のスピンオフですが、高橋さんは䜕郚掟ですか

 露䌎以倖になりたいキャラは、ないです笑。やっぱり郚の「ダむダモンドは砕けない」が奜きですが、郚の「スティヌル・ボヌル・ラン」の哲孊性もすごいなず思いたす。ゞョゞョの少幎的なずころも楜しめたすし。けれど  、郚の「戊闘朮流」も捚おがたいです。


基本的に生掻のなかに音楜がないず無理なタむプなので、タワヌレコヌドのスロヌガンNO MUSIC, NO LIFE.ず同じです笑。最近はXTCなど、昔から奜きだったものを聎き盎しおいたす。


 小孊生の時にMTVでXTCの「Dear God」のPVが流れおいたのを芋お、めちゃめちゃかっこいいず思ったんです。圓時仕事でアメリカにいたので、ダッシュでニュヌペヌクのタワヌレコヌドに買いに行きたした。フロントマンのアンディ・パヌトリッゞが牧垫の栌奜をしおいお、たくさんの人がたたがっおいる朚をトンカチで叩いお揺さぶっお、圌らを萜ずしおいくずいう印象的なPVなんですが、そのなかでアンディが䞞メガネのサングラスをしおいたので、僕もいただに䞞メガネのサングラスをかけおいたす笑。












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Vol. 1

Confronting the talent of Hirohiko Araki as a team! The creators who ran through the JoJo anime

The anime adaptation started with “This is a difficult task”

When he was approached by an anime-related company about making a TV anime, Hiroyuki Omori, a producer at Warner Brothers Japan, was worried for a while that, “This is a difficult task.” Although JoJo is one of the biggest series in Japan, the original manga started in 1987. In the early days, Hirohiko Araki drew characters in a gekiga style that was full of machismo. It was very different from modern trends in character design. Omori wondered if people who weren’t familiar with JoJo would be able to accept these designs. However, he decided to go ahead with the anime adaptation. He says, “There was the problem of what to do with the design, but the power of the work itself has not faded, and above all, I am a big JoJo fan myself, so I decided to take on the challenge despite the difficulties.” After getting Shueisha’s consent, he immediately started to choose a studio.

Naturally, a studio that could draw JoJo would have to be one that “could draw powerful muscle movements.” Therefore, Omori turned his attention to David Production, which was descended from Gonzo, a studio that had created numerous works in the past. At the time, David Production was still a newly established studio, but their work on the anime for the “Tatakau Shisho” series, which is also a JUMP property like JoJo, showed powerful linework and careful animation. Omori was convinced, “I can let them handle this,” and approached them.

Challenging Hirohiko Araki’s talent as a production team

When David Production’s producer Hisataka Kasama received news of the anime adaptation, he came up with the secret plan of having multiple directors. “To be honest, I thought it would be difficult for a single director to take on Araki’s extraordinary talent, so I decided to have more than one director, which is unusual for a TV animation project, and challenge him as a team.”Kasama The task fell to Naokatsu Tsuda and Kenichi Suzuki. Although there is a slight difference in the way they are credited, with Tsuda serving as “director” and Suzuki as “series director,” they essentially collaborated on all aspects of the production.

Kasama explained why he chose Tsuda and Suzuki: “Tsuda is a good comedic director, and Suzuki is a good action director. I thought that by working together, we would be able to capture both the strength and the fun of the original manga.” In fact, Tsuda also said, “I’m a JoJo fan myself, but if I had been asked to make the anime by myself, I might have refused. But since I was working with Mr. Suzuki, I thought we might be able to do it. When I think about it now, it’s more like the folly of youthful passion. I wasn’t afraid of anything (laughs).” On the other hand, Suzuki said, “I didn’t feel any particular pressure, and the joy of being involved with JoJo, which I love, was greater than anything else. It’s a big title, but rather than be controlled by the opinions of the people around us, we were going to make our own JoJo.”

The core members of the team were Omori and Kasama, the producers, and Tsuda and Suzuki, the directors. Coincidentally, all four were huge JoJo fans. The respect for the original manga that can be felt from every corner of the film is perhaps a natural result of this lineup. Yasuko Kobayashi joined as series composer at the recommendation of the editorial department, and then, with the further addition of Yasufumi Soejima as visual director, the JoJo anime was finally ready to get going.

Make it “JoJo” not “JoJo-like”

From the 1st episode of the 1st season, “Dio the Destroyer” The distinctive feature of the JoJo anime is the way that it completely reproduces the composition and dialogues of the original manga.

The first aim that Producer Omori discussed with the production team was to “make JoJo.” Not something “JoJo-like” or “JoJo-style,” but JoJo itself. Tsuda and his team read the original manga again and again until their copies were worn out, writing as many elements and characteristics of JoJo as they could think of on the whiteboard. They came up with everything from easy to understand things like “onomatopoeia” and “unique posing” to impressions like “I feel refreshed after reading” and “the battles are difficult.” At the end of the process, they sorted through all of it, and Kasama concluded, “If we follow the usual methods of creating animation, we’ll end up with ‘JoJo’s Ordinary Adventure.’ JoJo has to be a ‘bizarre adventure.’ If you think about it, the answer was in the title from the very beginning.”

In this way, everyone agreed to pursue the complete reproduction of all elements, including the onomatopoeia. The rules established through this meeting were later distributed to all the staff involved in the JoJo anime, and became a sort of “bible” for the rest of the series.

Hook the viewers in the first three episodes!

From the 3rd episode of the 1st season, “Youth with Dio” The fierce battle between Jonathan and Dio as the Joestar mansion is engulfed in flames is depicted with quality befitting the beginning of the long JoJo battle.

When the JoJo anime first began, there was no guarantee that it would have four seasons produced. If the first season did not achieve a certain level of success, there would be no second season, so the producer Omori focused especially hard on the first three episodes.

JoJo has a strong image of “stand battles,” and the third part of the original manga, “Stardust Crusaders,” in which stands were introduced, won many fans. For this reason, the question of how to deal with the first part of the original manga, “Phantom Blood,” which tends to be considered simple, was a major issue. Because of this, Omori tried to immerse the viewers in the world of JoJo, and so the animation staff depicted everything up to the first climax in chapter 17 in those first three episodes. Usually, one episode of an anime is equivalent to three or four chapters of a manga, so you can see how drastic the structure was. According to Omori, “I wanted to get the audience hooked on the story by making it a roller coaster ride.”

This strategy proved successful, and it was received favorably by many fans. Omori, who had been following the reactions on social media in real time, recalls, “I was really relieved, thinking we might be okay for a while.”

Raising the quality with the strongest team for the popular “Stardust Crusaders”!

From the 3rd episode of the 2nd season, “The Curse of DIO” The 2nd season was developed with the designs that were closest to the original manga.

With the popularity of the first season, the production team moved on to producing the second season, “Stardust Crusaders,” (Part 3 of the original manga) as soon as the broadcast ended. The biggest draw of the second season is the depiction of fierce battles between the stands, and it is one of the most popular and vital parts of the series. For this reason, the number of drawings was increased compared to the first season, and a new action director was brought in to improve the animation. In terms of direction, Toshiyuki Kato, who played a central role in the first season, was appointed as the new chief director, establishing a more stable direction system.

The 48 episodes, the longest of the four seasons, were completed with consistent quality from start to finish, and the “dynamic beauty of muscles” that the team had been seeking since the first season matured into a completed form.

These silhouettes are familiar to many JoJo fans.

From the 2nd episode of the 3rd season: “Josuke Higashikata! Meets Angelo” The “town” itself plays a leading role in the 3rd season, and particular attention was paid to the recreation of Morioh Town.

The third season “Diamond is Unbreakable” (Part 4 of the original manga) is a unique work and a complete change of direction In a change from the second season, which was a road movie, travelling all the way to Egypt from Japan, the third season is set in a small town called Morioh. Kato, who replaced Suzuki after he left JoJo to direct another film, held another brainstorming session with the team in order to accurately understand the style, which was different from anything else in the series up to this point.

“Up until the third part, the purpose of the story was clear, but in the fourth part, it was difficult to know where the goal was. In that sense, it’s quite unique, so we had a thorough discussion about the direction we would go with it.”Kato

As a result, they took various creative measures, such as inserting a bizarre scene of the last boss, Kira Yoshikage, at the beginning of the season, and they boldly reconstructed the original manga without losing the charm of the story.

With a new director, the series evolves even further in the fourth season, “Golden Wind” (Part 5 of the original manga)

From the 4th episode of the 4th season: “Joining the Gang” The 4th Season combines the beautiful scenery of Italy with well-designed patterns.

Kato, who directed the third season, left the JoJo anime to direct another project. With the loss of both Suzuki and Kato, who had been the core of the JoJo series since the first season, Tsuda used his connections to find new talent and persuaded Yasuhiro Kimura and Hideya Takahashi to become the new directors. Tsuda firmly stated, “My greatest achievement in Part 5 was bringing in Mr. Kimura and Mr. Takahashi as the directors and Takahiro Kishida as character designer.”

The two new directors had no experience with the JoJo anime, but they were each able to make full use of their talents. “At first I was worried about whether I could draw JoJo storyboards, but it turned out that I had more freedom than I thought, and I was able to work freely.” (Kimura) “Mr. Kimura and I have very different personalities, and I think we ended up with a series where our personalities really came out.” Takahashi

Tsuda’s theme for the fourth season was “Renaissance (Return to the Origin),” a reference to Italy where the story is set. His goal was successfully achieved as both directors went back to the roots of the JoJo anime, and the meticulous location scouting in Italy also brought a new wind to the series. This season is the culmination of Tsuda’s work on the JoJo anime, and currently its highest achievement.

What is the “inherited golden soul” of the JoJo anime?
The JoJo anime adapted an epic drama spanning 63 volumes of manga into a total of 152 episodes over a period of about 7 years. While some staff members have been involved in all parts of the series, including director Naokatsu Tsuda, series composer Yasuko Kobayashi, and sound director Miwa Iwanami, there are many staff members who have left the production or joined along the way. While the JoJo anime has a “bible” that it follows, the visual concept is renewed with every season. The production team that continues to renew itself and move forward is just like the “inherited golden soul.” We hope that it will continue to evolve and be passed on to new generations.

Interviewing and writing by Daisuke Okamoto

Vol.2 An in-depth analysis of “What is ‘JoJo’?” What are the thoughts behind the complete re-creation of the anime?

Recreating the original manga with the concept of “Study JoJo scientifically”

From the 4th episode of the 1st season: “Overdrive” An impressive shot of Dio’s eyes glowing mysteriously while half of his face is covered in shadow.

The request from producer Hiroyuki Omori of Warner Brothers Japan for the production of the JoJo anime was very simple: “Make JoJo.” In response, the director, Naokatsu Tsuda, came up with the slogan, “Study JoJo scientifically.”

He picked out all the elements that made the original JoJo manga unique and searched for ways to reproduce them in animation. He thoroughly recreated unique onomatopoeic sounds such as “Memetaa” and “Gogogogo,” as well as the unique poses, and theatrical dialogue such as “I’m impressed by that! I admire you!” On top of these, he also replicated the use of motion lines and frame layout direction in the animation.

Toshiyuki Kato, who has been directing since the first season, said, “In order to create an eerie atmosphere, there are many depictions of fog, smoke, and other unidentifiable gases swirling around in the original manga. Normally, this would have been done with CG, but we recreated it by hand, just like the original manga. In addition, when we wanted to express the disturbance of the characters, we used suspenseful techniques such as darkening the entire face with tones and illuminating only the eyes, just as in the original manga.” The staff’s attention to detail can be seen everywhere.

The “special scene coloring” is the best part of the anime

From the 2nd episode of the 2nd season: “Who Will Be the Judge!?” In “special color” scenes, the colors of things like uniforms and hair change. This is handled differently in each season.

One notable visual effect is a color expression called “special scene coloring” or “special cut coloring.” As JoJo fans know, there is no fixed color scheme for JoJo. It is quite common for the same character in a color manuscript drawn by Hirohiko Araki to change color drastically from one time to the next, and the fact that he is not bound by a set color scheme is one of the things that makes him unique.

However, unlike manga manuscripts, which are usually drawn in black and white, animation is always in full color. It is not possible to change the colors with every scene. Therefore, Tsuda and his team decided on a basic color scheme that would serve as the overall base, and then adopted “special scene coloring” and “special cut coloring” to change the colors based on developments in the story. These colors are used when the character’s emotions are greatly shaken, or when the story reaches a climax, and they function effectively as accents. It is a concept that takes full advantage of the characteristics of animation, and was retained as a major strength until the fourth season.

Character designs that seek the median of fan’s imagination

From the 6th episode of the 1st season: “The Courage of Tomorrow” The beauty of the muscles is emphasized, but the form is slightly slimmer.

The character design was a particular point of trial and error in the visual construction of the first season. The characters drawn by Hirohiko Araki in the early days were all muscular and had a drawing style similar to gekiga. It is hard to say that this is in line with modern trends, so the challenge was how to bridge this gap. The production team created character designs that were closer to the mental image of the fans by finding the median value of the character designs from the third to fifth parts of the original manga, since those are the character designs that most JoJo fans imagine, and then bringing that back to the first season. The characters created in this way are generally mild and casual, while retaining the strong atmosphere of the early Araki characters.

