User:Nabu/Sandbox

==Kensho Ono Interview= Casting interview with Kensho Ono, Giorno Giovanna's seiyuu. (source collector Blu-ray booklet, translated by Nabu, checked by FTR)

How did you envision the original work?

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). Then, later, as an adult, I read them again and that is when I understood what were Stands and other subtleties that you do not 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 and which hits head at full force. It is a very profound work. 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 22nd to october 1st of 2018 at Roppongi, Tokyo). When we looked at the chronology of the publication, me and Daisuke Yamashita (Bucciarati's seiyuu) noticed then that we weren't even born when the first part was being published (laughs). I mean to say that this work is great, that 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 realised again the scale that this series had.

As you said it, 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 work.

'''It is a work where you voice one of the characters. Can you talk to us about the auditions? Were they as intense as the work?'''

Indeed, JoJo gives the image of intense and impassioned work and it was in that state of mind that I presented myself at the audition. 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, I was told that my performance was OK but I wasn't satisfied. I thus asked to 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 in 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 in which fights to the death in which nobody ever gives up until the end comes in quick succession. It is perhaps this impression that I managed to give 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 highlight each of his lines, to go at the bottom of things to convince his interlocuteur and to make them listen to him when he spoke.

Already when he first appeared, I had the impression that Giorno was a complete and achieved character. Il 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 understands immediately that he risks suffering from other gang members trying to take revenge. It is this that 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...'''

Then, 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?

It is thanks to the words' intonation and all the terms that are specific to the work that I realised that I was dubbing JoJo. I even unconsciously took on some verbal tic, 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 it is notes on how to pronounce some words. But in fact these are details that the viewer won't notice. However, even if the difference was undistinguishable, it had to appear on the script. All the team and the comedians 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 episode, which scene marked 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 about Giorno's character. In this beautiful city, he's passing near young drugged kids in the alleys, you 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 he 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. What I take from this scene, it 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 had the ability to 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 to 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 shout "Beware! A snake!". This Stand is made for this type of 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 word 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.

Cast
彼の作品は、僕のにおいと、とても近い—— ———————————————— 漫画家 寺沢 武一

荒木さんの作品とのファースト・コンタクト（はじめてのふれあい）は、彼が出した手塚賞の応募原稿を読んだ時だったと思う. 驚きそして喜んだ. なぜなら、彼は僕と同じにおいがしたからだ.

彼は何よりもまず、ストーリー展開を何度も緻密に練りあげてから構成していく. 人間関係はもちろん、それを取り巻く状況、センス・オブ・ワンダーをどこに置くかなど、すべてを完壁に把握した上でなければ語り出さないタイプだ. とはいっても、これは小説や脚本を書くのと同じ手法であって、連載マンガ家としては非常に不利な一面を持っている.

みを求めるあまり、画面の中にちりばめられたSF的感性や主人公の中にある計算されたワンダーに、すべては大気のように気づかれず読み落とされる場合が多い.

しかし、SF作家はそこにこそ自らの資質をつぎ込み、自分の白中夢を映像化しようとこころみる.

先に、彼と僕は同じにおいがしたといったが、それは彼の求める作品の方向が、僕のそれと非常に近しいと感じたからだ.

SF漫画において、作品の質を低下させずになおかつ、エンターテイメントであろうとする作家は数少ない. 彼はもちろんその中のひとりであり、今後、今のにおいを持ったまま成熟してゆくと思う.

SF漫画にSF小説でもSF映画でもない. あたりまえのことのように思えるが、SF漫画を描く上ではこの認識が最も重要であり、難しいものだと思う.

お互いそれを意識し、SF漫画というものが何者であるかを知るまで描き続けていきたいものだ.

○ ○ ○ ○ ○ ○

バオーの説得カある描写にはうなった！ ———————————————— 作家 夢枕 獏

この異様な迫力を持った物語を、ぼくは少年ジャンプ連載時から注目して読んでいた. 絵柄もストーリーも遠慮がないのがよかった. おそらくは、この作者が何年もあたためていたものが、この作品でいちどに噴き出したからであるう.

