Mainichi Shimbun (May 2022)

Published May 23, 2022

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Author Hirohiko Araki. Photographed by Naotsune Umemura

An interview with Hirohiko Araki from Mainichi Shimbun, a major newspaper publisher in Japan. The article was released in two parts, the first on May 23, 2022, and the second on May 24, 2022.

Interview

TranslationTranscript

JoJo's Bizarre Adventure, a popular manga series that has sold more than 120 million volumes, is celebrating its 35th anniversary. From Part 1 to Part 8, JoJo is loved by fans of all ages. The author of the series, Hirohiko Araki (61), gave us a special interview discussing his favorite moments, such as the creation of JoJo, the origin behind Ghost Ripples (which is pronounced as “Stands”), and the hidden themes present in his work. This introduction to The World of Araki will be released in two parts.

A studio located in an apartment building in Tokyo, a bookshelf full of reference materials, a large well-worn desk, and a sound system hidden away in the corner: This is where JoJo is created. "It's very outdated. This place hasn't changed much the entire time I've been here, and I haven't made any attempts at refurbishing it. I've been using this same drawing board for about 30 years now", Araki says with a smile. On weekdays Araki usually works on JoJo from 11:00 AM to 11:00 PM.

The first part of JoJo ended in late 1986 with an intense battle between the protagonist, Jonathan Joestar, and his most powerful rival, DIO. The story afterward depicts the bizarre fates of their descendants. "The idea wasn't well-received by the editorial department, as it was hard to market to their young male demographic." The setting and main protagonist were also foreign, which was frowned upon. "It just didn't feel right to have a Japanese person in a story featuring vampires. I also wanted the main character to have both initials start with 'J' so that it was easier to remember, like Steven Spielberg (S.S.)," Araki continues while laughing wryly.

The JoJo as we know it now is currently split into eight parts, however, you originally only intended it to be three. This is very similar to the novel East of Eden by John Steinbeck, which was later adapted into a movie starring James Dean. It tells of a family conflict based on the feud between Cain and Abel from the Book of Genesis in the Old Testament. Araki responds, "I was very drawn to the concept of passing the baton from one generation to the next. Since 'inheritance' is the theme of the series, the protagonist no longer had to stay the same. This allowed me to write scenarios where the main character is killed, which wasn't possible in shonen manga."

Today, the title JoJo has become synonymous with Stands, a supernatural power that takes the form of a guardian spirit. Before, the protagonists used the Ripple to attack, but after Part 3, Stands suddenly started popping up. Araki replies, "it all started when the editor in charge at the time jokingly told me, 'Can you stop it with the Ripple? Think of something else.' He also told me to draw something that was easy for readers to understand. So I came up with the concept of Stands that mimic supernatural powers. I always wondered why the guardian spirits in other manga don't throw punches."

The Ripple, which was once formless, had finally been given a humanoid form. For Araki, Stands were clearly meant as an extension of the Ripple, hence the name Ghost Ripple. However, this decision stirred up a lot of problems for the series. According to Araki, "the readers at the time didn't get it all. Even the editors and people working on the manga were confused about the change." It wasn't until about a year later that the readers finally started catching on with Stands. Once he won the reader's trust, Araki was able to get a lot more inventive with his fights. The battles against their archrival, DIO, were no longer limited to just punching and kicking. With this, Araki could create a variety of recognizable battles, such as a dangerous game of playing cards, a struggle against magnetism, and a clash in someone's dreams...

"A strong opponent almost always needs to look cool. But with Stands, even an ugly opponent can be strong. Because Stands are tied to the user's wit, it's possible to create weak characters who are still strong. The possibilities are endless."

Araki created rules as well, since a topsy-turvydom where anything goes would be no good. Usually, Stands cannot move faster than the speed of light. Their power weakens if they wander far away too. “To make sure they didn’t stray away from their orbit around human activity, I was conscious of the bounds of physics.”

The two-dimensional medium of manga also allows for the texture of both humans and transcendental Stands to be in unison. "The drawing material is the same, whether for a Stand liquid like water or a machinery-like specimen. They won’t feel out of place alongside humans as long as you draw them with the same paint. This is the big difference with a live action work.” Speaking of drawings, everything is hand-drawn by him.