From the 19th century to the present day! Art in Transition

As the era and setting of the JoJo series changes drastically from one part to the next, the art and setting work took a lot of effort. The first season, “Phantom Blood,” is set in England at the end of the 19th century, and “Battle Tendency” is set in America and Europe before World War II. These were not depicted in a realistic way in the original manga, so in a sense they were depicted as fantasy in the anime as well. The second season, “Stardust Crusaders,” however, takes place in the 1980s in various countries and regions from Japan to Egypt. Not only the architecture, but also the ethnicity and clothing of the people who come and go are diverse, so the burden on the art team, as well as the sub-character designers, was considerable.

The team was also particular about props. For example, Suzuki, who was in charge of the script and storyboard for episodes 37-38 “The Guardian of Hell, Pet Shop,” speculated that the Porsche model in the original manga might be a limited production model commonly known as the Yellow Bird, and he incorporated that into the settings. “The enemy stand at this time was a bird, and a Porsche was running into it, so I thought that perhaps Mr. Araki had a Yellow Bird in mind at the time. Well, I’m completely imagining it (laughs).” (Suzuki) Honestly, there was no need to think so hard about a car that only appeared in a few panels in the original manga, but that is the attention to detail that love for JoJo can create.

From the 16th episode of the 2nd season: “The Lovers, Part 1” The 2nd season depicts various countries, ethnic groups, and cultures around the world.

The third season, “Diamond is Unbreakable,” is a complete change from previous seasons, and is set in the fictional town of Morioh from start to finish. Kato, the director, created a precise map of the town based on the original manga, and calculated the route to each character’s house and school, as well as the time required to get there. “I think Morioh Town is the other main character of Part 4, so I wanted to make it feel as real as possible. I spent a lot of time creating the town in order to emphasize the contrast between the scenery of rural Japan that everyone is familiar with and the heinous murders that are happening behind the scenes.” (Kato)

The fourth season, “Golden Wind,” is set in Italy in 2001. General director Tsuda and directors Yasuhiro Kimura and Hideya Takahashi traveled to Italy in July 2017 for location scouting. Kimura said, “Our goal from the beginning was to make it easy for viewers to make a pilgrimage to the holy places,” and true to his word, the fans managed to find most of the places that appear in the series. The results of this meticulous location scouting work are captured in the film, giving viewers the feeling of having traveled all over Italy with Giorno and his friends.

The establishment of “JoJo-ism” in drawing

When producer Hisataka Kasama of David Production first heard about the JoJo anime project, he worried, “How many animators will be able to work with this design?” It was a big challenge for the studio. Although David Production is a studio that excels at creating strong images, they had never created a work with such a clear emphasis on muscles and skeletons. Kenichi Suzuki, who served as the series director for the first season, looking back on the situation at that time, said, “When it comes to the drawings, I had a clear image of the finished work from the beginning, but in reality, I had to get used to it as I drew it.”

From the 48th episode of the 2nd season: “Long Journey Farewell, My Friends” The final battle of the 2nd season has the highest level of “dense drawing” in the history of the JoJo anime.

Kato also said that he paid particular attention to the sense of weight in the drawing work in the beginning. “In the rugby scene in the second episode, there is a scene where Jonathan drags three players along but does not stop moving forward, which is intended to give the impression that Jonathan has grown into a powerful young man. However, Jonathan is only human and his physical strength is fundamentally different from that of Dio, who later becomes a vampire and transcends humanity. In other words, it is necessary to show the limits of humanity at the same time, and in order to do so, it had to express the weight of carrying three men on his back. The ‘swell’ created by the high load being applied to various parts of his body is very important, and I remember giving very detailed instructions on how to fix it.” (Kato)

In this way, by carefully communicating the concept for each shot, the know-how gradually accumulated, and the drawing gradually stabilized. Animator Shunichi Ishimoto has been in charge of drawing since the first season. “The JoJo series is basically characterized by dense drawings, so at first we were just drawing through trial and error, but soon there was a ‘battle of density’ among the drawing team,” he says of the drawing situation at the time.

Character acting is similar to “stage” acting?! The acting for the characters in JoJo is not necessarily bound by common sense. In our daily lives, we don’t have the chance to pose in a unique way, nor do we have the chance to say lines like, “Do you remember how much bread you have eaten in your life?”

From the 1st episode of the 4th season: “Gold Experience” The real pleasure of JoJo battles is that they create a sense of abnormality by the unthinkable behaviors.

So the character acting in JoJo is more like theater. Suzuki says, “While there are rules regarding the placement of characters on stage and light sources, we sometimes deviate from them in order to maximize the appeal of Mr. Araki’s best panels. Suddenly, the lighting is changed, or a character is put in the spotlight. It’s like ‘Mie’ in Kabuki.” Kato refers to this as “stage acting,” and it is clear that they share the same image, even if the words are different.

On the other hand, Tsuda describes the battles in JoJo as “professional wrestling.” “In fact, JoJo’s characters are rarely worried. When professional wrestlers get into the ring, they don’t worry about why they’re fighting. They just do their best to make it fun and easy to understand for the audience with their microphone performance and exaggerated gestures. It’s the same with JoJo’s battles. By presenting what you’re going to do and then how it turned out, it makes the battles more interesting. If we prioritize the anime’s sense of showiness and speed, we’ll lose the charm of JoJo’s battles. That’s why I compared it to professional wrestling.” (Tsuda)

In Tsuda’s analysis, the real pleasure of JoJo’s battles is the groove that is created when the tempo and rhythm of long spoken lines, as well as the action, and characterization all come together, and that is what the anime is based on.

Interviewing and writing by Daisuke Okamoto

Vol.3 Balancing a high level of both speed and emotion Demystifying the well-crafted composition and direction!

Clearly define the theme for each episode

The most important thing to keep in mind when working on the scenario was to make it clear what each story was about. Once the theme of each episode was clear, that would inevitably determine how it should be directed. The line producer, Hisataka Kasama, made the assignments according to the aim of each episode, keeping the individuality of the director in mind rather than just rotating through them. Naokatsu Tsuda was for comedy and daily life, Kenichi Suzuki for action, and Toshiyuki Kato for highly dramatic episodes. On the other hand, the directors had various thoughts and feelings about the masterpiece of JoJo.

“Since we were entrusted with the original manga, we couldn’t just twist it to suit our own needs, so we wanted to somehow re-experience Mr. Araki’s ideas. The book 'Hirohiko Araki’s Strange Theory of Horror Movies' (Shueisha Shinsho), which was published right around the time of pre-production, was very useful. I was able to understand that this episode was based on this movie, and that this is what he wanted to do, and I feel like I was able to better determine the direction of the animation.” Naokatsu Tsuda

“I tried to trace what Mr. Araki was thinking at the time of writing. Through the movies he was watching and the music he was listening to at the time, I was able to trace his thoughts in my own way. The finished product was already out in the world in the form of manga, but my biggest mission in expressing JoJo was to feel the feelings behind it.” Kenichi Suzuki

“The original manga is very powerful, so I wanted to make the most of that to the degree that I could. Personally, I was moved by the scene in Part 4 where Hayato Kawajiri wishes, ‘God, please let me kill people.’ I felt that there was no other shonen manga that could make an elementary school student say such a thing, and I definitely wanted to direct that scene myself.” Toshiaki Kato

“I joined the project starting with Part 5, and at first I was a bit confused about how much I should try to match the way things had been expressed before, but once I started working on it, I realized how free I was. It made me realize all over again that JoJo is a work with great capacity.” (Yasuhiro Kimura)

“The main theme of Part 5 is how young people living in despair should go on living, so I was always conscious of the keyword ‘sadness.’ I tried to bring out the mature side in my own way.” Hideya Takahashi

The first season is a roller coaster that turns into a water slide?!

From the 9th episode of the 1st season: “The Final Ripple!” The speedy pace of the 1st Season can be enjoyed just like an amusement park ride!

Initially, the production team wanted the first part of the original manga, “Phantom Blood,” to run for one season and the second part, “Battle Tendency,” to run for two seasons. However, the producer, Hiroyuki Omori, requested that the series be broadcasted in two seasons together. The final result was 26 episodes instead of 24, which was a rather drastic strategy. Omori said, “I thought that by seamlessly broadcasting the first and second parts all at once, people would feel the impact. They thought they were on a roller coaster, but before they knew it, they were on a water slide (laughs).” For “Phantom Blood,” in particular, the 44 chapters of the original manga were turned into 9 episodes of anime, which means that each episode of the anime contains almost 5 chapters of the original manga.

What is noteworthy is that despite running through the story at such speed, almost no stories were omitted. This can be said to be the result of the efforts of the writers, led by Yasuko Kobayashi, who worked on the series composition. In any case, it is this sense of speed that attracted many viewers and opened the door for the production of the next part.

The addition of original scenes increased the road movie feel in the second season, “Stardust Crusaders”

From the 18th episode of the 2nd season: “The Sun” A scene of a luxury car purchase is added at the beginning of the episode to complement the original manga.

In contrast to the first season, which emphasized speed, the second season, “Stardust Crusaders,” was able to have a much more relaxed structure, which allowed the audience to fully enjoy the powerful stand battles unique to the third part of the original manga. The scenario as a whole reproduces the original manga at a very high level, but there are also many scenes that are original to the anime, which increases the “road movie” feel of the journey to Egypt.

In particular, in episode 25, “Iggy the Fool and Geb’s N’Doul, Part 1,” a scene has been added where all six members of the Joestar group take a group photo. This photo was displayed on Jotaro’s desk in the fifth part of the original manga, but it was not clear when it was taken. Tsuda said, “This was the only timing I could think of, so I consulted with Mr. Suzuki, who was in charge of the storyboard and direction, and he put it in.”

Speaking of original scenes, episode 18, “The Sun,” is also impressive. In the original manga, it is a comedy episode that ends after only two chapters, but in the anime, it was composed as one episode. As a result, more than half of the scenes are original scenes, and Tsuda, who worked on the scenario and storyboard, was able to demonstrate his impressive sense for comedy in this episode.

The composition shines best in the third season, “Diamond is Unbreakable”

From the 39th episode of the 3rd season: “Goodbye, Morioh - The Heart of Gold” The distinctive feature of 3rd Season is that not only Josuke but all the characters hunt down the last boss.

The third season, “Diamond is Unbreakable,” (Part 4 of the original manga) has the most dynamic structure in the anime series, which is clearly shown from the beginning of the first episode, “Jotaro Kujo! Meets Josuke Higashikata.” The horror of a murderer’s crazy breakfast scene is shown against the background of the cheerful MC of Morioh Radio. It suggests the existence of the last boss, Yoshikage Kira, who only appears in the latter half of the story in the original manga, while also beautifully expressing the theme of the fourth part of the original manga, which is abnormal scenes hidden in the shadow of peaceful everyday life. It is an excellent restructuring of the original story.

Kato, who served as the series director for the third season, said, “Unlike the previous stories, the fourth part does not end with the main character directly defeating the last boss, but with all the characters working together to defeat him, or more specifically, the town of Morioh town itself is structured to bury the murderer, Yoshikage Kira. In order to achieve a suitable ending, we had to pay attention to the atmosphere of the town and the depiction of the residents.” Tsuda also said, “I think the fourth part of the series was the most successful in terms of composition. We knew from the beginning that Kira Yoshikage was the final boss, and the whole story takes place in one town, so we were able to use him to our advantage.” From the frequent use of Morioh Radio to the cameo appearances of characters who appear in the latter half of the season, this was a season in which the exquisite composition was on full display.

The fourth season, “Golden Wind,” is full of original scenes that tickle the fan mentality

From the 28th episode of the 4th season: “Beneath a Sky on the Verge of Falling” The direction and acting are impressive, but so are artistic shots like this one that resembles a ceiling painting from a church.

The most significant aspect of the fourth season, “Golden Wind,” (Part 5 of the original manga) is that it emphasizes the team battle more than the original manga. In the original manga, the names and appearances of the members of the assassin team are revealed in the order in which they appear as assassins, but in the anime, the faces of the entire assassin team are revealed in episode 10, “Hitman Team.” Furthermore, by depicting them eating at a restaurant, it is clear that they are also working as a team, just like Giorno and the others. As the assassin team is very popular among the fans of the original manga, the addition of many original scenes is a great service to the fans, and at the same time, it is effective in clearly showing the three-way battle of the fourth season. On the other side, moving up Mista and Abbacchio's past episodes and adding a past episode for Fugo allowed Giorno’s side to feel a sense of unity as a team early on.

Kimura, who served as the director of the 4th season, commented on this point: “The assassin team is very popular among the fans of the original manga, and they are very attractive because they are determined people. They are not attacking on their own, so I hoped that by portraying them as a team, I could convey their conviction.”

In episode 28 “Beneath a Sky on the Verge of Falling,” one of the most famous scenes in the series, Narancia is distraught over the death of Abbacchio, and the entire B part of the episode is used to recreate the scene in a way that greatly expands on the original manga. Director Takahashi, who was in charge of storyboarding and direction, said, “In the last shot of this part, there is a whole flower blooming on the ground where Abbacchio is lying. When Narancha died, Giorno hid his body with plants. But in the original manga, there’s no description of what he did to Abbacchio. I’ve wondered about that since I was in high school (laughs). I thought Giorno would have done the same thing for Abbacchio, so I added the final shot,” he said, sharing the story behind the famous scene.

Interviewing and writing by Daisuke Okamoto

Vol.4 The culmination of the staff and cast’s love for JoJo! From the hottest theme song to the harsh dubbing process

The first theme song chosen was “ROUNDABOUT”

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The ED theme song for the first season, “ROUNDABOUT,” was decided upon as the result of an exchange the anime side had with Hirohiko Araki while they were working on creating a new theme song.

