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{{font|3|'''12:45: The Lecture Hall'''}}
After a student MC introduces Mr. Araki and his body of work, he abruptly pops up on stage, at which time the hall erupts into a deafening round of applause. Mr. Araki, quite nervous at the reception, immediately has a slip of the tongue, saying "I'm a little honored to meet all of you today." "I'm a little... no... quite messed up. I feel like I've met an entire lifetime's worth of people today." Although he claims that he is not a performer, and asks not to expect laughs, he claims "I'm just going to meander along today," scoring some unintentional laughs.
{{font|3|'''Reason For Accepting The Invitation'''}}
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{{font|3|'''Motives For Drawing Manga, Family, Days of Youth'''}}
Young Araki lived with his father, an office worker, his mother, a stay-at-home mom, and younger identical twin sisters. Those sisters were quite a handful: for example, if there were 3 snacks, the sisters, upon arriving home first, would eat all 3, and then proceed to conceal any traces of evidence. Growing up, young Araki, thinking that there weren't any snacks, "would think 'man, I'm hungry' and go chew on something like a really old piece of kamaboko." (audience bursts into laughter). And when his sisters' evil doings came to light, a fight would erupt; and this would occur on a daily basis. (yet more laughter) He would often feel such a sense of exclusion and ill-will towards his sisters that he didn't want to come home. He used to find relief in spending time
{{font|3|'''Days of Submissions and Rejections'''}}
He attended a prep school through junior high and high school, but he remembered wanting to become a manga artist after his friend complimented him on the manga he drew (apparently he [[Interview:Kahoku_Shimpo_(February_2004)|drew his first manga while he was in 4th grade]]), due to thinking that he might as well if his very first fan thought he was good. So, he began to secretly draw manga when his parents were not looking. He first began submitting his work during his first year of high school; however, all of his submissions were rejected. At the same time, a rash of artists who were the same age ({{W|Yudetamago}}) or younger than him ({{W|Masakazu Katsura}}) continued to make big splashes with their debut. But Mr. Araki could not understand why he was rejected, and decided to finish off a submission on an all-nighter and go on a 4-hour trip to pay a visit to the editors in Tokyo, and to ask them for an explanation. At first he intended to visit {{W|Shogakukan}}, which published {{W|Weekly Shōnen Sunday|Shonen Sunday}}, but he was intimidated by the size of their building, and decided to take his submission into the smaller [[Shueisha]] building next door. It was noon when he visited, but [[Ryosuke Kabashima|one rookie editor]] (about {{convert|185|cm|ft}} tall) happened to be there, so he showed him his work. However, the editor, after reading the first page, promptly quipped "your white-out's leaked (you haven't fixed it)": he was criticized every time the editor flipped through each page; Mr. Araki, already exhausted from having been up all night, felt like he was going to pass out. However, after he was finished, he was told that it might be good, and was immediately told to fix it up for the {{W|Tezuka Award|Tezuka Awards}} in 5 days. That submission was "[[Poker Under Arms]]", which won was the runner-up prize at the Tezuka Awards.
{{font|3|'''The Jump Editors At The Time Were Really Scary'''}}
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At the time, Mr. Torishima (Akira Toriyama's editor, and inspiration for the Dr. Slump character Dr. Mashirito) would take submissions out of their envelopes, glance at the folder, promptly go "I don't want to see this style!" and order a rewrite. Apparently, he wanted people to draw in such a way that looking at the cover was enough to make people want to read the manga. The editorial department as a whole was always on edge at the time. But he also mentioned in the latter half of his lecture that manga editors were like golf caddies; they provided objective information like "why don't you hit this way" or "you're X meters away from the green" and that he appreciated them. He also said that people who wanted to become manga artists had to get along with editors.
{{font|3|'''Drawing Manga, Araki-Style Part (1): {{convert|10
Drawing styles which are so distinctive that you can look at a person from {{convert|10
{{font|3|'''Drawing Manga, Araki-Style Part (2): The World's Most Simple Drawing'''}}
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{{font|3|'''Drawing Manga, Araki-Style Part (3): The Ultimate Character'''}}
[[File:Tokai Lecture drawing.jpg|thumb]]▼
Araki introduces modern abstract art such as Barnett Newman's drawing of an orange square on a piece of canvas, Agness Martin's drawing of nothing but a pencil line on white canvas etc. And then he drew the following, calling it the ultimate simple, ideal character in manga anybody could draw:▼
▲Araki introduces modern abstract art such as Barnett Newman's drawing of an orange square on a piece of canvas, Agness Martin's drawing of nothing but a pencil line on white canvas etc. And then he drew the following, calling it the ultimate simple, ideal character in manga anybody could draw:
▲[[File:Tokai Lecture drawing.jpg|thumb|center]]
Oh no, we're gonna get sued!