小説の説得力が"文体"によって生まれるのなら、漫画の説得力は"絵"であると思う. どのような"絵"を読者の目の前に差し出せるかである. その"絵"の説得力が、そのまま、その漫画の持つ説得力になる. 小さな理屈はどこかに漫えてしまう.

そういう意味で、寄生虫であるバオーの"絵"を見た時、その不気味さ、つまり説得力にばくはうなってしまった. このような"絵"を見せられれば、読者はその作家信用してしまうのである. 「SFは描写だ」と、山田正紀氏（SF作家）が何かに書いていたが、漫画も描写であるとぼくは思う.

この物語の続編は、やがて必ず描かれねばならないものであろう. 

kajipon questions

 * When did you discover Jojo ?
 * What made you such a fan of JoJo ?
 * Tell us more about the JoJo Posing School. How did you become involved with it?
 * Tell us more about Oni-sensei. When did you meet? Are you still in touch with him?
 * How did you meet with Hirohiko Araki ?
 * What are your favorite part/jojo/villain ?
 * What do you think about the evolution of jojo now ?
 * Jojo is very popular overseas these days. What are your thoughts on it ?

fma
Do you like Ugly Iggy or Less Ugly Iggy best? Who lived through the worst shit (in the story)? Saddest backstory?

Best beatdown in JJBA ?
 * Johnny
 * Diego
 * Josefumi
 * Yasuho
 * Rai
 * Jonathan vs. Bruford
 * Jotaro vs. Kakyoin
 * Jotaro vs. Rubber Soul
 * Jotaro vs. Steely Dan
 * Jotaro vs. Anubis
 * Polnareff & Jotaro vs. Alessi
 * Polnareff vs Vanilla Ice
 * Jotaro vs. Dio


 * Josuke vs. Yuya Fungami
 * Jotaro vs Kira (1)
 * Jotaro vs. Kira (2)
 * Giorno vs. Black Sabbath
 * Bucciarati vs. Pesci
 * Narancia vs. Squalo
 * Giorno vs. Cioccolata
 * Giorno vs. Diavolo


 * Jolyne vs. Johngalli A.
 * Ermes vs. Sports Maxx
 * Jolyne vs. Rikiel
 * Jolyne vs. Lang Rangler
 * Jolyne vs. Miraschon
 * Jolyne vs. Miu Miu
 * Johnny vs. Funny Valentine
 * Other
 * Other

FEATURES
Featured Article=  JoJo's Bizarre Adventure: Stone Ocean JoJo's Bizarre Adventure: Stone Ocean (ジョジョの奇妙な冒険 ストーンオーシャン) is the upcoming fifth season of the JoJo's Bizarre Adventure TV anime.

Go take a look to learn more about the anime ! Featured Character=  Takuma Hasumi Takuma Hasumi (蓮見 琢馬) is the main antagonist of the light-novel The Book: 4th Another Day.

Takuma is a Stand user and student living in Morioh. Responsible for a murder in town, we learn about his mysterious and tragic past and see him complete his years-long vengeance. Featured Stand=  Jail House Lock Jail House Lock (ジェイル・ハウス・ロック（JAIL HOUSE LOCK）) is the Stand of Miu Miu, featured in Stone Ocean.

When it is activated, the designated victim(s) will only be able to remember the next three pieces of information they have processed. Featured Media=  JoJo's Bizarre Adventure: Diamond Records JoJo's Bizarre Adventure: Diamond Records (ジョジョの奇妙な冒険 ダイヤモンドレコーズ) was a free mobile game for and.

Diamond Records was a up style mob battles turned into a turn-based "Tactical Battle" mode featuring characters from all the animated parts of the series.

truyc
http://tkr2000.cocolog-nifty.com/blog/2012/07/post-713a.html Araki Misery couverture

https://privatter.net/p/86425 tohoku speech 2013 from araki

https://www.zhihu.com/question/28288640 An idol jojo fan ?

http://kajipon.sakura.ne.jp/art/jojo-oni.html ONI PAGE

ONI bio
Born in. Read JoJo in high-school.

Co-founder and chief instructor of the JoJo's Posing School (ジョジョ立ち教室).