Producer Hiroyuki Omori of Warner Brothers Japan, who is in charge of the music, had this to say about that exchange: “At first, I wanted to decide on the OP theme, so I proposed some sample songs based on rock to Mr. Araki. But the direction was different from what he had imagined, so I asked him what songs were close to his image. He suggested ‘ROUNDABOUT.’ However, it was quite difficult to make an original progressive rock song like this, so we decided to ask for permission to use ‘ROUNDABOUT’ and use it as is.”

After that, Omori suggested that it would be more appropriate as an ED theme rather than an OP theme, and with that the basic direction that later ED themes would follow was established. The ED themes are chosen based on the concept of “songs that Hirohiko Araki was listening to a lot at the time of writing” or “songs that are close to the image of each part of the original manga.”

The sound director, Miwa Iwanami, who is a member of the generation that was listening to music when Yes became a hit, was surprised to hear that “ROUNDABOUT” had been chosen as the ED theme. At the same time, he wondered if it could be used as background music, and strongly suggested to the director, Naokatsu Tsuda, to make the ED video in such a way that the ED could be played from anywhere. As a result, in the first season, they adopted a special style where “ROUNDABOUT” would be played as background music, and then it led directly into the ED. According to Omori, “When the first season ended, Mr. Iwanami happily reported to me that he had included all the parts of the song. (laughs)” He had been able to use all eight and a half minutes of the original song without wasting any of it.

The OP theme is a 70’s style anime song

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In contrast to the ED theme, which featured fashionable Western music, it was decided that the OP theme would be a masculine 70’s style anime song. The memorable first OP theme “JoJo ~That Blood’s Destiny~” was composed by Kohei Tanaka, a veteran anime song composer. “When I went to Mr. Tanaka to ask for the song, he said ‘Omori-kun, you made the right call, coming to me for this.’ (laughs)” Following the example of this song, each OP theme would be an original Japanese anime song that matched the taste of each part. In addition to the regular OP themes, a special OP theme related to Mondatta called “Evil Concerto” was created for the second season of “Stardust Crusaders,” and a variety of highly addictive and famous songs were born.

One of the most talked about aspects of the OPs is the way that the animation changes as the story progresses. In particular, in episode 47 of the 2nd season, “DIO’s World, Part 3,” Dio uses the power of “The World” to stop time, which must have shocked many fans. Regarding this trick, Omori said, “It was an idea from Kamikaze Douga, who handled the OP video. During the presentation, Junpei Mizusaki, the president of the company, suddenly said, “It’s DIO, so we just need to stop time for 9 seconds. (laughs)” He revealed that it was self-directed by Kamikaze Douga.

This direction led to the creation of the “Bites the Dust Version OP” at the end of the third season, “Diamond is Unbreakable,” in which Kira Yoshikage’s Bites the Dust is activated and the OP video plays backwards. In the fourth season, “Golden Wind,” the “Diavolo Ver.” depicted Diavolo’s King Crimson ability, and the “Giorno Ver.” depicted Giorno’s Gold Experience Requiem ability. Tsuda smiles wryly about this series of special effects in the OP. “Thanks to the trick we used in Part 3, there’s no going back now. (laughs)”

Producer Omori’s support for background music

From the 7th episode of the 4th season: “Sex Pistols Appears, Part 1”

One feature of the JoJo anime is that it has had a lot of special background music produced for it. This was made possible by the fact that Omori, the production producer, also serves as the music producer. “Since I was involved from the scenario stage, I was able to prepare the music ahead of time. I was hoping that I could provide a little support for the production,” Omori said. For example, in the third episode of the first season, “Youth with Dio,” which Omori focused considerable effort on, he made long special background music tracks to match the storyboard that had been drawn ahead of time, making the film more exciting with a theatrical production style.

One of the most talked-about scenes was the 40-second dance scene in episode 7, “Sex Pistols Appears, Part 1,” of the fourth season, “Golden Wind.” During the location scouting in Italy, Kimura was so excited that he ordered Omori to do the scene, and Kimura was naturally in charge of storyboarding and directing the scene. “I forgot that I had even ordered it, and I thought, is the dance going to be this long? (laughs) In the original manga, there are only about four frames, so I had to fill in all the other frames myself, but since I’m not a dance expert, I asked a friend who is to look at the original frames. He said it looked like a Michael Jackson dance, so I spent about a month checking out videos of his live performances and music videos, and finally finished it.”Kimura

The harsh situation at the recording studio

From the 9th episode of the 2nd Season: “Yellow Temperance”

For the casting, auditions were conducted purely on the basis of whether or not the actor fit the character, ignoring factors such as name recognition and popularity. Tsuda said that the top priority for JoJo voice actors was that they had to have “sound pressure and be a good performer,” but he also took into account “having broad repertoire of skills,” and “being articulate.” There are many scenes in JoJo that stretch the actors’ voices to the limit. Looking back on the dubbing process, Toshiyuki Kato, who served as the series director for “Diamond is Unbreakable” said, “From the very first season, the dubbing of ‘JoJo’ has always been very difficult. We have to demand the maximum amount of passion and volume of voice at all times, and I end up selfishly worrying what they’ll do if they have to record another one after this. I always felt sorry for the cast members.”

However, despite the harsh conditions, many JoJo-loving cast members gathered at the auditions, and the number of JoJo-loving cast members in the booth inevitably increased. There were even some who took the initiative to lecture the confused cast members who were participating in the dubbing for the first time, saying things like, “JoJo’s lines are read with a small ‘tsu’ sound.” The producer, Hisataka Kasama, expressed his gratitude to the cast, saying, “The original theme was to do it without changing one word of the original lines, so it was very helpful for the staff side.”

In fact, Noriaki Kakyoin’s famous “Rero Rero” was recorded 17 times (episode 9, “Yellow Temperance”). Kenichi Suzuki, the series director of “Stardust Crusaders,” is said to have asked Daisuke Hirakawa, who played Kakyoin, to “practice Rero Rero from now on” when he came to the studio for the first recording. This attention to detail is incredible. Of course, it can also be said that the cast members who responded to these orders with perfect performances were full of love for JoJo.

Creating the best sense of rhythm with final adjustments made frame by frame

After “Stardust Crusaders,” there was an attempt to use the method of recutting. In this method, the first cut which will be taken to voice recording is done with a 30-second margin, and then the final adjustment is made by cutting only a few frames between the lines. This allows for a more pleasant sense of rhythm and a tempo that does not lag even in scenes with many long lines. The accumulation of such detailed creative measures may have led to the pleasant feeling that is typical of JoJo.

What was the JoJo anime?

What did you think of the four production notes? I hope I was able to convey the strong love and dedication to the original manga in all sections of planning, scenario, video, and sound. Finally, I’d like to talk about what the JoJo anime was.

In writing this article, I interviewed the producers and directors once again, and I was struck by how everyone’s face instantly turned back to a boyish expression when they talked about JoJo. The workplace environment for animation production is much harder and harsher than we can imagine. There must have been a lot of anguish and human drama behind the scenes of a project that has run for nearly 10 years. Even so, when it comes to JoJo, the JoJo team’s faces instantly revert to those of young boys. That is what makes them so amazing, and I felt that those faces tell the whole story of the JoJo anime.

Lastly, I asked the staff I interviewed, “What is the JoJo anime for you?” Their answers varied, but I would like to note that they were all filled with an indescribable “refreshing” feeling.

─ Naokatsu Tsuda “I was inexperienced, but this work taught me everything I needed to know as a director.”

─ Kenichi Suzuki “This is the film that helped me in my life. It was definitely a turning point in my career.”

─ Toshiyuki Kato “It broadened my view of directing. It made me realize that anything is possible as long as it’s interesting and powerful.”

─ Yasuhiro Kimura “It was painful when I was making it, and I was sad when it was over. It’s such a rare work.”

─ Hideya Takahashi “The three years I spent working on JoJo were a very special experience and have become a treasure in my life.”

─ ProducerHiroyuki Omori “I knew it was going to be a long battle, so I promised myself that I would not give up, no matter what.”

─ Producer : Hisataka Kasama “I still remember vividly how when the second season ended, all the staff hugged each other’s shoulders and cried wildly.”

Interviewing and writing by Daisuke Okamoto



Vol. 1
荒朚飛呂圊の才胜にチヌム戊で立ち向かう 『ゞョゞョアニメ』を駆け抜けたクリ゚ヌタヌたち


ワヌナヌ ブラザヌス ゞャパンの倧森啓幞プロデュヌサヌは、ずあるアニメ関連䌁業からTVアニメ化の話を持ちかけられた際、「これは難題だ」ずしばらく悩んだずいう。日本を代衚するビッグコンテンツのひず぀ではあるが、なにしろ原䜜の発衚は1987幎である。ずくに初期の荒朚飛呂圊が描くキャラクタヌは劇画調でマッチョむズムに溢れおおり、少なくずも珟代の流行の絵柄ずはかけ離れおいた。ゞョゞョを知らない局は、はたしお受け入れられるのだろうかず。しかし倧森は「絵柄をどうするかずいう問題はありたしたが、䜜品そのものがも぀パワヌはけしお色耪せおはいたせんし、なにより僕自身が倧のゞョゞョファンずいうこずもあっお、困難を承知で挑戊させおもらうこずにしたした」ず、アニメ化を決意。集英瀟からの快諟も埗お、さっそくスタゞオ遞びに着手するこずになる。

ゞョゞョを描くこずのできるスタゞオずなるず、圓然「力匷い筋肉の躍動が描けるスタゞオ」ずいうこずになる。そこで倧森は、か぀お骚倪な䜜品を数倚く手がけおいたGONZOゎンゟの流れを汲むdavid productionデむノィッドプロダクションに着目。圓時のデむノィッドはただ蚭立したばかりの新興スタゞオだったが、ゞョゞョず同じくゞャンプ系列䜜品である『戊う叞曞』シリヌズを力匷い描線で䞁寧にアニメ化しおいたこずを受け、倧森は「ここならば任せられるだろう」ず確信し、打蚺に及んだずいう。






1st Season第1話「䟵略者ディオ」より 原䜜の構図やセリフを完党に再珟しおいるのが『ゞョゞョアニメ』の特城




1st Season第3話「ディオずの青春」より 炎に包たれたゞョヌスタヌ邞でのゞョナサンずディオの激闘は、長きに枡るゞョゞョバトルの幕開けにふさわしいクオリティ




人気の「スタヌダストクルセむダヌス」は 最匷垃陣でクオリティアップ

2nd Season第3話「ディオの呪瞛」よりもっずも原䜜に近い絵柄で展開された2nd Season。倚くのゞョゞョファンにずっおおなじみのシル゚ットず蚀える



3rdシヌズン「ダむダモンドは砕けない」原䜜第4郚は 異色䜜ゆえ、ガラリず方向転換

3rd Season第2話「東方仗助 アンゞェロに䌚う」より 「街」そのものが䞻圹ずも蚀える3rd Season。杜王町の再珟にもこだわりが匷い




新監督を迎え、さらに進化した 4thシヌズン「黄金の颚」原䜜第5郚

4th Season第4話「ギャング入門」よりむタリアの矎しい颚景ずデザむン性の高い絵柄が融合した4th Season






Vol. 2


1st Season第4話「波王疟走オヌバヌドラむブ」より顔の半分が圱で芆われるなか、劖しく光るディオの目が印象的なカット

ゞョゞョアニメを制䜜するにあたり、ワヌナヌ ブラザヌス ゞャパンの倧森啓幞プロデュヌサヌからの芁求は「ゞョゞョを䜜る」ずいうごくシンプルなもの。それを受け、監督の接田尚克が掲げたスロヌガンは「ゞョゞョを科孊する」だった。

原䜜の特城であり、ゞョゞョをゞョゞョたらしめる芁玠を党お拟い䞊げ、アニメヌションで再珟する方法を暡玢。「メメタァ」や「ゎゎゎゎゎ」ずいった独特な擬音、個性的なポヌゞング、「そこにシビれる あこがれるゥ」ずいった舞台的な台詞回しなど、誰もがむメヌゞするものはもちろんのこず、集䞭線の䜿甚や画面内のコマ割り挔出などもアニメで培底的に再珟した。



2nd Season第2話「裁くのは誰だ!?」より「特色」のシヌンでは制服の色や髪の色などが倉化。シヌズンごずに衚珟の仕方は異なる




1st Season第6話「あしたの勇気」より筋肉矎はしっかりず匷調し぀぀も、フォルムはややスリムになっおいる


19䞖玀から珟代たで 矎術の倉遷

2nd Season第16話「恋人ラバヌズその1」より2ndシヌズンでは䞖界䞭のさたざたな囜や民族、文化が描かれた






2nd Season第48話「遥かなる旅路 さらば友よ」より2ndシヌズンの最終決戊は、『ゞョゞョアニメ』史䞊最高峰の「濃い䜜画」





4th Season第1話「黄金䜓隓ゎヌルド・゚クスペリ゚ンス」より ふ぀うならば考えられない蚀動によっお異垞性を挔出するのもゞョゞョバトルの醍醐味





Vol. 3
疟走感ず情緒感がハむレベルで䞡立 緎りに緎られた構成ず挔出の劙を解き明かす

1話ごずにテヌマを明確に シナリオ䜜業においおもっずも意識したのは、各話ごずに「䜕をする話」なのかを明確にしようずいうものだった。各話のテヌマがはっきりすれば必然的に挔出の方向性も決たっおくる。ラむンプロデュヌサヌの笠間寿高は、そうしお導き出した各話数の方向性に応じお、コメディや日垞なら接田尚克、アクションは鈎朚健䞀、ドラマ性の高い話数であれば加藀敏幞ずいうように、ロヌテヌションではなく挔出家の個性を念頭に眮きながら割り振りを実斜した。その䞀方で、ディレクタヌ陣はゞョゞョずいう名䜜を前にさたざたな思いを抱いおいた。



