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Author's Note (Other Works)

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In every volume of JoJo's Bizarre Adventure, the front folded flap of the dust jacket usually contains a picture of Hirohiko Araki himself, and more than often a quotation. The quotations featured below the picture are always different from each other and are usually about Araki expressing his opinion on certain subjects. These subjects can be about anything, including information about characters or the story itself. The following quotes and pictures below are from various one-shots or other works written and illustrated by Hirohiko Araki.

Comments

Chapter Translation Original

Poker Under Arms I was so excited when I heard that my work was going to be published that I wrote several diary entries about it! 自分の作品がのるときいて感激のあまり日記を書きまくった！（81年1号）

Say Hi to Virginia This is my second work, and my first attempt at science fiction. I'd love to hear everyone's thoughts on it. 第二作目ではじめてSFに挑戦。みなさんの感想きかせてほしいナ（81年8月1日増刊号）

Outlaw Man I've never traveled to the U.S. or done shooting on horseback before. I'm sure I will someday! アメリカ旅行、乗馬射撃の経験はゼロなのだ。いつかかならず経験してやるゾ！（82年1月10日増刊号）

B.T. "The Wicked Boy" I love doing magic tricks, but I always get caught quickly. I want to be as cool as B.T.! 手品が大すきだけど、すぐバレちゃうのだ。ビーティーみたいにクールになりたい（フレッシュジャンプ82年3号）

Under Execution Under Jailbreak - 考えてみると実に8年ぶりの新作読切で楽しんで描きました 。ぜひぜひ感想を聞かせて。

TSKR - Episode 16: At a Confessional
(WSJ 1997 Issue #30) 		I went to a photo booth with Mr. Koji Koseki, an old manga artist friend of mine. I've never done this sort of thing before, but I'd say it was quite fun. –Rohan -

Allman No.1 2001 Q. What is the best thing about being born in Japan?

A. The hot springs are great, but I don't really enjoy Kaiseki cuisine.

「Q. 日本に生まれて良かった事」A. いい温泉があること。でも懐石料理って、あれ今いち楽しくない。

Bessatsu Margaret September 2017 It's an honor to have my manga published in a girls magazine for the first time. So I wanted to give it an unusual but happy ending. -

Baoh the Visitor

Volume 1

Author's NoteCommentary
Link to this sectionAuthor's Note
TranslationTranscript
“
I was once asked, "If you could have a superpower, what would it be?" I immediately answered, "Transform!" because with transformation, you can be anything you want. I think one would eventually get bored of precognition and telekinesis after a while, but transforming would always be fun. You could mess with other people and go to different places... I'm sure you'd be able to enjoy yourself forever without ever getting tired, which is why I'd like everyone to check out Baoh the Visitor. It's a cool story, but also a sad one at the same time.
”
“

超能力を持てるとしたら何？　と聞かれ、ぼくは即「変身！」と答えました。何にでもなれるからです。

予知とか念力とかは、ある程度やると飽きてしまうと思います。でも変身はきっと楽しいよ。他人をからかったり、いろいろな所へ行ったり……。きっと一生飽きずに遊べると思うな。そんなわけで『バオー来訪者』をどうぞ。カッコイイけど悲しいお話なんです。
”
Link to this sectionCommentary
TranslationTranscript
“

I think my first contact with Araki was when I read his submission for the Tezuka Awards. Looking at his manuscripts, I was surprised and delighted at how similar our "scents" were. Araki is very meticulous with how he crafts his story, going over it several times before putting pen to paper. He's the type of person who only starts writing once he has a complete grasp of the dynamics of his characters, the circumstances they face, their outlook on the world, and so on. This method is the same one used by novelists and screenwriters, but for a serial manga artist is very detrimental.