Although on the surface the protagonists drawn for the past 35 years keep on inheriting the title of JoJo, Araki is particular about who they are on the inside as well. “In my case I regard the character’s personality as more important than their appearance, or silhouette, or design. An idiosyncrasy, motivation behind behavior, and outlook on lifeーsuch things contribute to the formation of character. For example, the part played by Nobita is someone who has a hard time in Doraemon. And Gian’s job is to steal the inventions Doraemon produces to help him, right?”

Araki creates a personal information form every time he introduces a new character. When he showed me the form, it included height, weight, upbringing, worries the character had, attitude toward women, if the Stand ability matches the character's personality... A total of 60 items in the checklist for characterization were included on just one sheet of paper. This elaborate character profile is the key to forming three dimensional characters.

But, continues Araki. "Characters are vulnerable to the times. They won’t hold up anymore in 10 years." When I asked him what he meant, he answered that "values of the times are reflected in the characters."

The first JoJo took place in a setting with a macho protagonist, the likes of Sylvester Stallone from Rocky or Kenshiro from Fist of the North Star. Araki reflects that by the third protagonist Jotaro Kujo, the main character became a gritty Clint Eastwood type and upon reaching the fifth protagonist Giorno Giovanna, the main character’s existence became true-to-life.

"It was still the Showa period with first protagonist, so men were expected to be manly. But by the fifth protagonist Giorno, entering the Heisei period, the expectations of how men and women should be like no longer differed. By the sixth protagonist (Jolyne Cujoh), a woman finally became the main character as well. It didn't feel wrong for women to beat up men anymore. On the contrary, I don't think characters like the first Jonathan are able to cut it now."

He remarks in passing that the fifth protagonist Giorno was modeled after a woman. "The posing became slightly model-esque from here on as well." It makes sense that the unique "JoJo Posing" exploded in popularity as it did then.

Thus JoJo characters project the period they were written in. What then are the values of the times now? Upon asking him, Araki fell silent for a while after uttering, "it's diverse right now, and there's too much information..." Then he continued like this: "The protagonist can no longer be full of pep. They won’t pass muster now unless they’re sick, physically or mentally. If you forcibly make yourself write an upright character, they'll seem fake.”

In Part 8 JoJolion which started serialization following the aftermath of the Great East Japan Earthquake, the final villain manipulates calamity itself, believe it or not. Araki concludes, "for the protagonists to escape the 'worst outcome' they are forced to make a decision between two ultimate choices. No matter which they choose, they must make sacrifices and pay the price. I must be reflecting the deadlocked times, even if unconsciously." (written by Soji Kawana)
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■Personal Profile
◇Hirohiko Araki
Born in Sendai, in 1960. Debuted as a manga artist in 1980. Serialized JoJo’s Bizarre Adventure over the span of eight parts and inclusion of powers such as the Ripple and Stands, first publishing the story of JoJo in Weekly Shonen Jump from around the end of 1986. 169 centimetres (5.54 ft) tall in height, 58 kilograms (128 lb) heavy in weight. He commented, “my physique has hardly changed since I was young.”
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"I'd Like To Keep On Writing JoJo Forever"

Despite big age differences, comparable to one between parent and child, existing in the readership from a serialization spanning from the Showa period to the Heisei period and up to the Reiwa period, no generation gap divides interest in JoJo’s Bizarre Adventureーa manga which enjoys this unanimous backing. There was a deep connection between Hirohiko Araki (61) who from his early days had his heart set on becoming a manga artist, and the house in Sendai where he was born. The eye-opening reveal of Araki as he really is, theme behind his work, and his thoughts on the here and now after having passed his 60th birthday will be delved into in this second part of our interview.

“My father always returned home by 6 PM, despite being a civil servant. He was a hobbyist and a family manーfishing, shooting pheasants with a gun, and cooking us homemade dishes. He could even make toy boats by hollowing out wood, and he owned many art books as well.”

Araki recalled his childhood spent in Sendai when I asked him why he chose to become a manga artist. He recollected, “my father’s influence might have been significant. Since I was little, I was writing manga under an environment where he did as he pleased. My grandfather would buy me manga when we went to the hot springs, since the shop inside used to always carry manga back then.”