「原䜜のパワヌがすごく匷いですから、そこはできる限り生かしたいずいう気持ちがベヌスにありたした。個人的には第4郚の川尻早人が「神様 どうかこのがくに 人殺しをさせおください」ず願うシヌンにグッずきお、小孊生にこんなこずを蚀わせる少幎挫画はほかにないだろうず感じ、ここは絶察に自分で挔出したいず申し出たした」加藀敏幞




1st Season第9話「最埌の波王」より 1st Seasonのスピヌディヌな展開は、たさにアトラクション感芚で楜しめる




2nd Season第18話「倪陜サン」より 冒頭に高玚車賌入のシヌンが远加されるなど、原䜜を補完する圢で敎えられおいる


ずくに第25話「「愚者ザ・フヌル」のむギヌず「ゲブ神」のンドゥヌル その1」ではゞョヌスタヌ䞀行の6人党員で集合写真を撮るシヌンが远加されおいる。この写真は原䜜第5郚で承倪郎が机の䞊に食っおいたものだが、原䜜䞭ではどのタむミングで撮圱されたかは明らかになっおいなかった。接田は「このタむミングしか考えられなかったので、コンテず挔出を担圓した鈎朚さんに盞談しお、それで入れおもらいたした」ず話す。



3rd Season第39話「さよなら杜王町-黄金の心」より 仗助だけでなく、キャラクタヌ党員でラスボスを远い詰めおいくのが3rd Seasonの特城

3rdシヌズン「ダむダモンドは砕けない」原䜜第4郚はアニメシリヌズを通じおもっずも倧胆な構成で、それは第1話「空条承倪郎 東方仗助に䌚う」の冒頭からハッキリず瀺されおいる。杜王町RADIOの陜気なMCを背景に、殺人鬌による狂気の朝食シヌンが映し出される恐怖。原䜜では物語の埌半になっおようやく登堎するラスボス・吉良吉圱の存圚を瀺唆するずずもに、平和な日垞の圱に朜む異垞な光景ずいう原䜜第4郚のテヌマたでを芋事に衚珟しおおり、秀逞な原䜜の再構成ず蚀える。



4th Season第28話「今にも萜ちお来そうな空の䞋で」より 挔出や芝居もさるこずながら、教䌚の倩井画のような芞術的なカットも





Vol. 4

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音楜を担圓するワヌナヌ ブラザヌス ゞャパンの倧森啓幞プロデュヌサヌは、圓時のやり取りに぀いお「最初はOPテヌマを決めようず思っお、ロックをベヌスにいく぀かのサンプル曲を荒朚先生に提案しおみたんです。でも先生のむメヌゞずは方向性が違っおいお、逆にむメヌゞに近い曲はなんですかず䌺ったずころ、提瀺されたのがこの「ROUNDABOUT」でした。でもこういったプログレプログレッシブ・ロックをオリゞナル曲で䜜るのはかなり難しいので、それならいっそのこず「ROUNDABOUT」の䜿甚蚱諟を埗おそのたた䜿おうずなったんです」ず振り返る。




オシャレな掋楜が揃ったEDテヌマずは打っお倉わり、OPテヌマは男くさい70幎代颚アニ゜ンに決定。蚘念すべき初代OPテヌマ「ゞョゞョ 〜その血の運呜〜」を䜜曲したのは、ベテランアニ゜ン䜜曲家の田䞭公平。「田䞭さんに䟝頌にいった時は「倧森君、僕のずころにもっお来たのはね、正解だよ」っお蚀われたした笑」倧森。この楜曲をきっかけずしお、OPテヌマは各郚のテむストにマッチしたオリゞナルの邊楜アニ゜ンに定着。たた正芏OPテヌマのほかにも、2ndシヌズン「スタヌダストクルセむダヌス」では「アク圹◇協奏曲」ずいうボむンゎ絡みの特殊OPテヌマが制䜜されるなど、䞭毒性の高いバラ゚ティ豊かな名曲が数倚く誕生した。

たたOPで倧きな話題ずなったのが、ストヌリヌの進行に合わせお倉化しおいくアニメヌション。なかでも2ndシヌズン第47話「DIOの䞖界 その3」では、ディオが「ザ・ワヌルド」の胜力で時を止める挔出が取り入れられ、衝撃を受けたファンも倚かったこずだろう。この仕掛けに぀いお倧森は「OP映像を担圓した神颚動画さんからのアむデアです。瀟長の氎厎淳平さんがプレれン時に「DIOなんで、9秒間止めればいいんです」っお突然蚀い出したしお笑」ず、神颚動画による自䞻挔出であったこずを打ち明けた。

この挔出をきっかけに、3rdシヌズン「ダむダモンドは砕けない」終盀には吉良吉圱のバむツァ・ダストが発動しおOP映像が逆再生する挔出を斜した「バむツァ・ダスト版OP」が䜜られ、さらに4thシヌズン「黄金の颚」ではディアボロのキング・クリムゟンの胜力を描いた「Diavolo Ver.」、ゞョルノのゎヌルド・゚クスペリ゚ンス・レクむ゚ムの胜力が描かれた「Giorno Ver.」ずぞず受け継がれおいった。この䞀連のOPの特殊挔出に぀いお接田は「第3郚の仕掛けのおかげで、もう埌戻りができなくなったんです笑」ず苊笑い。

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なかでも話題ずなったのが、4thシヌズン「黄金の颚」第7話「セックス・ピストルズ登堎 その1」で描かれた、およそ40秒にも及ぶダンスシヌン。これはむタリアでのロケハン䞭、テンションが䞊がっおいた朚村がノリで倧森に発泚したもので、圓然ながらこのダンスシヌンの絵コンテず挔出は朚村が担圓するこずずなった。「自分で発泚したこずすら忘れおいお、こんなに長く螊るのっお笑。原䜜では4コマ皋床しか描かれおいないので、ほかはすべお自分で埋めないずいけないんですが、僕がダンスに明るくないので、詳しい友人に原䜜のコマを芋おもらっお。どうもマむケル・ゞャク゜ンのダンスに䌌おいるずいうこずになり、それから1ヶ月くらい圌のラむブ映像やMVなどをチェックしたくっお、それでようやく出来䞊がりたした」朚村。

4th Season第7話「セックス・ピストルズ登堎 その①」より





2nd Season第9話「黄の節制む゚ロヌテンパランス」より




蚈4回に及んだプロダクションノヌトはいかがだっただろうか 䌁画、シナリオ、映像、音響のすべおのセクションにおいお、匷い原䜜愛ずこだわりに溢れた珟堎であったこずがお䌝えできたのではないかず思う。さお最埌に、「ゞョゞョアニメ」ずはなんだったのか に぀いお觊れおみたい。



─ 接田尚克 「未熟だった僕に、挔出家ずしお必芁なもののすべおを教えおもらった䜜品です」

─ 鈎朚健䞀 「僕の人生を助けおくれた䜜品。キャリアのうえでも確実にタヌニングポむントになりたした」

─ 加藀敏幞 「挔出の芖野を広げおくれたした。面癜ければ、迫力があればなんでもアリなんだず吹っ切れたした」

─ 朚村泰倧 「䜜っおいるずきは蟛くお、終わるず寂しい。そんな珍しい䜜品ですね」

─ 髙橋秀匥 「ゞョゞョを䜜った3幎間はずおも埗難い䜓隓で、僕の人生の宝物になりたした」

─ 倧森啓幞プロデュヌサヌ 「長い戊いになるず予感しおいたので、䜕があっおも諊めないこずだけは心に誓いたした」

─ 笠間寿高プロデュヌサヌ 「2ndシヌズンが終わった時、スタッフ党員で肩を抱き合いながらわんわん泣いたこずを今でも鮮明に芚えおいたす」

- 取材・文岡本倧介



Published August 25, 2021
👀 Hirohiko Araki


Five years have passed since Prince suddenly passed away. Even now, the lone genius captivates artists and listeners all over the world. Originally recorded in 2010 but locked away for 11 years, the 'phantom' album, "Welcome 2 America" has been released. The album contains messages about the control of information by mass media, racism, and prejudice, all of which had been bothering Prince for many years. The album gives us the opportunity to re-examine the problems that we are facing today.

One man who loves Prince and incorporates his influences into his own works is the mangaka of JoJo's Bizarre Adventure, Hirohiko Araki. Known to be one of Prince's biggest fans, Araki began the 8th part of JoJo, "JoJolion", in the June 2011 issue of Ultra Jump and ended it this August. Now, even as "JoJo loss" is spreading throughout the entire country, he responded to our offer for an interview by saying "If it's for Prince." and allowed us some of his time. We present to you this rare interview where he talks about his love for Prince hidden within JoJo, and the music which supports his work.

—Congratulations on concluding JoJolion's serialization. How are you feeling right now?

Hirohiko Araki: Since I was able to properly conclude the story, instead of leaving it kind of vague, I'm feeling creatively satisfied. When you work like this every day, it takes a toll on you physically ... So right now I'm trying to "reset" that.

—This story arc was serialized over a period of 10 years, making it the longest in the series. Since it began in 2011, the story was deeply influenced by the Tohoku earthquake and tsunami, which you yourself commented on in the manga. And in terms of approaching the "Dilemma," there are depictions that bring to mind the coronavirus pandemic as well. It seems like it's been a rough 10 years.

Araki: These 10 years were rough, and it also felt like a decade of climbing upwards. As if I was headed toward a singular goal. The previous series (Part 7), "Steel Ball Run," was also a story about a hero who charged forward toward his goal. It feels like the end of an era, like I was able to bring the story to its proper conclusion.

- In addition to Prince, there are many other artists' works scattered throughout JoJo, such as Queen, the Rolling Stones, and the Beatles. Are there any artists that you currently love listening to?

Araki: I listen to just about everything, but not as much as I used to. That includes stuff like Aphex Twin and ambient music.

—They make an appearance in JoJolion as the "A. Phex Brothers", right?

Araki: I may not reference them in Stand names very often, but I do enjoy that type of music. I listen to Pharrell Williams' group as well.

—You mean N.E.R.D?

Araki: Yes. Bruno Mars and Mark Ronson's “Uptown Funk” is similar to Prince, too. It has a weird 80's beat, and it reminds me of Prince in that it's not together all the time, and has irregularity to it.

—Billie Eilish's second album "Happier Than Ever" came out the other day. Have you listened to it?

Araki: Not yet. I listened to her previous album, though. She also has some Prince-like vibes.

—She's kind of the leading star of today's youth.

Araki: She is. But I also feel like music these days has a “mentally unwell” aspect to some extent (laughs). Most of it comes from a place of pain, which is used to create sounds that strike a nerve in the listener. That's essentially what youth are like nowadays, right?

- Including Jotaro Kujo, the Joestar group in Part 3 is made up of people from various races, right?

Araki: That's right. But I wasn't able to include any women. It didn't feel right to have pretty girls in life-or-death fistfights or scenes where they would have to take a punch from an Ora Ora barrage. That wasn't an issue when it came to Jolyne Cujoh in Stone Ocean.

—Because the times changed?

Araki: It could have been the times. Shonen Jump readers stopped caring if we used female characters. Before, they would have outright rejected them and if a character got rejected, the series was basically over. That type of thing was still prevalent in 1980s Japan, but now Shonen manga is starting to reflect the current social climate and how we view gender. In Part 3, I really wanted to include a girl. And I did for a bit...

—You mean Anne, the runaway girl?

Araki: I included her, but then I retired her. At the time, I really liked the idea of having a girl around, but it simply wasn't meant to be. With the long and difficult journey ahead of them, I had to change it back to being all men.

—That kid wasn't a Stand User though.

Araki: I could have let her develop one. That's not really a problem at this point. Even the smallest person can have a powerful Stand.

—The Joestar group even recruited Iggy, a dog, into the group.

Araki: That's true. I really wanted there to be all sorts of people within the Joestar group. I constructed it with the time period and the film “Seven Samurai” in mind, and wanted to include members to reflect that.