Many readers expect direct stimulation every week, and only want to see the results of the main character's actions, so the science fiction sensibilities sprinkled throughout the work and the calculated sense of wonder created by the main character are usually overlooked as part of the atmosphere. Nonetheless, this is precisely where a science fiction writer gets to put their skills to the test, trying to visualize what we can only see in our wildest dreams. I mentioned earlier that our "scents" were similar. That's because I felt that his approach to drawing manga was very close to mine. There are very few artists who can make sci-fi manga entertaining without compromising the overall quality of their work, and Araki is one of them. I think that he'll continue to grow as a manga artist in the future while retaining his distinctive "scent."

It's important to recognize that science fiction manga isn't the same as novels or films. At first, this seems obvious, but I think it's something necessary to keep in mind. I hope the both of us will continue drawing science fiction manga until we truly understand what it means.
”
“

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。
多くの読者は毎週の直接的な刺激を期待し、主人公の行動結果のみを求めるあまり、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。
”

Volume 2

Author's NoteCommentary
Link to this sectionAuthor's Note
TranslationTranscript
“
I love almond-shaped eyes; they feel mysterious with an intense ghostly air and loneliness to them. The eyes of Sting (the musician), Madonna, Nastassja Kinski, Joe Asakura, and Kamui are full of mystery, and that's why I love them. They're all very attractive! With that in mind, please enjoy volume two of Baoh the Visitor. Ikuro's eyes are also full of loneliness...
”
“

ぼくは吊りあがった目が大好きで、謎と熱い妖気と孤独を感じます。
スティング（ミュージシャン）、マドンナ、ナスターシャ・キンスキー、ガッチャマンのジョー、カムイらの目は特に謎めいていて、大好きです。みんなカッコイイ！

……と、あこがれて『バオー来訪者』第2巻をお楽しみください。育朗の目も孤独でいっぱいです……。
”
Link to this sectionCommentary
TranslationTranscript
“

I have been reading this unusually-powerful story with my undivided attention since its serialization in Shonen Jump. I appreciated that the artist didn't hold back in his drawings or in the storyline. Perhaps this is because what the author has been waiting to do for years boiled over all at once in this work.

If the persuasive power of a novel comes from its style, the persuasive power of a manga comes from its drawings. It's all about what kind of pictures you can present before the reader's eyes. The persuasiveness of those drawings is the persuasiveness of the manga itself. The small details fade away.

In that regard, when I laid eyes on the drawing of the Baoh parasite, I was struck by its eeriness—in other words, its persuasive power. When the reader is presented with such a drawing, they simply have to trust the author. Masaki Yamada once wrote that "science fiction is description," and I believe that manga is a form of description as well.

A sequel to this story will undoubtedly have to be drawn before long.
”
“

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消えてしまう。
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、つまり説得力にぼ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。
”

Under Execution Under Jailbreak

Under Execution Under Jailbreak

Link to this sectionAuthor's Note
TranslationTranscript
“
The story collection that contained Gorgeous Irene was published in 1987, making this book my first story collection in twelve years and my second one overall. Why is it that I rarely write short stories? The answer is that my ideas for them usually go into my longer, serialized works. After all, they tend to contain my more beloved protagonists, and feature-length series tend to appeal more to readers.
The amount of effort it takes me to create a short story is about the same as it takes to write a longer one, the only difference being that the short story has to end after a few dozen pages. Even if I did have a good idea for a short story, I can't help but use it in my longer series for that reason. The stories in this collection are examples of what happens when an unexpected friendship forms between an editor and a manga artist.
When the editorial department asked me to write a short story, I was able to expand on an idea I had left out of one of my longer series, an idea that made me think, "Well, I could use this for a short story." I can't help but think it was fate. In the twelve years that it took for this book to come out, that feeling has became more and more deeply ingrained in each of my works.
”
“
『ゴージャス＊アイリン』という初短編集が出たのが一九ハ七年だから、本タイトルが実に十二年ぷりの短編集という事になる。しかも二冊目。
なぜ自分は短編をあまり描かないのか？答えはアイデアを連載長編の方に使っちゃうからだ。長編の方には愛すぺき主人公がいるし、読者も短編よりは長編の方が魅力を感じてくれている。長編も短編もストーリーを０から作り上げていくのは同じ労力でも、短編は数十ページで終わりにしなくてはならない。だから、短編向きの良いアイデアがあってもつい長編の方に使ってしまう。
本書に集まった作品は、偶然に作られた編集者と漫画家の友情の結晶である。
「短編、描いてよ」っていう編集部の依頼がきっかけで、長編からはみ出ていたアイデアを、「ンじゃ、これ短編に使おう」って感じでふくらましていくので、自分としては運命的なものを感じてしまう。そして、十二年に一冊という事で、ますますその思いが各作品に深く入っていってしまう。
”