"I might get in trouble for displaying this in public, so." (audience bursts into laughter)
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Gaugin's art, while having depth, also did things like contain certain colors within certain areas, paint the ground pink and the trees blue etc. Araki loved Gauguin's art ever since he was a child, and has been deeply influenced by him. When Jojo became an OVA, one of the animators asked Araki, "What color is [[Jotaro]]?" however Araki had no such concept. He colors everything based on calculation. For example, in Volume 54 [[Giorno]]'s clothes are pink, but in Volume 63 they are blue. Also, regarding the color cover illustration, he explains that placing the color blue beside pink exudes more power. He says that he gets his inspiration from 80's art, shading techniques in Western art, classical paintings and gets inspiration for his various poses from sculptures. All of this research, blended with Araki's own personality, result in Jojo's art style.
While speaking about the influence of Picasso and Gauguin he also mentioned, "I don't think it's plagiarism when you imitate classics, or from the deceased. But I do think it's plagiarism if you steal or are influenced by people who are currently working [
{{font|3|'''Drawing Manga, Araki-Style Part (5): Aim & Direction'''}}
(Araki shows a diagram<ref>[https://jojowiki.com/File:Tokai_Lecture_graphic.gif Recreation of Tokai Lecture (June 2006) Manga Diagram by SHATO from Atmarkjojo.org]</ref> mapping the world of manga)
[[File:ArakiTokaiLectureMap.png|thumb|300px|center]]
*On the lower left of {{W|Kamui (1964 manga)|Kamui}} is {{W|Yukinobu Hoshino}}, who for some reason is the only person referred to by their name and not the title of their work
If you don't think about "where you stand," you won't have any sense of direction even after you become a manga artist, wandering from idea to idea, not knowing what you want to write about and ending up becoming one of those people who asks their editor, "What should I write?" In the case of Jojo, Araki is trying to pursue reality by portraying things with classical methodology, but he gives precedence to emotion and inner thought over plot structure, trying to portray the protagonists' destiny, so he ends up in the bottom-left quadrant.
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{{font|3|'''Drawing Manga, Araki-Style Part (6): The Theme is "Mystery"'''}}
Araki was fascinated by mysteries ever since he was a child, fantasized about deserted islands and believed that King Kong and Nessie existed, and so writes his manga with "mystery" as the central theme. In Jojo, Araki wondered what "superpowers" really were, and if he could portray "energy" itself, which lead to [[Phantom Blood|Parts 1]] & [[Battle Tendency|2]], and the [[Stand|Stands]] in [[Stardust Crusaders|Part 3]], which were like guardians who could "destroy boulders and stuff." They would "stand" by their master and would be called "Stands." Apparently Part 3 began immediately after Part 2 with no interval in between, which was difficult. He exclaimed, "I went, 'Of course I didn't have any characters ready since it just ended, sir!'" (everyone starts a roar of laughter)
{{font|3|'''Drawing Manga, Araki-Style Part (7): Like an RPG or
At the time, the "pyramid (tournament) formula" (A would fight & defeat B, then fight stronger character C, and on and on) was all the craze in [[Shonen Jump]]. But, Araki wondered, how strong could they get? Wouldn't the entire system collapse as soon as you reached the top, much like the economic bubble of the 80's in Japan? It wasn't like there could be an infinite number of levels of strength. So, he decided to create an RPG/{{W|Sugoroku#E-sugoroku|roll-and-move board game}}-style system where characters traveled to different places to fight enemies, as seen in Jojo Part 3, where the protagonists traveled across Egypt while battling enemies
Araki's lecture ended here and proceeded to a Q&A with students, which may or may not be posted here as Part 3.
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"Well, I don't think there are any homicidal maniacs, but..." (Everyone starts a roar of laughter). Of course, Araki-sensei likes his hometown very much, but he was intimidated by the rapid increase in strangers, maybe Morioh Town was made based on his "disdain" of that situation. Of course, using the real name of the city in his manga may anger people, so Araki-sensei changed the name to something else.