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





荒朚飛呂圊なんずなくの完結ではなく、ちゃんず完結したので創䜜的には満足しおいたす。仕事を毎日続けおいるず、身䜓ぞのダメヌゞがありたすので  。今はその蟺をリセットしおいるかな。




荒朚そうですね。衝撃的で、自分も䜓調が悪くなりたしたね  。虚無感ずいうか、信じられなかったです。マむケル・ゞャク゜ンもそうですけど、若すぎるずいうか。䜜品が途絶えおないし、過去の人ずいう感じがしないんですよね。僕は音楜をかけながら仕事をするんですけど、音楜をかけるのはミュヌゞシャンの考えやファッション、時代に察する姿勢だずかを隣においお、感じるためでもあるんです。プリンスず䞀緒に歩んできたので、そこが途切れるのかず思うず「どうしたらいいんだよ」っお思いたしたね。ミュヌゞシャンやアヌティストたちが、苊しさずかトラブルを抱えながら創䜜した音楜を届けおくれおいるんだず思うず、励みになるんですよ。




荒朚プリンスは、だんだんず奜きになっおきたアヌティストなんです。「Soft and Wet」アルバム『For You』1978収録やアルバム『Dirty Mind』1980を時々聞いおいた皋床だったんですけど、アルバムを重ねる毎にいいなず思いはじめお。『1999』1982たでも党郚いいアルバムで、『Purple Rain』1984で衝撃的な盛り䞊がりがありたした。この人は急に売れた人じゃないんだっおいうか。芞術的には裏切っおくるんですけど、ミュヌゞシャンずかアヌティストずしおは確かなアヌティストで、䜜品が出たら絶察に買うっおいう、そういう人になったんです。「代衚䜜は䜕」っお聞かれるず困るくらい、どれもいいんです。


――「Soft and Wet」を聞いおいたずいうこずは、デビュヌからチェックされおいたずいうこずですか

荒朚そうですね。R&Bのアヌティストなのに音や楜噚の䜿い方が奇劙な感じがありたした。その時代を生きおるんだけど、新しい文化やファッションを芋せおくれおいたし、衝撃的なゞャケットもあっお、自分のヌヌドを䜿った『Lovesexy』1988は䞋手したら倉態ず玙䞀重だし、ビキニのパンツを履いた『Dirty Mind』も、普通の人だったら完党にアりトだけど、プリンスがするず、そうでもない気もしお。「䜕を考えおるんだろう」っおいう謎めいた郚分がプリンスですよね。  アルバムそのもので蚀うず、曲の順番があるんですよ。いろんなアヌティストがいるけど、昔だずレッド・ツェッペリンの2枚目『Led Zeppelin II』1969の「Heartbreaker」ず「Livin' Lovin' Maid (She's Just A Woman)」の2曲はペアなんですよ。曲が終わっお次の曲に入っおいく感じが重芁で、その䜍眮にいなきゃダメなんですけど、プリンスもそういうのが倚いんです。䟋えば『Purple Rain』だったら「Let's Go Crazy」からの「Take Me With U」。終盀だず「I Would Die 4 U」ず「Baby I'm A Star」ず「Purple Rain」。この3曲は絶察に切り離しちゃいけない、組曲的な曲で、繋ぎ目や入り方もすごくいいんですよ。動かせない運呜の流れみたいなものがアルバムの䞭にあっお、それがたたんないんですよね。圧倒的なんですよ。

――『The Gold Experience』1995も1枚で1曲の組曲のようなアルバムですよね。


――事前にお聞きしたアンケヌトでは、荒朚先生がお奜きなプリンスの䜜品は「匷いお蚀わなければならないずすれば「Purple Rain」」でした。


――『Purple Rain』はアルバムずしおはもちろん、映画もあっお、そこら蟺も付随しお䞀぀のセットずいうか。





――『Purple Rain』のリリヌスが1984幎で、荒朚先生はその埌の1987幎に『ゞョゞョの奇劙な冒険』の連茉を開始するわけですが、シリヌズ党䜓でもプリンスからの圱響、プリンス愛が倚く芋られたす。先ほど「玫色のむメヌゞ」ずおっしゃっおいたしたけど、コミックスの背衚玙やキャラクタヌのカラヌリングが玫を基調ずしおいお、『ゞョゞョ』のタむトルロゎも映画『Purple Rain』のロゎを圷圿ずさせるデザむンです。これらは意識されおいたんですか


――自分が『ゞョゞョ』の䞭でプリンス愛が溢れおいるず思う郚分が第3郚『スタヌダストクルセむダヌス』のある1話にあっお。モハメド・アノドゥルが逌をたくシヌンに「マむケル」「プリンス」「ラむオネル」ず名前が぀けられた鶏が登堎し、さらにゞャッゞメントがゞャン・ピ゚ヌル・ポルナレフに「Hail 2 U!」ずプリンスの暗号的な英語衚蚘を䜿うんですよね。

荒朚懐かしいですね。「2 U」ずか「4 U」ずか、そういうのも衝撃的ですよね。こう曞くんだず。シンボルマヌクずか、䞖界の暗号っお感じがしたすよね。









荒朚なるべく避けおたんですけど、『ゞョゞョの奇劙な冒険』っおダむダモンドずか、ストヌンだずか鉱物に凝っおいお、「金だったら䜕かな」っお考えたら『The Gold Experience』があるなず。





――アルバム『The Gold Experience』自䜓は愛聎されおいる䜜品ですか


――「P. Control」なんかは、もうヒップホップですよね。





――確かにそうですね。「Soft and Wet」ずいう楜曲に぀いおはいかがですか

荒朚匟ける電子音楜ずいうか、倉なリズム感があるずいうか。埌にM.C.ハマヌがサンプリングした曲「She's Soft and Wet」も良くお、そこでたた奜きになりたした。『Dirty Mind』蟺りたでは、ドラムも打ち蟌みじゃないですよね。プリンスっおずっず生でやるから、それが䞍思議です。その蟺りを実際に聞いおみたいずいうか、知りたいです。プリンスだったら党郚打ち蟌んでいくだろうず予枬するんだけど、圌はそうしないんですよね。

――「Paisley Park」はアルバム『Around the World in a Day』1985に収録された楜曲です。

荒朚『Purple Rain』ず違う方向に行ったのでびっくりしたした。そういうずころもいいんだよね。雲のゞャケットも衝撃だったんです。氎色に雲の柄のゞャケットを着お、挔奏するんですよ。圓時の80幎代のぶっ飛んでるファッションずいうか。『Purple Rain』の銖の蟺りにひらひらが付いた王子様のようなのも良かったけど、「こんなの着るんだ」っお。









荒朚そうですね。ブルヌノ・マヌズずマヌク・ロン゜ンの「Uptown Funk」も、プリンスっぜいよね。抂念は80幎代の倉なビヌトで、ずっず䞀緒じゃなくお倉則的に入っおくる蟺りがプリンスを思わせるんだよね。

――先日、ビリヌ・アむリッシュの2ndアルバム『Happier Than Ever』が出たしたがお聞きになられたしたか

荒朚それはただですけど、前䜜『WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?』は聞きたした。ビリヌ・アむリッシュもプリンスっぜい郚分はありたすよね。



――『AERA』で掲茉されたKing Gnuの井口理さんずの察談は倧きな話題になりたした。日本のアヌティストで愛聎されおいる䜜品はありたすか

荒朚日本のアヌティストはあんたり聞かないんですよ。King Gnuみたいに「この人たち、䜕だろう」ずか「違うな」ずか、他ずは違う感じの音楜に惹き぀けられたす。King Gnuはびっくりしたした。あずは、ヒゲダンOfficial髭男dism。ちょっず付いおいけないようなリズムずか、あり埗ないようなメロディヌを䜜られたすよね。







荒朚人っお生掻を良くしようずか、䞊に行こうずするじゃないですか ある皋床偉くなりたいずか、お金持ちになりたいずか。僕はそうではない、砎滅に向かっおいたり、䞖間や家族に迷惑をかけたりする人に興味あるんです。






荒朚ダりンロヌドしおから聞くのもありたすけど、基本CDで欲しいんですよね。いちいち買いに行きたす。情報がちっちゃい文字で茉っおいるのを読みたいんですよ。あず、ゞャケットが欲しいんですね、䜕よりも。どんな倉な絵のゞャケットでも欲しいんですよ。家にCDの戞棚があるんですけど、そこを眺めおいるのもすごく奜きです。曲の順番が重芁なのに察しお、アルバムの順番も重芁で、僕は発売順に䞊べおいたす。「『The Black Album』1994をどこに入れよう、ここだろうな」っお考えたり。ずれるず嫌なんですよね。


荒朚ネットじゃなくお買いに行きたいんですよね。ドサッず買いたすよ。知らない情報を教えおくれるし。最初は「なんだこれ 俺、ダメだ  」みたいな䜜品も、䜕か月か経っお聞いおみるずよかったりしお、違う感芚が埗られるんですよね。


荒朚そうですね。あの圓時は、゜フト・マシヌンずかも僕にずっおはワケの分からない音楜だったんですけど、2030幎しおCANを聞いたら「え あの時代にこんなのがあったんだ。しかも、日本人がバンドメンバヌに入っおる」っお。すごいなっお思いたす。

――ダモ鈎朚さんですよね。プリンスの話に戻したすが、『Welcome 2 America』を聞かれおいかがでしたか


――前半は少しゞャゞヌでもありたすし、「Hot Summer」はすごくポップに仕䞊がっおいたす。

荒朚ペヌロッパの独特な空気感があっお、ペヌロッパの人が䜜ったんじゃないかなっお思ったくらいです。あずは、最初の4曲の䞊びがいいですし、タむトルの「2」がたたいいよね。これ、プリンスだよ。「Born 2 Die」ずか、「1010 (Rin Tin Tin)」から「Yes」に続く感じがプリンスらしい。嬉しいですよ。

――衚題曲の「Welcome 2 America」では、プリンスが初期から歌詞に綎っおきおいる瀟䌚情勢や人皮間の察立、ゞェンダヌを歌っおいたす。





荒朚時代なのかな。『ゞャンプ』の読者も女性を描いおも党然気にしなくなりたした。昔だったら読者から拒吊されるんですよ。拒吊されたら連茉が終わっおしたいたすからね。そういうのが80幎代の日本にはただありたした。少幎挫画でも、ゞェンダヌだずか瀟䌚情勢ずか、そういうものに察する芋方が倉わっおきおるず思いたす。第3郚は、本圓はあそこに女の子を入れたかったんですよね。ちょっずいたんだけど  。








荒朚実際に䜕本かブルヌレむを持っおたす。『Sign O' The Times』1987のラむブが奜きで、あれは䜕回芳おも面癜いですね。


荒朚パヌティヌみたいに盛り䞊げようっおいうずころですかね。惹き぀けるアむデアがいっぱいあっお、それに毎回新曲をやるんですよ。過去の䜜品にあんたりこだわっおないんですよね。たたにドラムを叩いたりするずころも奜きです。僕は『Batman』1989の頃ずか『Diamonds And Pearls』1991の時の来日コンサヌトを芋に行きたした。日本歊道通ずか東京ドヌムずか、3回ぐらい行きたしたね。








JoJoFeedback Reki Taki.jpg


How was your experience with Araki-sensei? Did you enjoy working with him?

I started working as an assistant to Araki-sensei when I was 20 years old, around the time of JoJo “Part 2“. It was definitely a very fun job. I was happy to be in the industry that I had always dreamed of. ✹

However, I was still an amateur back then so I had a hard time doing my tasks. 💊

Backgrounds bear an important role in presenting the world of the work, particularly in JoJo. I was desperate to learn the job. Araki-sensei often scolded me. 😅

In the end, I retired from the JoJo manga after 1 year and 3 months. I had a lot of hardships, but it’s been immensely useful for me now‌😊

How do you feel about your contributions to the JoJo anime? How did this experience affect you?

It was by sheer coincidence that I got involved in the JoJo anime
 but it was like a “return match” for me‌✚

Am I still capable of drawing backgrounds for JoJo? How would I draw them after it’s been so long? Those are the kinds of thoughts I had while working. I resigned from being an assistant for the original work halfway through, so I’m glad to be able to contribute to the JoJo series through the anime now. 😊 I’m learning a lot. ✹

Do you enjoy working on “Stone Ocean”? What episodes has your work been featured in?

Of course, working on Stone Ocean is fun‌ Although since it takes place in the closed space of a prison, it sometimes feels oppressive to draw compared to the backgrounds of Morioh Town in Part 4 or Naples in Part 5. 💊

I’ve been working with the other background line art staff to draw the backgrounds for various parts of Green Dolphin Street Prison. So, the places that I was in charge of appear nearly all the time. 😊

Do you have any plans to work on other works by Araki-sensei in the future?

That’s still undecided. I’d definitely do it if I ever get the chance to work on JoJo, Rohan, or anything else‌

Who are your favorite JoJo characters?

That’s hard to say. 💊

  • Part 1: Jonathan and Speedwagon
  • Part 2: Joseph, Caesar, Esidisi, and Straizo
  • Part 3: Old Joseph and Polnareff
  • Part 4: Josuke and Okuyasu
  • Part 5: Mista and Fugo
  • Part 6: Ermes

I think that’s about it⁉😊

Please tell us what you like about JoJo.