Young Araki submitted his work repeatedly, harboring the dim dream of debuting. However, he was thunderstruck one day by the news of Yudetamago, who was the same age as him, debuting with Kinnikuman. Afterward, teen after teen made their debut, who would eventually become key figures in developing the Golden Age of Shonen Jump as hitmakers; for example, Masakazu Katsura (another contemporary) who is the author of Wing-Man, and Yoichi Takahashi (two years younger) who is the author of Captain Tsubasa. “Manga artists are the same as idols. It hit home that talented individuals make their way in the world straightaway.”

Correspondingly, Araki achieved his debut at age 20 but it took six years for him to hit upon JoJo which was to become his first long-running series. Nonetheless, that work which was regarded as peculiar has continued for 35 years so one never knows what the future has in store.

“[T]his work is about... an ode to humanity” is the comment left by Araki in the first volume of JoJo, and an “ode to humanity” is the theme which still underlies the work, despite being a contemporary horror series which depicts the dark side of humanity as much as the American author Stephen King. “Both antagonists and protagonists live being affirmative, to the fullest, of their course of life. I want to cheer my readers up by showing them that stance. I’ve always kept this intention in mind.”

Although JoJo is considered a singular work, the story being told is actually a classical one. “With stories there exists an enduring classic way, in contrast to characters who reveal vivid traits of the values of the period. A work will surmount the times if you’re able to generate that classic way” he explained.

For example, Araki chose the “roll-and-move board game” format for JoJo Part 3, where the protagonist embarks on a trip together with his party. Instead of straightforwardly fighting with formidable opponents over and over again, this Part unfolds with a group striving to reach a goal while batting foes along the way which bears a resemblance to Shank’s Mare. He exercised his ingenuity with the narrative’s progression in other ways as well, such as revealing the enemies’ stats and profiles bit by bit through short exchanges from conversations first instead of introducing them abruptly.

Together with this, there is the solitary hero and the goddess in JoJo. He claimed that these too have a connection with the house in Sendai where he was born. He went, “my younger sisters have actually influenced my life a lot. They’re twins, four years younger than me. We aren’t on bad terms or anything, but those twins are joined at the hip. As the eldest son I felt cut off. There’s times where you feel more alone by having siblings than being an only child, right?” The perception that heroes are lonely took root in young Araki’s heart, according to him.

Storylines about the selfless love of mothers, ranging from saving mothers who find themselves in desperate straits to mothers devoting themselves to their child are featured in JoJo too. “They say that a family comprised of rebels is a matriarchal one, you know. I wasn’t a rebel, but in the end there’s something in me leaning toward a matriarchal religion. When I had to discuss something important with my father, I always communicated through my mother. To use my sisters’ own words, ‘Mom always ends up taking your side,’ even though I don’t think that’s the case at all.”

A shy smile graced Araki’s lips for the first time during this interview. In addition, he added that his grandfather departing in the beginning of JoJo’s serialization was also what led to him feeling extremely conscious of stories about family: sagas.

Writing about a family while also giving the tale the traditional narrative structure consisting of an introduction, development, turn and conclusion; A hero who retains what is precious to him, solitary as he may be. Indeed, this all follows the classic way of shonen manga.

Espoused as being unconventional by his fans, Araki nonetheless experiences difficulties despite his reputation. He pointed out that the "appearance of the world" of his work gave him the most difficulty. He explained, “you know how in the past there were many people who read manga on the train? I could instantly tell, ‘Hey! That’s Dragon Ball’ just from the corner of a drawing, even when gazing from 10 metres (33 ft) away. That manga has its own ambiance even when you don’t know the exact content of what’s drawn on there. A good manga is one where even children grasp that ambience. This is what I mean by a manga’s appearance of the world.”

To make his manga universally understood with only one glance that this is a work by the one and only Hirohiko Araki. Araki makes a point of performing an exhausting preliminary investigation before writing to achieve this. He reads resources carefully, checks the historical backdrop, and visits the actual location of where his manga will be taking place with his own two feet. He takes great pains to construct The World of Araki, from spatial representation to the scenery of backgrounds on top of all this.

“I actually don’t really like travelling because I get all worried about how much trouble I’ll be in if I were to suddenly get sick or what to do if the food tastes bad. But I’m able to construct the appearance of the world if I see the place and culture of the actual location.”