Under Execution Under Jailbreak (Chapter)

Link to this sectionAuthor's Note
TranslationTranscript
“

Under Execution, Under Jailbreak
(Published in Super Jump #2, 1995)

What's the difference between a short story and a long story? The average reader might say that "it doesn't make a difference, does it?" But as a writer, if you don't understand the difference between the two, you may be walking down a dangerous path. Let's think about it for a moment. What types of short stories are there?

A. A work that follows the thoughts and actions of the characters.
B. A short story that captures a brief moment in time and symbolizes a life or theme in it like a flash of light.
C. Nonsense, suspense, mood, design, eroticism, and gore. A work that aims to portray itself.
D. Diaries, essays, letters.

Are there any other types? The rest are composite works of each type. When you think about it that way, what's the difference between a short story and a long story? There doesn't seem to be much of a difference at all. A short story is simply shorter, and a long story is simply longer. I suppose Hirohiko Araki's conclusion is that "it doesn't make a difference." For that reason, Under Execution, Under Jailbreak is a suspense story written for the sole purpose of drawing suspense, based on the idea of having a death penalty and a jailbreak at the same time, all in just over thirty pages as requested. The prison is strange, and I like the fact that the people who built it have an eerie presence despite never actually appearing. (I'd call it a C-type work.)
”
“
『死刑執行中脱獄進行中』
（スーパージャンプ　95年2号掲戴）

短編と長編の違いって、何なのだろうか？　読者にとっては「そんなの、どうでもいいじゃん」って感じかもしれないけど、描く方にとっては違いを理解してないとヤバイ道に踏み込んでしまうかもしれない。ちょっと考えてみよう。どんな短編のタイプがあるのか？
A登場人物の行動や思いをひたすら追いまとめた作品。
Bほんの短い時間の出来事を切り取って、そこに人生やテーマを閃光のように象徴させる作品。
Cナンセンスやサスペンス、ムード、デザイン、エロ、グロ。それそのものを描くのを目的とした作品。
D日記やエッセイ、手紙。
他にあるかな？あとはABCDそれぞれの複合的作品。こう考えると、短編と長編の違いは？ あんまり差はないように思える。
単に短い作品が短編で、長いのが長編。やっぱり、「どーでもいいじゃん」って結論に荒木飛呂彦も落ちついた。そーゆー理由で『死刑執行中脱獄進行中』は三十数ページという依頼ページで、死刑と脱獄を同時にさせるというアイデアから思いついた、ひたすらサスペンスを描くために描いたサスペンス。監獄が奇妙で、ここを作ったヤツら、姿は登場しないけど、不気味な存在がある所が好き。（作品タイプで言うとC）
”

Dolce, and His Master

Link to this sectionAuthor's Note
TranslationTranscript
“
Dolce, and His Master
(Published in Manga Allman #11-12, 1996)

When your page numbers are limited, your story becomes more powerful if the characters and settings are also limited. This is a work that began from that idea. My editor at the time of writing this story said to me, "I love cats. I can't help it. They are my heart's hope in life." I replied, "But I bet you'd eat one if you got lost in the Andes." Thus, a story was born from my wicked personality. (I'd call it a B-type work.)
”
“
『ドルチ ～ダイ・ハード・ザ・キャット～』
（オールマン　96年11〜12号掲戴）