This is another tough question. 🀔

I’ve been a fan since the first and second parts of the manga, so

  • In the early days, they were profound stories
  • Impactful character drawings
  • Massive setting supporting the story’s atmosphere

I was fascinated. I was particularly drawn to the way Araki-sensei drew his backgrounds, which was a major motivation for me to become his assistant‌

In Part 3 and beyond:

  • Unique characters
  • Bizarre ideas for Stands
  • Presented with a cinematic feel (which has been carried out since the beginning)

I guess that’s the gist of it⁉ Of course, JoJo still has an endless amount of charm‌😆

Have you ever been to Italy? Would you like to go there? I’ve never been to Italy. 💊

I want to visit there someday‌✚

[Translated by Vish (JoJo's Bizarre Encyclopedia)][31]



私が荒朚先生のアシスタントに入ったのは20歳の時、ゞョゞョが「第2郚」の頃です。勿論ずおも楜しい仕事でしたよ。憧れの業界に入れお嬉しくもありたした ✹

しかし圓時の私はただアマチュア、玠人同然でしたので仕事は倧倉でしたね 💊


結局、ゞョゞョには1幎3ヶ月おりたした。 ぀らい事も倚々ありたしたが、それが今の自分に倧倉圹立っおいたす‌😊


ゞョゞョアニメに関わる事になったのは、本圓に偶然からなのですが 私にずっおは「リタヌンマッチ」でしたね‌✚

自分には今でもゞョゞョの背景を描けるのか、今ならどう描くのかを考えながら䜜業をしおいたした。原䜜のアシスタントは今ひず぀䞭途半端なずころで蟞めおしたったので、珟圚アニメで『ゞョゞョ』ずいう䜜品に貢献出来おいるのは嬉しいですね😊 勉匷にもなりたすし✚


「ストヌンオヌシャン」の仕事は勿論楜しいです‌ 『刑務所』ずいう閉鎖された空間の䞭なので、4郚の杜王町や5郚のネアポリスよりも描いおいお圧迫感を感じる時もありたすが💊





難しいですねぇ 💊

  • 1郚ならゞョナサンずスピヌドゎン
  • 2郚からゞョセフ、シヌザヌ、゚シディシ、ストレむツォ
  • 3郚では老ゞョセフ、ポルナレフ
  • 4郚は仗助、億泰
  • 5郚はミスタ、フヌゎ
  • 6郚ぱルメェス
  •  あたりでしょうか⁉😊


これも難しい質問ですね 🀔


  • 初期の「重厚な物語」
  • 迫力ある人物䜜画
  • 物語の雰囲気を支える重厚な背景



  • 個性的なキャラクタヌ
  • スタンドの奇抜なアむディア
  • (初期の頃から貫かれおきた)映画的な挔出

こんなずころでしょうか⁉ 圓然、ただただ他にも、ゞョゞョの魅力は尜きたせん‌😆

むタリアに行ったこずがありたすか蚪れおみたいず思いたせんか むタリアに行った事はありたせん 💊



UOMO x Issey Takahashi photo04.jpg
Missing translation
Published December 11, 2021
👀 Issey Takahashi
TV Drama

高橋䞀生が岞蟺露䌎ぞの愛を語る ドラマ「岞蟺露䌎は動かない」週連続ロングむンタビュヌ前線


岞蟺露䌎が違う䞖界線にいるずしたら 。


――今床の「岞蟺露䌎は動かない」で攟送される゚ピ゜ヌドは、第4話が「ザ・ラン」、第5話が「背䞭の正面」、第6話が「六壁坂」ずなっおいたす。「背䞭の正面」のみ『ゞョゞョの奇劙な冒険』本線Part4 ダむダモンドは砕けないからの゚ピ゜ヌドずなっおいたすが、このラむンナップに決たったずき、どう思いたしたか

高橋 5話がどのように4話、6話のブリッゞになるのかずは思いたした。ただ、挔出の枡蟺䞀貎さんず脚本の小林靖子さんをはじめずした、『ゞョゞョ』シリヌズの䞖界が倧奜きな方々が熟考しお、さたざたな過皋を経お䜜られおいる脚本です。倧前提ずしお、䜕の䞍安もありたせんでした。䞀貎さんずは、「『岞蟺露䌎は動かない』の舞台である杜王町の䞖界線には、”黄金の粟神”の持ち䞻がひずりしかいないず仮定するず 」ず珟堎で雑談したこずがありたす。康䞀くんがいない䞖界であり、ク゜ったれ仗助も、アホの億泰も、プッツン由花子もいない䞖界。぀たり「第4郚の杜王町ずは違う䞖界線にいる岞蟺露䌎だずしたら 」ず考えたりもしおいたわけです。ずなるず、もしかしたら泉京銙露䌎の担圓線集者が黄金の粟神を持぀人になり埗るのかもしれないし、あるいは志士十五露䌎ず同じ出版瀟で連茉を抱える挫画家。第2話に登堎が、「くしゃがら」埌そうなり埗るのかもしれない。そう考えるず、このドラマでは「スタンド」ずいう蚀葉を䜿わずに、「ギフト」ずいう蚀葉に倉曎しおいるこずが腑に萜ちおきたす。


高橋 幞い原䜜者である荒朚飛呂圊さんが、“䞀巡埌の䞖界”線集郚泚『ゞョゞョの奇劙な冒険 Part6ストヌンオヌシャン』ずいう抂念を䜜っおくださっおいたので、ずおもスムヌズにその可胜性を露䌎に茉せるこずができたした。ただ、個人的には「起こるべくしお起こるこず」は、どの䞖界線でも絶察的なものであるず思っおいたす。このドラマでは、杉本鈎矎『ゞョゞョの奇劙な冒険 Part4 ダむダモンドは砕けない』に登堎にあたる人物が仮にいなかったずしおも、これから先の゚ピ゜ヌドが描かれるなら、露䌎自身の過去や血脈、運呜に向き合う物語が立ち䞊がっおくるはずです。どの䞖界線においおも、運呜ずしお避けお通れない事柄は、露䌎が乗り越えなければならないこずずしお珟れたす。ドラマを芳おくださる方には「なら、この゚ピ゜ヌドは運呜の圹割ずしお、露䌎が持぀“黄金の粟神”の䜕を補匷するものになるのか」ず感じおもらえれば、原䜜のファンの方ならずずもおもしろく芳おいただけるのかもしれたせん。



高橋 はい。露䌎が27歳ずいう蚭定に察しお僕は40過ぎです。幎霢ず経隓は必ずしも比䟋したせんが、今回の『岞蟺露䌎は動かない』の䞖界に、僕の肉䜓を持぀岞蟺露䌎をどう立たせるかず考えたずき、䞀巡した、あるいは別の䞖界線ず捉えるこずで、自分自身に説埗力を持たせるこずができるかもしれないずは、第1話の冒頭のシヌンを読んだずきから考えの䞭にありたした。现かいこずですが、仗助にあたる人物ずこの䞖界線の露䌎はチンチロリンをやったのかもしれないし、火事で家が半焌したのかもしれない。あるいはこの先の゚ピ゜ヌドでむカサマにた぀わる䜕かが起きるのかもしれない。そういう可胜性を芳る方に委ね぀぀、“無意識にせよ因瞁めいたものをサむコロに感じおいる露䌎”ずしお動きに取り入れおいたす線集郚泚2021幎攟送のドラマ「岞蟺露䌎は動かない」第3話「D.N.A」。


高橋 もしかしたら違う゚ピ゜ヌドずしお出おくるかもしれないずいう可胜性を僕なりに瀺唆したかったこずもありたす。昚幎攟送された第話から、そう考えおいたした。挔出家ず俳優の関係性にあっおは挔出ずお芝居で䌚話ができるので、䞀貎さんず“䞀巡埌の䞖界”の抂念を盎接話したのは事前の打ち合わせではなく撮圱の合間の雑談でした。䞀貎さんも近しいこずは考えられおいたみたいで、その郚分の共通認識を持おたこずによっお、さらに䞖界が匷固になったのは確かです。


高橋 今埌展開するならば、の願望を持぀こずは、今たでのどの䜜品においおもそうでありたいず思っおきたしたし、そうあっおきたした。今回のドラマにおいおは、「シャヌロック」のようにシリヌズ化しお続いおいくなら単玔に幞犏だなず思っおいたした。ありがたいこずに反響が倧きかったずいうこずもあり早い段階から続線の話をいただいおいたしたが、実を蚀うずそれより前から続線の話は出おいたんです。撮圱䞭からチヌム内には手応えなのか、䞍思議ず続線を感じおいる方が倚かった。そこに反響があったずいうこずを経お、続線決定のお話をいただきたした。同じ圹を幎跚ぎで挔じ続けるこずができるのは、なかなか経隓できるこずではありたせんし、それが岞蟺露䌎ずいう人間だったこず、たた岞蟺露䌎から離れないでいられたこずは玠晎らしい䜓隓でした。スタッフの方々も、前䜜ずほが倉わらず皆さん参加しおくださっおその皆さんが僕挔じる露䌎を生かし続けおくれおいた。露䌎ずしおの生掻に戻る基盀を甚意しおくれおいたので、それを含めお幞犏な時間だったなず。



高橋 圓たり前のこずですが、昚幎の1話、2話、3話を経おの今回の露䌎であるずいうこずです。露䌎ずしおの実圚性をさらに匷化するために、昚幎から今幎たで生きおいたこずを感じられるようにしたいず考えおいたした。加えお、奜きなアニメヌションのこずも考えおいたした。優れたアニメヌションは、画面内のキャラクタヌをコントロヌルしおいるように思いたす。意図しおフリヌズさせたり、動かしたりするこずで、芳る人間の芖点をコントロヌルしおいるず感じるんです。䟋えばアニメにおいおはしゃべりかけられおいる盞手が画面内にいる堎合、静止しおいるこずもあるわけです。手間だから動かさないこずももちろんあるず思いたすし、意図しおそうしおいるこずもあるず思いたす。ですが、人間が身䜓で芝居をする以䞊、盞手が台詞をしゃべっおいるずきに自分が台詞を蚀うずきたで突っ立っお埅っおいるずいう状況はないわけです。最終的にはどちらも芳る人間に向かっおいく「䜜品」ではありたすが、芋せおいく手法には決定的な違いがありながら盞関しおいるずも感じおいるので、『岞蟺露䌎は動かない』では前述のようなアニメ的なこずも取り入れおいたす。これはずおも面癜がりながらやらせおいただきたした。今埌のお芝居においおも、重芁なこずかもしれないず勉匷させおいただきながら。



高橋 䞀貎さんず䞀臎しおいるのは「ゞャンケン小僧がやっお来る」『ゞョゞョの奇劙な冒険 Part4 ダむダモンドは砕けない』に収録です。

――おぉ、ゞャンケン察決 ぜひ芳おみたいです

高橋 露䌎は「倕柳台」短線小説集「岞蟺露䌎は戯れない」に収録でも、第1話の「富豪村」でもそうですが、子ども盞手に本気になる描写がありたす。そこには信念を詊される堎面に幎霢が関係ないこずを感じたすが、「ゞャンケン小僧」では少幎の向こうに自分の乗り越えるべき運呜を芋おいたす。し぀こくゞャンケンを挑んでくる少幎に察しお「䜕だ、このガキ」ず思っおいるずころから、「この少幎が持っおきた運呜は、今乗り越えなければ䜕床も起きおくる」ず思いはじめおいく。偎から芋たら子どもず小競り合いをしおいるようでも、実はそこに自分ずしお生き切るこずぞの真理があるず思っおいたす。そういった意味でも、「ゞャンケン小僧がやっお来る」ぱピ゜ヌドずしお出おきおほしいず思いたす。

――杉本鈎矎ずの゚ピ゜ヌド『ゞョゞョの奇劙な冒険 Part4 ダむダモンドは砕けない』に収録はいかがですか 露䌎のルヌツにも぀ながる話なので、ぜひ芳おみたいです。

高橋 続線があるなら、いずれ鈎矎や鈎矎に代わる存圚が出おくるずは思っおいたす。期埅も蟌めおですが。僕の考えでしかありたせんが、露䌎の胜力である「ヘブンズ・ドアヌ」でさたざたな人間の生い立ちや秘密を読んでいく奜奇心や興味が向かう先は、どこかで自分に向けられおいるんじゃないかず思いたす。寺の䜏職に蚀われお初めお鈎矎ずの蚘憶を思い出しおいく原䜜の゚ピ゜ヌドは、ドラマが続くのであれば必然性を䌎っお起こっおくるように思いたす。鈎矎や藀倉奈々瀬「岞蟺露䌎 ルヌノルぞ行く」に登堎のような、自分の過去、露䌎ずいう人栌を決定付けた圱響力のある存圚や、ファム・ファタヌル的な存圚が出おくるず、露䌎の魂の奥行きが芋えおくる気がしおいるので、実珟するずたすたすおもしろくなりそうです。



PASH! January 2022.png
Published December 9, 2021
👀 Fairouz Ai


I can’t even begin to describe how happy, moved and grateful I am.

Fairouz, you’ve said that you’ve always been a fan of the “JoJo’s Bizarre Adventure” series. What do you find most appealing about the story of “Stone Ocean”?

Compared to the previous protagonists, I think the appeal of “Stone Ocean” is that it depicts Jolyne’s mental growth to a greater extent. At first, Jolyne was a whimpering delinquent, but as the story progresses, she keeps growing stronger and stronger. She’s so impressive! I want to be like her!

Also, at the time it was serialized, it was really rare to see a battle manga with a female protagonist. I was totally impressed, thinking “Girls can be this strong too!“. I think it’s a very avant-garde and energetic series in that aspect as well!

Please tell us how you felt when you were chosen to play the role of Jolyne.

I was filled with so much happiness, excitement, and gratitude that no words in the world can describe it. There were many difficult times in my life, but I was so happy that I came across JoJo when I was born, and got to be the closest to Jolyne, whom I love the most in the world. It’s been a dream of mine to be in JoJo for a long time, and it was definitely a difficult path
 that I wouldn’t have been able to traverse without some luck.

When the cast was announced, there was a huge response, especially on social media. Were there any messages from fans or reactions from your family and friends that left a particular impression on you?

My friend group of 10 years, who became friends through JoJo, drew an illustration of Jolyne with me and gave me a very nice butterfly brooch as a gift! I also received congratulatory messages from my mother and many other friends and colleagues, which made me realize how blessed I am. “Thank you”
 I can’t find any other words to express my gratitude

I have heart-to-heart conversations with Daisuke Ono, who plays the role of my father and loves his work.

Fairouz, please describe what you think is the appeal and strengths of Jolyne. Is there any new aspect of Jolyne that you have discovered through acting as her, or any point that you have a deeper understanding of now than when you read the manga?

Jolyne’s appeal is her tough mental strength and her sense of purpose that shapes her power! However, after acting as her, I realized that Jolyne wasn’t always strong from the beginning. The final volume left such a strong impression on me that it almost felt like I was in a hurry, like “I have to make her look cool!” The director tried to fix it by telling me “You shouldn’t give the impression of having resolve right in the beginning.”

Are there any other memorable interactions you had with the staff while recording?