Araki is in the midst of plotting out his next work now that Part 8 is completed. “Ultimately, I’m thinking all day long on what would be the equivalent of debating who’s stronger: Godzilla or Ultraman. The outcome depends on the conditions like which one is more mentally strong, or if they’re accompanied by comrades or not, the three minute limit of the Color Timer, and the effects of radiation and such” he told me.

When he showed me his notebook which he claimed he had kept on writing in since his debut, it was filled to the brim with small letters. He said he jots down impressions and ideas which come to him after watching movies or reading scientific journals. “It’s stimulating when there’s new discoveries, although plenty of concepts end up being rejected. I find myself thinking ‘what kind of Stand could activate with that?’ even watching leaves fall” he remarked.

Araki has no intention to stop writing the JoJo series despite this year marking the 35th anniversary of JoJo's conception. "If JoJo ends up being the only notable series I work on, I'm okay with that. You know how there are pottery makers who still work even after turning 90? That's something I admire. I'd like to keep on writing JoJo forever."

The solitary hero that is JoJo who continues to push forward throughout the ages. After conducting the interview I came to realize that each manifestation of JoJo projected Araki himself, carving out his own niche and proudly independent. (written by Soji Kawana)
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◇JoJo Trivia
JoJo is famous for distinctive onomatopoeia such as "zukyuun." These sounds are expressing the presentation from the movie Psycho by Hitchcock. Araki offered, “you know that famous scene of the showering woman being stabbed? I want to convey the music playing in that part which fans the sense of danger.” Also, on the newly starring Rock Humans in Part 8. "Calculi built up in my body. I thought, ‘What if I were to keep on becoming petrified' and then they (Rock Humans) were born."
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■Personal Profile
◇Hirohiko Araki
Born in Sendai, in 1960. Debuted as a manga artist in 1980. Started writing JoJo’s Bizarre Adventure in Weekly Shonen Jump at around the end of 1986.

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[Translated by Morganstedmanms, Dijeh, and JoJo's Bizarre Encyclopedia]