ベージ数を限定されると、登場人物や物語の舞台も限定した方が話に迫力が出る。そーゆー発想から作り始めた作品。
この作品執筆時の担当編集者が、「猫が好きで好きでしょうがない。生活する上での心の希望なんだよ」
とまで言ったので、「でも、アンデスの山中で遭難したら、食べちゃうよ、きっと」と言ったイジ悪なわたしの性格が生み出した一編。（作品タイプはB）
”

Deadman's Questions

Link to this sectionAuthor's Note
TranslationTranscript
“
Deadman's Questions
(Published in Manga Allman #12-14, 1999)

I wrote this story with the idea of a protagonist who, even after death, seeks peace of mind and continues to "live" in this world in the form of a spirit. (I'd call it an A-type work.) The protagonist of Deadman's is actually the ghost of the main villain from the fourth part of JoJo's Bizarre Adventure, the deceased homicidal maniac known as Yoshikage Kira. In the world of the dead, if there indeed is one, it probably wouldn't be a place where everything is possible; rather, it'd be regulated by rules similar to our own world's. The idea that ghosts have to struggle just as much or even more than normal people is quite peculiar... That's the idea I had in mind when writing this story. Even so, when I got to the scene where he discovers he can no longer listen to his favorite music, I got a little teary-eyed.
”
“
『デッドマンズQ』
（オールマン　99年12〜14号掲戴）

死んだあとも心の平和を願って、精神的に生長していこうとする主人公の行動を、スケッチ風に描いた作品。（作品タイプでA）　主人公のデッドマンは『ジョジョの奇妙な冒険第4部』の最大の敵・吉良吉影という、死んだ殺人鬼である。
死後の世界、もし魂が残っているのなら、それは何でもありの世界ではなく、この世と同じ『ルール』があるはずだ。幽霊も生きてる時と同じか、それ以上に苦労しなくてはおかしい……という発想で描いた。それにしても、好きな音楽を楽しめない彼を描いてて、何か涙が出て来た。
”

Thus Spoke Kishibe Rohan

TSKR Volume 1

Link to this sectionAuthor's Note
TranslationTranscript
“
As you might already know, Rohan Kishibe is a spin-off character from Part 4 of JoJo's Bizarre Adventure (see Volume 34) who works as a manga artist. He has a Stand ability that allows him to turn people into books; this allows him to read their raw memories and thoughts as text, as well as write into and manipulate them. This book is a short story collection of Rohan's observations. I drew the first of these works in 1997, so I am very happy and grateful that they have finally been gathered into one book. This collection of five spooky stories features a wide variety of settings, from Italy to the mountains to the coast. If you were to enjoy them, it would make me even happier.
”
“
ご存知かもしれませんが、「岸辺露伴」は「ジョジョの奇妙な冒険　第４部」（JC34巻）に登場する、職業が漫画家のスピンオフキャラクターです。人を本にして、その人物の生の記憶や想いを文字で読むことができ、また書き込んで操ることが可能というスタンド能力を持っています。本書は、その露伴先生の見聞録短編集です。
一番最初に描いたのが１９９７年の作品なので、この度、一冊に集まってくれたのが本当に嬉しくて感謝したい。
内容も舞台がイタリアから山奥から海岸まで、バラエティに富んでいる５つの不気味話がそろってくれたので、楽しんで頂けると更に嬉しく思います。
”

TSKR Volume 2

Link to this sectionAuthor's Note
TranslationTranscript
“
The Stand user who works as a manga artist, and can read and write people like books... This is volume two of Rohan Kishibe's book of observations. Also, I'm glad these stories have been compiled into one book. When I look at them all together like this... I don't think I was aware of it when drawing them, but I feel like each episode has a different flavor as a result of being published in different magazines. I especially feel the influence of Bessatsu and the app. That's a happy occurrence, too... to Rohan Kishibe, I mean.
”
“
職業は漫画家で、人を本にして「読んだり」「書いたり」する事が出来るスタンド使い――岸辺露伴の取材見聞録、『第２巻』。
また、各話がそろって一冊になってくれました。嬉しい。
こうやって、そろったものを眺めると、描いてる時、意識してるつもりは無いのだけれど、掲載誌の違いで、エピソードの味わいが違うように感じます。「別マ」や「アプリ版」で、その場所の影響が出ています。そのあたりも、幸せものだな。岸辺露伴は。
”