{{font|3|'''Question for Araki-sensei! (3): "What About Love and Passion?"'''}}
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Although he went a boy's school, he had a girlfriend. "There's not much to add, since it's what causes the most problems in today's relationships" (everyone starts a roar of laughter).
{{font|3|'''Question for Araki-sensei! (4): "What Model Did You Base Your Protagonists On?"'''}}
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"Eeeeh?" Araki-sensei appears worried. There was no model, but there were influences from "muscle movies" such as "Rambo" and "Terminator." Jotaro Kujo (a character from JoJo) feels like Clint Eastwood: he doesn't run, his movements are minimal and he's a silent person. "On the other hand, the Stands are fast." The personalities of protagonists' from each part are different. After drawing Part I, I wanted to do something I haven't done before. (1st Part: Serious --> 2nd Part: A crazy person)
{{font|3|'''Question for Araki-sensei! (5): "Is Irene,
What is the relationship between [[Irene Rapona|Irene]] of
"I was just having a good time, there is no deep meaning behind it, I'm sorry." (Everyone laughs).
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The most powerful technique: "Time". Stopping it, returning to the past, watching the future... if there were people who can control such a thing, they'd be invincible. For a main character with powers that aren't invincible, I want to have people wonder how such a character could win. The ability to control physical things, such as gravity, is also very powerful.
{{Text|
Araki: About time, when I think about it, it's incredibly powerful. You can do things like repeating the same morning over and over, stopping time while jumping, and the people who become visible only at a particular time, etc. But if I used that concept every time, someone would say: "Is JoJo only about 'time'?" So... (laughs).
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Araki: All the way out into space. Speaking of which, what kind of energy would that be?
|}}
{{font|3|'''Question for Araki-sensei! (7): "Joseph Joestar"'''}}
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{{font|3|'''Question for Araki-sensei! (10): "Western music and its influence"'''}}
Using names from Western music to name his characters and "Stands" is a "simple hobby" for Araki. It's also a way to pay his respect towards rock artists. "But the fact that nowadays
{{font|3|'''Question for Araki-sensei! (11): "About the Change in Design"'''}}
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When asked about his designs that continue to change, Araki replied that since he's not trying to draw using classical techniques, the designs won't be the same, and usually experience rapid changes. "I'm not concerned about the old drawings (assertion)." Though the readers may get confused, I wonder if they will forgive me".
{{font|3|'''Question for Araki-sensei! (12): "You Stopped Drawing Your Self-Portrait"'''}}
Often fan letters would ask: "Please
{{font|3|'''Question for Araki-sensei! (13): "If you can describe JoJo in a single word"'''}}
To a question that he hates to answer, Araki-sensei's answer was: "'The enigma of human beings', it's something I wanted to draw". As a human who works with a theme that will last for an eternity, that's all. Moreover, the manga is also being drawn for people who have committed crimes, it will make them think: "How did I become like this? Is there a meaning in this existence?" It's
{{font|3|'''Conclusion'''}}
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And so the time has come, the last words from the moderator, and the falling of the curtain. The clock says it is 2:05 PM on June 24, 2006. An event of about 1 hour and 20 minutes long, but to Araki's fans, without a doubt it was a "golden personal experience." Escorted by applause heavy as thunder, Araki-sensei disappeared behind the curtain with a smile on his face.
- End -
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[Translated by Neuroretardant (Lecture and Manga Diagram)<ref>[http://comipress.com/article/2006/06/30/387 Hirohiko Araki Lecture Part 1: His Past & Motives]</ref><ref>[https://www.comipress.com/article/2006/07/25/516 Hirohiko Araki Lecture Part 2: Drawing Manga, Araki-Style]</ref>, Xibanya (Manga Diagram)<ref>[https://forums.somethingawful.com/showthread.php?noseen=0&threadid=3723471&pagenumber=33&perpage=40#post446898997 Translation of Tokai Lecture (June 2006) Manga Diagram by Xibanya from somethingawful.com]</ref>, and Aldo (Q&A Session)<ref>[https://www.comipress.com/article/2007/04/29/1896 Hirohiko Araki Lecture Part 3: Questions and Answers with Araki-Sensei]</ref>]
==Gallery==
<gallery>
arakibyringo.jpg|
Tokai Lecture graphic.gif|Recreation of Tokai Lecture (June 2006) Manga Diagram by SHATO from Atmarkjojo.org
</gallery>
==References==
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