　累計発行部数が１億２０００万部を超える人気マンガ「ジョジョの奇妙な冒険」が、誕生から３５周年を迎えた。１部から８部まで、世代を超えてファンに愛される「ジョジョ」。作者の荒木飛呂彦さん（６１）が取材に応じ、ジョジョが生まれた経緯や「幽波紋（スタンド）」誕生の裏話、作品に隠されたテーマなど、とっておきのエピソードを語った。「荒木ワールド」を２回にわたり紹介する。
　東京都内のマンションの一室。資料が並ぶ書棚、年季の入った大きな作業机、隙間（すきま）には、オーディオセットがはめ込まれている。そこが「ジョジョ」ストーリーが紡がれる現場だ。
　「もう、古いですよ。ずっとここです。アトリエっぽくしたくないんですよね。画板も３０年ぐらい使ってる」。てらいのない調子で荒木さんが表情を崩した。原則、平日の午前１１時から午後１１時まで、荒木さんはずっとジョジョを描いている。
　「ジョジョ」は、ジョジョとディオを巡るサーガ（家族一門の物語）だ。８６年末からの連載は、主人公ジョナサン・ジョースターと強敵ディオの死闘から始まり、以後は両者の血族の数奇な運命が描かれる。「最初は編集部から不評だった。少年読者にはなじみにくいって」。主人公は、外国人。その設定がダメ出しされたのだ。
　「でも吸血鬼が出てくるし、日本人ってのはちょっと。それで親しみがわくように、頭文字をＪでそろえることにしたんです。スティーブン・スピルバーグみたいにＳ・Ｓだと覚えやすいでしょう？」。いたずらっぽく笑って、荒木さんは続けた。
　ジョジョは８部のサーガとして紡がれる。実は当初から３部までの構想があった。参考にしたのは、スタインベックの小説で、ジェームズ・ディーン主演の映画もある「エデンの東」。旧約聖書の創世記に登場するカインとアベルの確執を基にした家族の愛憎劇だ。
　「世代を超えてバトンをつなぐ文学にひかれたんです。『受け継ぐ』がテーマだから、主人公が変わるのも許されるし、少年マンガではありえない『主人公が殺される』パターンもできたんです」
　ジョジョの代名詞といえば、やはりスタンド。登場人物の守護霊のように描かれる超能力だ。主人公の武器は、最初は「波紋」だったが、３部から、いきなりスタンドが登場する。
　 　「『もう波紋やめよーよ、人気ないよね。何か別のもの考えて』って担当の編集者に言われたんです。わりと軽い調子で。エー！ってなって。ジャンプでマイナーなものを描こう、なんて言ってたのに。それで超能力を擬人化したスタンドを出したんです。他のマンガに出てくる守護霊は、何でパンチ出さないの？って思っていたんで」
　それまでは抽象的に描かれていた波紋を、人間の形にして可視化する。荒木さんにとって、それは波紋の延長線上のアイデア（だから幽波紋）だった。だが、最初は苦難の連続。「読者が全く分かってくれない。それどころか編集者も、何コレ？って。しまいには、コミックス担当者まで、分からないって言ってきましたから」
　絶対の自信があったスタンドがじわじわ浸透したのは「３部の連載開始から１年後ぐらい」。読者の信頼を勝ち取れば、それは“発明”だった。天敵ディオとの戦いは、単なる格闘にとどまらない。トランプを使ったカードゲーム、磁力との勝負、夢の中での心理戦……と多彩な荒木ワールドを生み出す。
　「普通は強い敵にはカッコ良さが求められるんです。でもスタンドなら、醜くても強い敵が作れる。知恵比べの要素も加わるから、貧弱なのに強い、なんてキャラもできる。これ、無限だなって思いました」
　何でもアリのカオスはダメだから、と荒木さんはルールも作った。スタンドは、基本的には光より速く動かない。遠くに離れると、パワーが弱まる。「生物の営みから外れないように、物理の限界を意識しました」
　二次元メディアのマンガは、人間と超人的なスタンドの質感をそろえることも可能となる。「水のような液体のスタンドでも、機械のような固体でも、描く画材は一緒。同じ絵の具で描けば、人間とも違和感が生じない。それは実写とは大きな違いですよね」。ちなみに絵は、すべて手描きだ。
　荒木さんが３５年にわたり描く主人公たち。ジョジョの名は受け継ぐが、そのキャラクターには、こだわりがある。「ルックスやシルエットなどのデザインより、僕の場合は人物の性格を大事に考えている。クセとか、行動の動機、人生観が人格を与えるんです。『ドラえもん』なら、のび太は困る役。ドラえもんが発明品を出して、ジャイアンは、それを奪うのが仕事でしょう？」
　新キャラを登場させる度、荒木さんは身上書を作る。見せてもらうと、身長、体重、生い立ち、悩み、女性への態度、スタンドの能力が性格と一致しているか……。たった一枚の紙に盛り込まれた人物造形のチェック項目は、６０に及ぶ。こうした緻密な設定が、立体的な人物を生むカギなのだ。