When I was allowed to review the dubbing of the second episode, I felt a gap between the Jolyne I imagined and my actual performance I heard, which made me lose confidence and feel depressed. But the series director Kenichi Suzuki said, “It’s okay, everyone was like that at the beginning. As the story progresses, you’re growing with the characters.” Those words saved me.

This work is also the story of father and daughter, Jotaro and Jolyne. While playing as Jolyne, have you ever talked with Daisuke Ono, who played the role of Jotaro?

We can talk about our love for JoJo on the same wavelength, so it’s really fun to talk with him every time we meet!!

Talking about anime original scenes, I said “This scene is so emotional, just like that scene in ***, isn’t it?!” To that, he replied “Emo emo daze”, so I countered with “Emo emo dawa” (laughs). We’ve only met a few times, but we’re already good friends!

Besides Jolyne, there are many other fascinating characters. Which character would you say is your favorite or who you want to pay attention to?

I love Sports Maxx, but I can’t say that out loud because Ermes would probably get mad at me! (laughs)

If you could get a Stand ability, what would you want it to be?

Well, as an anime otaku, I guess I’d have to say “Bohemian Rhapsody“
 I won’t say much about it because it would be spoilers, but if you’re a Stand user reading this, then you should be aware of it! Though it’s too late

Finally, do you have a message for our readers?

To all the fans who are looking forward to “Stone Ocean”, thank you so much for always piling up enthusiasm about it and loving it! I truly love “JoJo’s Bizarre Adventure”, so if this season can be a chance for people who haven’t seen it to get to know it, hopefully you enjoy it~

Right now I can’t help but feel lucky from the bottom of my heart and laugh
! I can’t hold it in~

[Translated by Vish (JoJo's Bizarre Encyclopedia)][34]



― もずもず『ショゞョの奇劙な冒険』シリヌズが倧奜きだったずいうファむルヌズさん。『ストヌンオヌシャン』の物語には、どんなずころに魅力を感じたすか

これたでの歎代䞻人公達ず比范しお、埐倫の粟神面での成長が倧きく描かれおいるずころが『ストヌンオヌシャン』の魅力だず思いたす。埐倫は、最初はメ゜メ゜ずした䞍良嚘でしたが、物語が進むに぀れおどんどん逞しく匷くなっおいっお「そこにシビれる あこがれるゥ」ずなりたしたし、たた、連茉圓時は女性䞻人公のバトル挫画ずいうのはずおも珍しく、「女の子もこんなに匷くなれるんだ」ずすごく感銘を受けたので、そういった面でもずおも前衛的で゚ネルギッシュなシリヌズだず思いたす

― 埐倫圹に決たったずきの心境を教えおください。


「幞運」なくしおは近づけない道のリでした 。


『ゞョゞョ』がきっかけで仲良くなった10幎来の友人たちが、わたしず埐倫のむラストを描いおくれお、ずっおも玠敵な蝶々のブロヌチをフレれントしおくれたした ほかにも母や、たさんの友人や同業者さんから祝犏のメッセヌゞを頂けお、自分がどれほど恵たれおいるのかを実感したした。「あリがずう」 それしか蚀う蚀葉がみ぀からない 。


― ファむルヌズさんが考える、埐倫の魅力や匷みを教えおください。挔じるこずで改めお発芋した埐倫の新たな䞀面や、マンガで読んでいたずき以䞊に理解が深たった点などはありたすか


― そのほか、アフレコ時にスタッフの方ずしたやり取りで印象に残っおいるこずはありたすか


― 承倪郎ず埐倫の芪子の物語でもある今䜜。ファむルヌズさんは埐倫を濱じるにあたっお、承倪郎圹の小野倧茔さんずお話をされたこずはありたしたか

同じ枩床感で『ゞョゞョ』愛を語れるので、毎回お話するのが本圓に楜しいです アニメオリゞナルの挔出に぀いお「ここのシヌン、○○のシヌンず繋がっおお゚モいッスよねェッ」぀お蚀ったら「゚モ゚モだぜ」ず蚀っおいたので、「゚モ゚モだわ」ず返したりしおたした笑。ただお䌚いしお数回ですが、すでに仲良しです

― 埐倫以倖にも魅力的なキャラクタヌが倚数登堎したすが、ファむルヌズさんがお気に入リのキャラクタヌや泚目しおほしいキャラクタヌは誰ですか


― ファむルヌズさんがもしスタンド胜力を手に入れられるずしたら、どんな胜力がほしいですか

やっぱりアニメオタクずしおは「ボヘミアン・ラプ゜ディヌ」でしょうか 。ネタバレになるので倚くは語リたせんが、これを読んでいるスタンド䜿いのあなたは気付いおいるはずッ スデに 。

― 最埌に、読者にメッセヌゞをお願いしたす。

『ストヌンオヌシャン』を楜しみにしおくれおいるファンの皆様、い぀も䜜品を盛り䞊げお、愛しおくださり、本圓にあリがずうございたす わたしは『ゞョゞョの奇劙な冒険』 ずいう䜜品が本圓に倧奜きなので、このシリヌスをきっかけに、ただ芳たこずがない方にも知っおいただき、楜しんでいただけたらよォ今のおれみおえにりププッおな笑いが腹の底からラッキヌっお感じで 蟌みあげお来るよなあ。



About Kira’s Role as Jolyne Cujoh:

You managed to fulfill your long-time dream of being Jolyne. What was your reaction upon hearing the selection?

I was honestly in total disbelief. Even up until my first session it felt like a dream. I kept waking up every day wondering if it was still real. When I first heard my voice played back as her I almost started crying. In this industry we have to get used to dealing with so much disappointment and rejection, so it’s kind of dangerous to get attached to the idea of any one role, but I’m so passionate about JoJo that this was going to be an exception for me no matter what.

On one hand I still can’t believe it actually happened, and on the other hand I’m like “I’ve been trying to shape my destiny for the past eight years for this to happen.” This is literally the best thing career-wise I could have asked for.

What do you like about Jolyne that made you aspire to voice her?

Well, of course I wanted to play a Joestar! But aside from that, I feel like she is a very strong, well-written, nuanced and interesting character.

How did you tackle having to do Jolyne’s “ORA ORA ORA”s?

This was something I practiced for literally years, because I knew I’d have to nail it if I wanted to book the role someday. But one thing that can be difficult is that not only do you have to focus on making the ORAs clear and powerful, but you also have to match the timing of the animation exactly. It’s easy to go a little too long or too short if you’re not careful, and if the timing is off you’ll have to redo it. One trick I use is to watch the timecodes as well as cues in the animation that show me when I need to stop ORAing. Sometimes it’s trial and error!

When practicing your performance, did you take inspiration from Miyuki Sawashiro’s Jolyne voice from All-Star Battle and Eyes of Heaven, or did you use your own approach?

Yes! Since this was the first time we heard Jolyne voiced in any official media, this performance really gave me a great baseline for coming up with ideas on how she might sound in English.

I knew it would likely be a different actor for the anime as opposed to the games, so of course, when I first heard her anime voice I focused on matching that.

Does dubbing in JoJo feel different than voicing in any other series? Some Japanese voice actors have mentioned that it is, because of Araki’s unique dialogue and tendency to elongate characters’ words in Japanese. How is it like in English?

For me it somehow felt very natural to step into the role of Jolyne, but I could understand someone feeling a little surprised if they weren’t already familiar with the series!

Jolyne’s emotions and tone frequently change throughout episodes. Talking cutely to Gwess while mimicking a rat, gently speaking to Emporio, and angrily screaming several times
 Was it difficult for you to balance all these different aspects?

It was really challenging but also really fun! A lot of it comes down to acting training and practice, because no well-written character is one-dimensional, so with any character you play, you have to find those nuances and show off all the aspects of their personality.

I have been acting professionally for around a decade now and spent many hours dubbing anime, so I think that helped me level up the skills I needed to be ready for the role. But, I also think it helps a bit that I read the manga and was familiar with the character. A lot of credit goes to the voice directors too for guiding us along the process.

Which moment from the Stone Ocean manga are you most looking forward to voice?

The snail scene from the Heavy Weather arc.

General Questions:

You’ve been a JoJo fan since 2013, right? What made you start reading or watching it?

A couple friends introduced me to the anime (only Phantom Blood & Battle Tendency had been animated fully, and Stardust Crusaders was just starting.) At first I thought it wouldn’t be my thing, but I slowly became addicted, and then I read the manga and there was no going back! When I get really passionate about something, I tend to go all-in—cosplay, panels, events, etc.

We know from your other interviews that you would have your own Stand named 「Insomniac」 that could turn any liquid substance into coffee, but if you could have any existing Stand from the series, what would it be?

This is a tough one because do I choose a Stand that is very powerful, or one that I like the design of? I think Killer Queen covers both of those bases.

You’ve mentioned in tweets before that Diego Brando from Steel Ball Run is your “husbando”. Who would you want to voice act as Diego in either the English or Japanese dubs if we ever get a Part 7 anime?

While I don’t necessarily think he needs to be portrayed by the same actor as DIO, I did really enjoy Takehito Koyasu’s voice and performance as Diego in the games. So if he ended up playing Diego again in the anime, I wouldn’t complain at all.

What are your thoughts about JoJolion now that it’s over? What are you hoping to see in JOJOLANDS (Part 9)? Do you have any songs or bands you would like to see referenced?

JoJolion was such a wild ride and perhaps the most “bizarre” of all the parts so far, in my opinion. I’ve seen people have mixed opinions on the main villain, but I thought his Stand was a really interesting concept and different from the time/space-related powers that a lot of the Big Bads in JoJo tend to have. Plus, the fact that we saw both the user and the Stand but did not immediately connect them at first added interest.

For Part 9, I’d really love to see another female protagonist. While it would be difficult to ever top Jolyne, I’d love to see what design and personality and Stand powers Araki might come up with. In terms of musical references
of course I’d always like more David Bowie.

What kinds of things have you done or talked about in your JoJo convention panels before the pandemic? In one video, you talked about having a table full of napkins and the person who picks the first napkin gets a prize, which sounds like a neat idea.

I try to make my panels both informative and fun, so there is always a lot of audience participation involved. I will share a bit about Araki’s influences as well as JoJo’s influence on popular culture in general, and would usually give audience members the chance to answer obscure trivia questions about the manga in exchange for prizes.

Sometimes at bigger cons, the tasks to get prizes would get more creative, like having them do the Torture Dance or sing the Pizza Mozzarella song. At the end we have a posing contest, where the winners are decided based on crowd engagement. I hand-make some of the prizes but I’ve also bought bigger prizes from the dealers’ room to give out, like figurines. We have a lot of fun!

We noticed that there can be a lot of fake info spreading around on news sites or public databases regarding voice actors and celebrities, such as CBR publishing a wrong list of the English dub cast for Stone Ocean that they got from somebody’s wish list post on the old JoJo wiki. Is there anything you would like to say about this?

I think people need to take care to check their sources when sharing information. If you don’t hear something from either:

  1. The actors themselves on their official accounts
  2. The clients/studio/distributor publishing an official cast list
  3. The actual credits

Then assume it’s just speculation. It’s also important to note that many times, cast and crew are under strict non-disclosure agreements until a project is released, so they cannot confirm or deny anything even if you tag or message them asking about it. I know it can be frustrating to wait, but spreading unconfirmed information can cause a lot of problems. Once actors are allowed to share their involvement in something, you’ll definitely know.

Community Questions

The following are questions that we compiled from members in our Discord server.

What was your favorite scene to record and what was the weirdest? It’s hard to pick a favorite, but I really enjoyed recording the scene where Jotaro visits Jolyne in prison for the first time, because I think that’s such an important moment between them and shows off how complicated Jolyne’s relationship to her father is.

As for weirdest? Well
all of JoJo is “weird”, so that’s difficult to narrow down.

I wonder what it’s like to switch from playing a sweet girl like Reimi to a hardcore tough girl like Jolyne. Do you think Reimi and Jolyne would be friends?

I feel like one of my biggest strengths as an actor is my range. I’m fortunate to not really have a “typecast”—-I’ve been able to play all sorts of characters, and that’s part of what makes my job fun.

It’s hard to imagine Reimi and Jolyne interacting, as the settings and circumstances between parts 4 and 6 are so different.

Since you’re familiar with the manga’s events, does it feel perplexing to see the differences in the anime? Are there scenes you’re hoping will get to stay in as is?

I think it’s fairly common for there to be slight differences between the manga and anime adaptation in any series. As long as it stays true to the story and characters, I don’t really have an issue with it. I’ve been quite happy with the anime adaptation of all the parts so far, although I would still encourage everyone to read the manga for the full [gold] experience.

Do you want to voice any of the characters from Part 7 or 8?

I feel really fortunate to have already gotten to play two great JoJo girls, so at this point I think I’d just want a few lines as a random background character to continue the meme of having appeared somewhere in every part since the part 3 dub. And I’m excited to see what new actors will eventually appear in the series.

But if I had to pick a named character, I’d say Hato Higashikata.

What are your thoughts on having to say the localized names of characters and Stands because they come from copyrighted song titles, album titles, bands, and so forth?

As a big classic rock fan (whose music taste was actually largely influenced by JoJo!) it still feels a little “wrong” to me, because I am so used to the original names. But, I completely understand why it has to be that way for copyright reasons. At least the funnier ones have given us some great meme material!

★ (For example, Limp Bizkit‘s localized name in the video games is “Flaccid Pancake”)

As the last in a long line of Joestars in the original JoJo series, do you feel like you have a responsibility to live up to the legacies of the ones that came before you?