Episode 16: At a Confessional

Shonen Jump: Readers' CupTSKR Volume 1Under Execution, Under JailbreakShueisha Jump Remix
Link to this sectionAuthor's Note
“
荒木飛呂彦先生から

熱意あるたくさんのファンレターをどうもありがとう!! みんなの想いが、作品をより熱く燃えあがらせます! そして、動かないはずの“岸辺露伴”を動かしたのも、そんなキミたちです。またいつか機会があったら新しいエピソードを紹介することにしましょう。それじゃあまたね!!
”
Link to this sectionAuthor's Note
TranslationTranscript
“
In 1997, the editorial team asked for a short story. The terms were: less than 45 pages and no spin-off of an existing series. Ta-dah! And here's a spin-off for you (laughs). I obviously made the first draft without Rohan, but isn't it so much better with him as the narrator? Just read the panels without him, just to see. It's like a tasteless meal, isn't it? When I think about it, without that interdiction, I would never have drawn the other Rohan spin-offs. Above all, I'm grateful for that.
”
“
1997年。編集部から短編執筆の依頼があり、条件は45ページ以内で、『スピンオフ・外伝は絶対禁止』。ドジャーン。スピンオフ作品ができちゃいました（笑）。最初、露伴が出てこないバージョンをもちろん描いたのですけれど。露伴先生が解説してくれた方が、断然良いと思うでしょ？
露伴先生登場部分をカットして読んでみてください。香りのない食事みたいに感じてしまうでしょう。そして今となっては、この「禁止令」がなければ、露伴スピンオフ作品は以後描かなかったとも思います。何よりそういうことに感謝したい。
”
Link to this sectionAuthor's Note
TranslationTranscript
“
Thus Spoke Kishibe Rohan - Episode 16: At a Confessional
(Published in Weekly Shonen Jump #30, 1997)

When I was a child, my father and grandfather used to scold me by saying, "People like you should move to a deserted island," or, "I'll go ask the prison to lock you up!" (There was a prison near our house.) I thought, "I'd like to go to a deserted island," but I also thought, "Prison is so scary, please don't let me go there!" One particular rebuke he used was, "If you live your life mocking people, you'll be struck down when you are happiest." I still find it terrifying. I fear being struck down whenever I'm happy, and as I grow older, I'm becoming more and more afraid of it. I don't think I'm cheating anyone, but I still don't like it. However, I do like the main character of this work, who remains undaunted. The "Thus Spoke" part of the title means that Kishibe Rohan is not the protagonist, but instead the navigator of the story. (I'd call it a B-type work.)
”
“
『岸辺露伴は動かないーエピソード16：懺悔室ー』
（週刊少年ジャンプ　97年30号掲戴）

子供の頃、父や祖父がよくわたしを叱る時、「無人島へ行け！おまえのようなヤツは！」とか、「刑務所に頼んで入れてもらうぞ！」(家の近所に刑務所があった)とか言われて、「無人島は行ってみたいなあ」と思ったが、「刑務所はすごく恐ろしくて、カンベンしてくれえ」と思った。そんな叱りの言葉の中に「普段、人をあざむいて生活していると一番幸福な時にバチがあたるぞ」というのがあって、それはいまだに恐ろしい。ハッピーって時に突き落とされるのが、ヤパイって感じがあって、大人になるにしたがって恐怖の度合いが増して来てるんですけど。別に人をだましてはいないと思うんだけど、イヤな感じ。でも、それでもヘコたれない本作品の主人公は好き。タイトルの「動かない」というのは、岸辺露伴は主人公ではなく、物語のナピゲーターですよ、という意味。（作品タイプで言うとB）
”
Link to this sectionAuthor's Note
“
『岸辺露伴は動かない』について…荒木飛呂彦先生からひと言!!