　でもね、と荒木さん。「キャラクターは時代に弱いんです。１０年後には通用しなくなる」。どういうこと？と尋ねると「キャラクターは、時代の価値観が反映されるんです」。
　初代ジョジョは「ロッキー」のシルベスター・スタローンや「北斗の拳」のケンシロウのようなマッチョな世界。それが３代目の空条承太郎では、気骨があるクリント・イーストウッド風に、５代目のジョルノ・ジョバァーナに至ると、その存在は等身大になった、と荒木さんは振り返る。
　「初代はまだ昭和でしたから男はイケイケでしたよね。それが、平成に入った５代目のジョルノでは、男女の価値観が変わらなくなってきた。６代目（空条徐倫）では、とうとう女性が主人公になりましたからね。もう、女性が男性をボコボコにしても違和感がなかった。逆に初代ジョナサンのようなキャラは、今はもう成り立たないのかもしれない」
　ついでながら、５代目ジョルノは、女性をモデルに描いたという。「ポージングなんかも、ここからちょっとモデルチックになった」。独創的な“ジョジョ立ち”人気が爆発したのも、うなずける。
　時代を投影したジョジョのキャラ。では、今の時代の価値観は？と尋ねると「今は多様化してますけど、情報が多すぎちゃって……」と口にしてから、荒木さんはしばらく黙った。そして、こう続けた。
　「主人公は、元気ハツラツじゃダメですね。何かに病んでいないと、今は成り立たない。無理やり、まっすぐのキャラクターを描くと、ウソっぽくなっちゃう」
　東日本大震災後に連載が始まった８部「ジョジョリオン」では、ラスボスが操るのは、なんと厄災だ。「主人公たちは『最悪』を逃れるために、究極の二択を迫られる。どちらを選んでも、犠牲と代償を払わなければいけない。僕も無意識ですけど、行き詰まった時代を反映しているんでしょうね」【川名壮志】
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　■人物略歴
　◇荒木飛呂彦（あらき・ひろひこ）さん
　１９６０年、仙台市生まれ。８０年、マンガ家デビュー。８６年末から週刊少年ジャンプで「ジョジョの奇妙な冒険」の執筆を始め、波紋やスタンドを使うジョジョの物語を８部にわたり連載。身長１６９センチ、体重５８キロ。「若い頃から体形はほとんど変わらない」
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　◇「シリーズずっと描き続けたい」
　昭和から平成、令和に至る連載で、読者層も親子ほど違うのに、世代間ギャップもなく支持されるマンガ「ジョジョの奇妙な冒険」。若き日にマンガ家を志した荒木飛呂彦さん（６１）には、仙台の生家との深い結びつきがあった。下編では、荒木さんの意外な素顔や、作品に込めたテーマ、還暦を超えた「今」の思いに迫る。
　「ウチの父はね、公務員だったんですけど、必ず午後６時には帰ってきたんです。趣味人で家庭人。釣りをして、鉄砲でキジを撃って、自分で料理も振る舞った。木をくりぬいてオモチャのボートも作るし、画集もいっぱい持ってた」
　なぜマンガ家に？と聞くと、荒木さんは仙台市で暮らした子供時代を振り返った。「父の影響が大きかったかもしれない。好きなことをする環境で、小さい頃からマンガを描いてました。温泉に行くと、昔は必ず売店にマンガが置いてあって、祖父が買ってくれましたしね」
　デビューに淡い夢を抱いて投稿を続けた荒木少年。だが、ある日、雷に打たれるようなショックを受ける。同い年のゆでたまごさんが「キン肉マン」でデビューしたのだ。さらに同い年で「キャプテン翼」の高橋陽一さん、２歳下で「ウイングマン」の桂正和さんら、「少年ジャンプ」の黄金期を支えるヒットメーカーも、１０代デビューを続々と決める。「マンガ家もアイドルと一緒だな。才能のある人は、すぐに世に出るんだなって痛感しました」
　荒木さんも２０歳でデビューしたが、初の長期連載となる「ジョジョ」まで６年近い歳月を費やした。だが、異色とされたその作品が３５年も続くのだから、人生は分からない。
　コミックス１巻に、荒木さんのコメントが残っている。＜この作品のテーマは、人間讃歌（さんか）＞。ジョジョは、米国の作家、スティーブン・キングばりに人間のダークサイドを描くモダンホラーだが、「人間讃歌」は今も作品に通底するテーマだ。「敵も味方も、自分の人生を精いっぱい肯定して生きている。その姿を読者に見せて元気を与えようって。その気持ちは、ずっと持ち続けています」
　異色とされるジョジョだが、実は王道の物語がある。「キャラクターは時代の価値観が色濃く出ますが、ストーリーには普遍の王道がある。それを生み出すことができれば、作品は時代を乗り越えていくんです」