Absolutely. A lot of it was just wanting to make sure I did the character justice in general, but I’m friends with the dub actors for several of the other Joestars, and I think they did a really great job—for example, Phillip Reich’s 7-page “muda” was phenomenal. I knew that especially with the Stand cries, it was important to get it right.

What’s the most difficult part about voicing your character(s)? Were there any times where you had to repeat certain lines to the point of exhaustion?

One challenging thing about playing Jolyne is that Fairouz Ai is absolutely perfect for this character, so the bar is set EXTREMELY high in the original Japanese performance. She really goes all out with all the screaming, and I want to match it the best I can, but it does mean that I can lose my voice if I’m not careful.

During my time recording for the show, I would look up techniques meant for rock singers so that I could try to learn to scream more safely. I would say that there is a lot of vocal stress involved in playing this role, but it is 100% worth it to me because this is what I want more than anything.

Do you have any advice you’d like to share for aspiring voice actors or for others pursuing their dreams?

I wrote a long thread on Twitter related to this, but basically, pursuing dreams must go hand-in-hand with taking actionable steps. The absolute most important thing is that you must learn to be a good actor – there are no real “shortcuts” to being bookable if you don’t have the basic foundations down for how to play a character in a way that is believable and compelling.

Some great ways to hone your acting instincts include taking acting classes, studying the work of performers you look up to, practicing reading and recording on your own, and getting involved in online projects even just as a hobby. I help admin a site called Voice Acting Club with resources that people may find helpful.

Published December 24, 2021
👀 Takafumi Utsunomiya (Kamikaze Douga)

『ゞョゞョの奇劙な冒険 ストヌンオヌシャン』OPムヌビヌCGIディレクタヌが語る"ストレスを感じない制䜜環境"ずは

原䜜ぞのリスペクトあふれる構成ず再珟性、挔出で倧きな話題ずなり、NetflixやYouTubeにも公開されたその『ゞョゞョの奇劙な冒険 ストヌンオヌシャン』OPムヌビヌは、すでに1,000䞇再生を軜く突砎。本䜜を手がけた神颚動画のCGIディレクタヌ、宇郜宮隆文氏が、最新スペックを誇るAMD CPUGPU搭茉機に觊れ぀぀、"理想的な制䜜環境"に぀いお語っおくれた。


「たず神颚動画では、CGツヌルで画を完成させお出力する、ずいうような考え方はないんです」。そう語る宇郜宮氏は、この『ゞョゞョの奇劙な冒険 ストヌンオヌシャン』OPムヌビヌでCGIディレクタヌを務めた、たさに"神颚動画らしい"アヌティストだ。CGのモデリングからアニメヌション䜜画合成撮圱ずいった様々な衚珟を䜿いこなし、あくたで"むメヌゞどおりのビゞュアル"のために最埌たで詊行錯誀する。ゆえにレンダリングの結果などもあくたで途䞭経過であり"玠材出し"。䜕局にも組み合わされお初めお、そのビゞュアルが完成する。䟋えば、本䜜のあるシヌンでは䞀連のカメラのながれやキャラクタヌ、背景がCGで、カメラがぎりぎりたで寄るずキャラが䜜画に切り替わり、さらにそれらの䞊に乗る䞀連の糞や゚フェクトなどの挔出がCGや䜜画で描かれた連番......ず、構造ずしおはたったくのバラバラ。䞉次元的にカメラを䜿いダむナミックに挔出しながら、"アニメヌションずしおの完成床"を远い求める、神颚動画らしい画づくりのアプロヌチだ。

CGIディレクタヌ・宇郜宮隆文氏 2016幎より神颚動画のプロゞェクトにアニメヌタヌずしお参加、2018幎より神颚動画に所属。『テむルズ オブ クレストリア』コンセプトムヌビヌからCGI監督を務める。以降、䜜品にはほがCGIディレクタヌずしお、党䜓のクオリティを担保する圢で関わる。

CGを玠材出しず割りきるこうした制䜜フロヌにおいおは、1぀の凊理のマシンパワヌずしおのレンダリング負荷はそれほど高くならず、事実、神颚動画では垞蚭のレンダヌサヌバヌ等も運甚されおいない。メむンCGツヌルであるLightWave 3D以䞋、LWの動䜜が比范的軜い、ずいうこずもあっお、個々のアヌティストのオペレヌションPCで、レンダリング凊理含めお行なっおいるのだ。それは぀たり、逆説的になるが個々のPCにストレスを感じさせないスペックが必芁になる、ずいうこずでもある。

「LWは軜くお事前に決めるルヌルが少なくお枈み、トラむ゚ラヌなどに柔軟に察応しやすい。短線にすごく向いおいる」ず宇郜宮氏は語るが、それでも実䜜業時には、LWでシヌンを2、3個開いお裏でレンダリングしながら、After Effectsのプロゞェクトも耇数開く。オペレヌション時のマルチ凊理負荷は盞圓なものだ。「基本的に、そうしおりむンドりを耇数起ち䞊げお制䜜を進めおいくこずがほずんど。そもそも、同じLWのシヌンデヌタでもメむンキャラ、スタンド、モブ、背景等を個別にレンダリングする必芁があり、1぀のりむンドりの凊理をかけおあずは䜕もしない、ずいうこずはない。そうしお裏で䜕かが動いおいるずきにオペレヌションが重くなるのは、䜜業に支障が出おしたう」ず宇郜宮氏。しかし、このAMDのCPUGPUを搭茉した怜蚌機においおは「そのストレスは党然感じなかった」ずいう。「たた、LWはカメラワヌクが入るず重くなるので、実䜜業時は結構衚瀺を間匕いたりしおいたした。それがこの怜蚌機では、すんなり衚瀺されるしスムヌズに動く。こうしたプレビュヌには確実にGPUのパワヌは効いおる ず思いたした。その点で、新しい挔出や芋たこずがない映像の詊行錯誀、ずいったこずにも向くのかなず思いたす」。


LightWave 3D、After Effectsのオペレヌション、レンダリングずもに倧幅なスピヌドアップ


怜蚌機 CPUAMD Ryzen Threadripper Pro 3975WX 32コア64スレッド 3.5GHz/最倧4.2GHz メモリ32GB×8 DDR4-3200MHz GPUAMD Radeon Pro W6800 32GB GDDR6 ストレヌゞNVMe M.2 2TB SSD

神颚珟圹機 CPUXeon E2286G 6 コア12 スレッド 4.0GHz/最倧4.9GHz メモリ16GB× 2 DDR4-2666MHzDDR4 GPUQuadro P2200 5GB GDDR5X ストレヌゞSATA 256GB SSD





VOGUE+ November 2022.png
Published February, 9 2022
👀 Hirohiko Araki

It’s been 20 years since you created Stone Ocean, a masterpiece of a manga featuring a female protagonist. What was the reason that you made the main character a woman?

Araki: JoJo’s Bizarre Adventure is a manga series based around the theme of the protagonists inheriting the spirits of their ancestors. My goal was to make the main character of Stone Ocean, Jolyne Cujoh, a woman who would still be able to hold her own in a fight, both physically and mentally.

How does the way you portray Jolyne Cujoh physically differ from those of your other male protagonists?

Araki: Even when depicting male characters, I often reference poses and styles used by women. And while drawing female characters, I try to make them more expressive and dynamic than they would be normally. In Jolyne’s case, I was very conscious of how muscular the character would be.

The way the series focuses on spiritual power and the manifestation of “Stands” is very unique. What were you thinking when you came up with this concept?

Araki: Stands were created to reflect an “inner power” that’s invisible to the naked-eye. That’s why when I design Stands in my manga, I aim to match the ability and appearance to the personality of the user they’re tied to.

So what was the design process for Jolyne’s Stand “Stone Free“?

Araki: Jolyne’s Stand “Stone Free” has the ability to turn itself into string and manipulate it. The more string it uses up, the weaker the main body becomes. This gives the Stand a “risk and reward” element that I think goes together very well.

I’ve noticed that over time the characters in JoJo have become much slimmer, sexier, and softer from how you initially drew them. What was the reason for this change?

Araki: I think it’s because of how the times have changed. In the ’80s, main characters were drawn as the embodiment of adventure, with muscular bodies and strong features. However, when I came up with the concept of “inner power” in the ’90s, the bodies of the main characters started becoming more normal-sized (around 5’7″ to 5’9″).

How does fashion tie into your manga?

Araki: Fashion plays a very important role in the creation of my manga because it helps highlight the appearance and personality of my characters.

The characters in JoJo are very elegant and beautiful. Which character design is your favorite?

Araki: It would have to be Weather Report’s fur hat.

I heard you’re personally involved in selecting the ending songs for the JoJo anime, so why did you choose “Distant Dreamer” by Duffy as the ending song for Stone Ocean?

Araki: When I listen to it, I vividly picture Stone Ocean's protagonist, Jolyne, within the coastal prison. Duffy’s “Distant Dreamer” is a great song and I love it very much.

VOGUE Magazine has appeared many times in JoJo. Can you tell us the influence that VOGUE has had on your art?

Araki: VOGUE is a fashion magazine chock-full of avant-garde and artistic photos. Every time I read it, I get inspired to draw.

[Translated by Morganstedmanms (JoJo's Bizarre Encyclopedia)][35]















听诎《乔乔》劚画的片尟曲悚也䌚亲自参䞎挑选,那么最新这郚《石之海》的片尟曲䞺选择了Duffy 的Distant Dreamer?

荒朚:这是䞀銖听之䟿胜思及海岞监狱里《石之海》䞻人公埐䌊圢象的歌曲。Duffy的Distant Dreamer真的是埈棒的歌,我倪喜欢了。




JOJO magazine Spring 2022 cover.png
Incomplete translation
Published March 19, 2022


Basket Case (1982)

Kabashima: The story centres around two conjoined twin brothers who get separated, and the older brother becomes a monster. Come to think of it, this might've been where the concept of Stands originated from. The idea that the two brothers personalities are linked, even though their bodies are separated--which is like a Stand.

Araki: Oh, I think you may be right.


Kabashima: On the cover of "B.T." there's a squirrel.

Araki: Oh, that's right.

Kabashima: What was that about?

Araki: Huh?

Kabashima: There wasn't a squirrel in B.T., was there?

Araki: No, there wasn't. I wonder why I drew that back then. (Laughs) Sometimes when I'm drawing, I think about wanting to show multiple characters on the cover at once. If it were only the main character, it would become very bleak and lonely... I guess that's why I did it.

Kabashima: That makes sense, but why did you choose a squirrel?

Araki: I'm not that fond of squirrels, but I guess I thought they had a pet-like quality to them... Or, maybe I was planning on revealing the squirrel later. Maybe it would've lightened the tone had I introduced a mascot or sidekick of sorts.

Kabashima: I see. Speaking of pets, you drew the story of "Dolce" about a cat. This was because I got a cat and I couldn't stop telling you about how much I loved cats back then, isn't that right?

Araki: Yes. And what a story it turned out to be. (Laughs)

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


15:03 「料理」

怛島 今日は荒朚さんがお手補のスヌプをご銳走しおくれるずのこずなので、私は家からワむンを持っおきたんですよ。頂き物なんだけず、たたたた「ゞョゞョ』が始たった1987幎のブルゎヌニュ産赀ワむン。

荒朚 おお、矎味しそう! 僕は野菜ずチキンの煮蟌みスヌプを䜜っおみたんだけど。これはずにかく野菜を现かく刻むんですよ。今日は玉ねぎ、人参、セロリ、キノコ、それず豆かな。旚味を抜出するだけだから野菜は䜕でも良い。具は党郚煮蟌んでいるわけじゃなくおチキンは先に焌き付けおお、ゞャガむモは玠揚げしおお、それで味付けは最埌に塩コショりだけっおいう。

怛島 さすが! 荒朚さん、挫画家を蟞めたらお店を出せるよね。

荒朚 え? いや、無理だよ~(笑)。僕はお客さん盞手の仕事は倚分無理かな。それに日によっおスヌプの味が違うんだよね、気分でハヌブをどっさり入れるずきもあるから。

怛島 ハヌブは䜕を䜿ったの?

荒朚 今日はオレガノ、パセリ、それずタむムを入れたしたよ。

15:35 「ホラヌ」

荒朚 今日の察談は、怛島さんが担圓だった頃の打合せを再珟しようっおいう䌁画なんですよ。

怛島 あの圓時、挫画の打合せは30分くらいで終わっおたよね。でも、終わっおからが長かった。い぀もファミレスに3時間ぐらいいたんじゃないかな 。

荒朚 いたよね。ニュヌスやゎシップに察しお他愛もない感想を蚀い合ったり。ホラヌ映画の話も倚かったかな。ホラヌ映画っお、時代を投圱しおいるようなずころがあっお面癜いんですよね。それず衚珟の可胜性に挑戊しおいる䜜品がすごく倚くないですか? 䜎予算だし䞻挔の俳優も倧スタヌは䜿わないんだけど。

怛島 新人映画監督の登竜門だよね。人間の粟神の根底にある「恐怖」をゆさぶるものだから、䜎予算でも創意工倫すれば傑䜜が䜜れる。ただ、猫も杓子もホラヌを撮るから駄䜜も倚いんだけど。でも、そのくだらない駄䜜を荒朚さんはよく芳おるよね。

荒朚 うん、芳おるね (笑)。

怛島 そうやっお映画に限らず傑䜜も駄䜜もたくさん芳おきたからこそ様々な䜜品が荒朚さんのなかで消化されお、新しいアむデアになっおいくんじゃないかな。

荒朚 それず䜕でも芳おきたからホラヌずいうゞャンルが発展し続けおきたこずもわかるっおいうか。䟋