2012 Reconversion into a farmer in Vietnam, cultivating and harvesting fruits.

2014 Marriage.

KAJIPON bio
"There are no borders when it comes to JoJo fans!!"

- Kajipon, founder of the JoJo's Posing School

Kajipon (カジポン).

Born in Osaka in 1967. Graduated from Kinki University. Wrote "The Encyclopedia of Contemporary Words (現代用語の基礎知識)" published in 2010. カジポン・マルコ・残月.

Co-founder of the JoJo's Posing School (ジョジョ立ち教室).

Kajipon is a seasoned traveller. He has notably completed several trips mirroring the journeys of the protagonists of each part, from a trip to England to crossing the United States.

Kajipon's most notable activity is his habit of visiting the graves of past personalities. Self-described as a Tomb Miler (墓マイラー) as he's visited the tombs of over 2500 people across 33 countries.

In August 1987, Mr. Kajipon was in front of Dostoevsky's tomb in Leningrad (now St. Petersburg) in the former Soviet Union. "I was a 19-year-old student at the time. As the last ritual for my teens, I decided to thank my" parents "." When I put my hand on the grave and said "Spa Shiva (Thank you)", a thunder-struck shock ran all over my body.

From the second year of high school, he left his parents' house and lived alone. This is because "the father was in a fight all the time." As a sensitive and troubled teenager, I read Dostoevsky's works such as "Crime and Punishment" and saved my heart many times. From the time I was in my third year of high school, I became a "junkie" who was absorbed in literature, music, and painting. The opportunity is unrequited love. Every time I fell in love with a junior student who aspired to be an art school, a music college student, or a librarian at a library, I began to read literary books, listen to music, and thoroughly investigate the lives of artists.

I always ended up with a broken heart, but the world expanded. "Beethoven, who died at the age of 56, had a broken heart, but he produced a masterpiece in the midst of unrequited love. Van Gogh also had a broken heart, but he drew a masterpiece like" Himawari. " Touched is not the end of the world. Many artists have turned broken hearts into immortal masterpieces. "

In the same graveyard as Dostoevsky, there is also the grave of composers Tchaikovsky and Mussorgsky, and when leaving the graveyard, he said, "I have to thank other artists! Bach! Shakespeare! Goethe! I have to hurry!" It is said that he was driven by a feeling.

I would like to trace the lives of the "beneficiaries" who supported me when I was mentally distressed and express my gratitude. Driven by that thought, while working as a truck driver, when he saves money, he goes on a "pilgrimage trip" at home and abroad. The target has spread to all kinds of great people who have contributed to the history and culture of humankind. "Thanks to the widespread use of the Internet and the creation of a homepage, it has become possible to eat at lecture requests and writing requests. But if you get stuck, even a truck driver will do anything."

The first European pilgrimage at the age of 21 in 1989.

"Even if you say visiting a grave, you can't just come to see the gravestone," he says. "The important thing is to express gratitude. If there is a birthplace nearby, I will stop by. I want to follow in the footsteps of that person. The final point is the grave. However, I have to choose because the funds are not abundant. And I aim to visit the grave more than once as much as possible. I think that it is only when I visit the grave multiple times. "

The destination is not always a graveyard. From the ship in the Antarctic, he made an idea of ​​the direction of Robert Scott's distress and put his hands together, and in the Arctic, Roald Amundsen prayed in the direction of his disappearance.

In 2019, I traveled to South Korea and Taiwan. In Seoul, I visited the grave of Takumi Asakawa, a Japanese who loved Korean ceramics and studied locally, and in the south, I also visited the graves of students scattered in the Gwangju Uprising. In Taiwan, we visited the tombs of Teresa Teng, the hero of the independence movement Mona Rudao, and Yoichi Hatta, who built the Wushantou Dam.

"Around 101 countries, we were able to confirm that humans have much more in common than differences, even if they have different nationalities and cultures. Smiles return with a smile and help troubled travelers." .. No matter where you go, the facial expressions of the people who come to visit the grave give you a feeling of longing and prayer for the deceased. "That's why, even when there are conflicts between countries, we want to look at what they have in common and respect each other."