　例えば、荒木さんがジョジョ３部で選んだのは、仲間と一緒に旅をする「スゴロク」方式だ。単純に強敵とバトルを繰り返すのではなく、旅先で敵と戦いながらゴールを目指す展開は「東海道中膝栗毛」にも通じる。話の進め方も、いきなり「敵」を登場させるのではなく、短い会話のやり取りから少しずつ敵が何者なのかを浮き彫りにしていくなど工夫を凝らした。
　そして、ジョジョには孤独なヒーローと女神がいる。こちらも、仙台の生家と関連があるという。「僕の人生にね、わりと妹が影響してるんです。４歳違いの双子。別に仲は悪くはないんだけど、双子同士がめちゃくちゃ結束してる。長男の僕は、疎外感があった。一人っ子よりも、兄妹がいた方が孤独ってこと、あるでしょ？」。荒木少年の心中に、ヒーローは孤独、の意識が芽生えたのだという。
　ジョジョには、窮地に立つ母を救ったり、母が我が子のために身をささげたりする無償の愛の物語もある。「ヤンキー家族は母系家族って言いますよね。僕は不良ではなかったけど、案外、『女神崇拝』があるのかも。父に何か大事な話をする時は、母を通じてやってましたから。妹たちに言わせると『お母さん、やっぱり最後にはお兄ちゃんを取るよね』ってことらしいですし。ええっ？　そんなことないだろって思うけど」
　インタビュー中、荒木さんは初めて照れたような笑みを浮かべた。ちなみに、ジョジョの連載を始めた時に祖父が亡くなったことも、サーガ（家族の物語）を強く意識することにつながっているという。
　物語に起承転結を付けつつ家族を描き、ヒーローは孤独であっても、大切な物は失わない－－。確かに、それは少年マンガの王道だ。
　一方でファンに独創的だと支持される荒木さんが、難しいと語るのは作品の「世界観」だ。「昔は電車でマンガを読んでる人、多かったですよね。１０メートル先からのぞいても、ちらっと絵の端っこを見るだけで『あっ！　ドラゴンボールだ』とか分かった。何が描かれているのか、分からないのに、そのマンガの雰囲気がある。良いマンガってのは、子供でもそれが分かるんだよね。これが、マンガの世界観なんです」
　一目見たら、これはアラキ・ヒロヒコの作品だと分からせる。そこにたどり着くために、荒木さんが欠かさないのは、徹底的な下調べ。資料を読み込み、時代背景を確認し、マンガの舞台となる現地に足を運ぶ。その上で、空間の描き方から、背景の景色まで、荒木ワールドを作り上げることに腐心する。
　「気分が悪くなったら困るなとか、ご飯がおいしくなかったらどうしよう、とか心配だから、本当はあんまり旅行が好きじゃないんです。でも、現地の土地だとか文化を見ると、世界観が構築できるんですよね」
　８部を終えた今、荒木さんは次回作を構想中だ。「結局、ゴジラとウルトラマンのどっちが強いか、みたいなことをずーっと考えてるんです。カラータイマーの３分や、放射能の影響、どっちが精神的に強くて、仲間がいるのかいないのか、条件次第で変わってくるでしょ？　そんなことを考え出したら、キリがなくなってくる」
　デビュー以来、ずっと書き続けているというノートを見せてもらうと、小さな文字がびっしり。映画を見たり、科学雑誌を読んだりした感想や、思いついたアイデアを書き付けているという。「ボツになるものもいっぱいだけど、新しい発見があると面白いんだよね。葉っぱが落ちるのを見ても、何かスタンドが発動しないかな、とか思っちゃう」
　ジョジョ誕生から３５年を迎えるが、荒木さんはジョジョ・シリーズの筆をおくつもりはない。「代表作は、ジョジョ一本でいい。９０歳になっても『現役』の陶芸家っているでしょ？　そういうのに、僕は憧れるんです。ずっと、ジョジョを描き続けたいな」
　時代を超えて戦い続ける孤独なヒーロー、ジョジョ。取材を終えて、それは孤高の境地に立つ荒木さん自身が投影された姿なのだと実感した。【川名壮志】
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　◇ジョジョ・トリビア
　「ズキュゥゥゥン」など独自の効果音が人気のジョジョ。イメージするのは、ヒチコックの映画「サイコ」の演出だ。「シャワーを浴びる女性が刺される有名なシーンがあるでしょ？　あの場面で流れた危機感をあおる音楽を、マンガでも表現したいんです」。ちなみに８部で新登場の岩人間。「僕、体に結石ができちゃって。このまま石化するんじゃないか、って思ったら誕生しました」
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　■人物略歴
　◇荒木飛呂彦（あらき・ひろひこ）さん
　１９６０年、仙台市生まれ。８０年、マンガ家デビュー。８６年末から週刊少年ジャンプで「ジョジョの奇妙な冒険」を執筆。

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