この短編は「外伝」禁止の条件で描かれた作品です。ようするに「ジョジョ」の外伝は駄目ですよ。というのがルールでした。でもちょっとだけ、違反して「岸辺露伴」というキャラを使っちゃったのね。それで罪悪感で「動かない。」というタイトルをつけたのです。『露伴』というキャラは動いていませんよ。という意味です。
”

Episode 2: Mutsu-kabe Hill

Link to this sectionAuthor's Note
TranslationTranscript
“
Whenever I write a short story, I always think about how "youth is horror." That's the goal I aim for. I think Mutsu-kabe Hill is a really creepy story. As I was drawing them, I started to feel as if the "creatures" in the story actually existed somewhere in Japan, which horrified me. That said, why exactly was Mutsu-kabe Hill named Mutsu-kabe Hill? I can't remember it at all. I'm sorry. It really is terrifying.
”
“
短編に望む時の心構えは、いつの時代も「青春とはホラー」。これが目指す目標だ。
『六壁坂』は本当に不気味な話だと思う。そして、ここに出てくる「生き物」は、描いてる途中で、だんだん、この日本のどこかに実在していそうな気分になってきて、ヤバかった。
それにしても「六壁坂」というネーミングはなぜ「六壁坂」にしたのだろうか？　全然記憶がないんです。スミマセン。本当にヤバイ。
”

Episode 5: Millionaire Village

Link to this sectionAuthor's Note
TranslationTranscript
“
The greatest benefit I obtained from Millionaire Village is Kyoka Izumi, the editor character. Even though she has an annoying personality, I love the character and consider her a masterpiece. I swear upon my own honor that no editor among my entourage was used as a model. It's true, and I'm not just saying that because I fear reprisal.
”
“
この『富豪村』の大きな収穫は、登場する女性編集者＝泉京香のキャラクター。この女性に対し、ムカつきながら描きました。でもキャラとしては大好きで傑作の出来と自負します。
名誉のために言っておきますか、モデルはぼくのまわりの編集部にはどこにも存在いたしません。本当です。怖くて言い訳しているのではありません。
”

Episode 6: Poaching Seashore

Link to this sectionAuthor's Note
TranslationTranscript
“
What I most wanted to portray in Poaching Seashore was the exchange of the lines, "We're going to poach them," and "That's why I'm interested." Rohan might cross the boundaries of modern society's rules for the sake of something more important, but he never forgets to pay respect to tradition and history. In the end, I think that feeling was the reason why he survived and avoided drowning. Also, the chef, Tonio Trussardi, is a spin-off character from Part 4 of the Jump Comics JoJo series.
”
“
『密漁海岸』で描きたかったのは、「密漁します」「だから気に入った」のセリフのくだり。
露伴は現代社会のルールの境界は、より大切なもののために超えていくかもしれない。でも伝統や歴史には敬意を払うのを忘れない。ラスト、彼が溺れずに生き残れたのは、その気持ちのおかげだと思う。
また、料理人トニオ・トラサルディーはジャンプコミックス『JOJO』の第4部に出ている、スピンオフキャラクターです。
”

Kishibe Rohan Meets Gucci

Link to this sectionAuthor's Note
TranslationTranscript
“
I am honored! It was a genuine adventure into the unknown! I found myself having to produce a manga about the famous Gucci brand. Trying to find a way to take on this subject was a real conundrum, but then I thought about Rohan. I actually didn't have him in mind from the start. He really is able to travel in any circumstance for his work, which is really convenient for me. Once I made Rohan the protagonist, the story came together in no time. I tried to have him hold the traditional bag from the brand and wear some of Frida Gianinni's creations while respecting the details to the best of my ability. I'd also like to thank the decisive courage of SPUR magazine.
”
“
なんと名誉なことに！　まさに道への冒険！　ファッションブランド『GUCCI』のバッグを題材にした漫画を描く事態に。どんな話にしたら良いのか？と、不安と悩み考えた時に思いついたのが「露伴」の存在。実は露伴起用は後なのです。彼は色々な条件の場所に取材に行ってくれるから、本当にありがたい。露伴を主人公にしたとたん、あっという間に話ができてしまいました。しかもGUCCIファッションを着せて、なかなかサマになってくれたので、良かったです。伝統的なGUCCIのバッグ、そしてファッションデザインは全てデザイナーのフリーダ・ジャンニーニさんのものを可能なだけ正確に着させました。また、SPUR誌の勇気と決断に感謝いたします。
”

Episode 4: The Harvest Moon

Link to this sectionAuthor's Note
TranslationTranscript
“
Times are changing and so is manga. As part of the launch of their exclusively digital magazine, Shonen Jump honored me by publishing this one-shot for their first issue. In the way that they respect their family tradition and celebrate the moon together, the Mochizuki family is reminiscent of the Higashikata family in JoJolion. Although the drafts were drawn on paper, this story has only been published on paper too thanks to this re-edition. It's like opposite elements found each other here, in the end. In any case, the moon will stay where it is.
”
“
時代も漫画も変化して、「少年ジャンプ」がデジタルのみの雑誌を作るとの事で、その創刊に載った誠に名誉ある短編。
家族でお月見をするという古風な習慣。『ジョジョリオン』の東方家とリンクするような望月家。原稿の執筆はアナログだが、紙に印刷されるのはこのコミックスが初めて。何もかもが正反の対のギャップがそろったみたいだ。でも、月という空の天体は不変だなぁ。
”

Episode 7: A Rainy Monday

Link to this sectionAuthor's Note
TranslationTranscript
“
"So it once existed here on Earth!" When I think about dinosaurs, horrible giant dragonflies and other ancient creatures, my heart skips a beat. I also like to think about new chimeras, like the man-faced fish or the chupacabra. I don't believe in their existence, but each time I think I catch a glimpse of them, I get shivers down my spine. I like that feeling.
”
“
『かつて、この地球上に存在してたのかぁ』と、恐竜だとか、気持ち悪い巨大トンボだとか、古代の生物の事に想いをはせるとワクワクします。
逆に存在しても居ない新しい生物の事を考えるのも、とても楽しい。信じてはいませんけれど、人面魚とか。チュパカプラとか。でも、もしかしたらチラリ、居るかもなぁ、と思った瞬間はゾッとします。その「感覚」は好きです。
”

Episode 8: Deoxyribonucleic Acid

Link to this sectionAuthor's Note
TranslationTranscript
“
When I was a kid, I used to read Bessatsu Margaret as early as Shonen Jump, or even earlier! When I went to visit my relative's sister, I would find an issue of it in the bathroom and read it. I was given the opportunity to draw Deoxyribonucleic Acid for Bessatsu. Well, Bessatsu still made me anxious after all. Usually, I aim to have a scary ending, but this story turned out to have a touching happy ending, perhaps because of that anxiety. I think it's wonderful. I'm also glad that I could draw Yukako Yamagishi again.
”
“
子供の頃、僕が読者として、「少年ジャンプ」と同じくらいか、もっと早かったのが「別冊マーガレット」！　親戚のお姉さんの所に遊びに行くと、トイレとかに置いてあって読んでいました。そのなんと「別マ」に描かせて頂いたのが、この『D・N・A』。いやあ、「別マ」はやはり緊張しました。多分その影響あるかと思いますが、普通、怖いラストを目指しますが、感動ハッピーエンドになりました。良かったと思います。山岸由花子を再び描けたのも嬉しい。
”

Episode 9: The Run

Link to this sectionAuthor's Note
TranslationTranscript
“
I revived the muscular characters I had aspired to draw in JoJo's Bizarre Adventure back in the '80s. In doing so, I surprised even myself. I really feel that something was revived. I also feel that someone like Yoma Hashimoto might really be out there somewhere. What a truly terrifying character.
”
“
80年代、「ジョジョの奇妙な冒険」で目指していた、筋肉キャラクターをここに来て復活させてしまいました。なんとその事に、僕自身が驚いています。
復活させてまったという感覚です。
「橋本陽馬」どこかに居る感じがします。本当に恐ろしいキャラだ。
”

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