User:LocacacaFarmer/Sandbox
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Gameplay
The gameplay is largely similar to that of Jump Super Stars, with the koma (panel) system returning. The gameplay has also been changed slightly from Jump Super Stars. The game gives battle characters the ability to dash and attack while guarding, which, instead of breaking the guard of the opponent, forces them to change characters, and can be identified by a green glow coming out of the characters which executes it. Battle characters now have a new ability known as Ultimate Actions. The Ultimate Actions are different for each character, as some either recover health, recover SP, or can be used to dodge enemy attacks.
Another new feature added is the Evolution Chart. This area allows players to upgrade their characters by spending gems to buy a new koma. Each character has a chart, starting from the one block Help koma and branching off into the two to three block Support koma and the four to eight block Battle koma. Some characters have alternate block paths which unlock a different type for that character, while others can be used to unlock koma for characters from the same series, quizzes for the series, and new worlds in the Story Mode.
JoJo characters in the game
Playable
Expand/Collapse All
Jotaro Kujo appears as 1 of the 2 playable characters from the JoJo's Bizarre Adventure series in Jump Ultimate Stars: In the game Jotaro is a Power type character and uses his Stand Star Platinum, wielding techniques like Ora Ora and Star Finger as featured in the manga.
His passive effects are:
- Takes less damage from Special Attacks.
- Does the same damage to opponents of opposing Nature types
Josuke, Jolyne and Yusuke from Yu Yu Hakusho Komas give Jotaro a boost in-game.
Damage: 8
Damage: 12 ~ 21
/
+ ⒷDamage: 9
/ + ⓎDamage: 18
+ ⒷDamage: 10
+ ⓎDamage: 12 ~ 21
+ ⒷDamage: 10
+ ⓎDamage: 20
Damage: 10
Damage: 12 ~ 21
"Star Platinum"!
Damage: 40 to Power and Laughter characters, 60 to Knowledge characters
+ ⓍPower Nature. Avdol with his stand, Magician's Red, appears beside Jotaro and fires four flaming ankhs with Cross Fire Hurricane Special. Afflicts Burn status.
Damage: 30 to Power and Laughter characters, 54 to Knowledge characters
"Ora Ora!"
Damage: 13 ~ 34 to Power and Laughter characters, 19 ~ 42 to Knowledge characters
+ ⓍDamage: 14 ~ 52 to Power and Laughter characters, 21 ~ 84 to Knowledge characters
Damage: 13 ~ 34 to Power and Knowledge characters, 19 ~ 42 to Laughter characters
+ ⓍDamage: 14 ~ 52 to Power and Knowledge characters, 21 ~ 84 to Laughter characters
"I stopped time..."
Damage: 26 ~ 49 for Power and Laughter characters, 39 ~ 73 for Knowledge characters
+ ⓍKnowledge Nature. Jotaro is engulfed in a purple aura for a second, then stops time for 3 seconds: All items and projectiles on screen cease moving and all opponents frozen in place and completely unable to act, leaving Jotaro free to move and attack.
Damage: 24 to Power Characters, 36 to Knowledge characters and 24 to Laughter characters
Damage: 24 to Power Characters, 36 to Knowledge characters and 24 to Laughter characters
DIO appears as 1 of the 2 playable characters from the JoJo's Bizarre Adventure series in Jump Ultimate Stars: In the game DIO is a Power type character and uses his Stand The World, being able to stop time as one of his main abilities in game.
His passive effects are:
- Gradually regains Health.
- Immune to Judgment effect.
Jonathan, Giorno and Taizo from Taizo Mote King Saga Komas give DIO a boost in-game.
DIO uses a sideway punch.
Damage: 10
Damage: 20
/ + ⓎDamage: 18
+ ⒷDamage: 10
+ ⓎDamage: 14
+ ⒷDamage: 10
+ ⓎDamage: 20
Damage: 10
Damage: 15
"MUDA MUDA MUDA MUDA!"
Damage: 15 to Power and Laughter characters, 22 to Knowledge characters
+ ⓍDamage: 30 to Power and Laughter characters, 45 to Knowledge characters
""Too slow! You can't escape now!"
Damage: 19 ~ 43 to Power and Laughter characters, 22 to Knowledge characters
+ ⓍDamage: 30 to Power and Laughter characters, 28 ~ 64 to Knowledge characters
"Yes... It was an 'escape route' so I could suck Joseph Joestar's blood!"
Damage: 19 ~ 43 to Power and Laughter characters, 22 to Knowledge characters
+ ⓍDamage: 30 to Power and Laughter characters, 28 ~ 64 to Knowledge characters
"THE WORLD!!"
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Non Playable
Other JoJo aspects of the game
- Red Stone of Aja: The second mission in the JoJo's Bizarre Adventure world involves getting the Red Stone of Aja and holding onto it for at least 15 seconds.
- Intro Sequence: The intro sequence to the JoJo's Bizarre Adventure world features manga panels from parts 1-7, centering on the characters who appear in the game. Others who show up in the panels used are Erina, Kars, Lisa Lisa and Santana.
- DIO's Mansion: Featured in the background image for the stages, with "ORA" written around the mansion. It also appears as the representative place for JoJo's Bizarre Adventure world on the J-Galaxy Adventure Mode.
- Manga moments: The characters' komas and the techniques they use on the field reference some important moments of the Manga, like DIO obtaining new strength by sucking Joseph's blood or Jotaro stopping his heart to simulate his death. The gallery shows some of the panels that inspired the komas.
- Dialogue: On the Deck Creator, if you link certain characters, they will have special dialogue between themselves. Most of these dialogues are references to the character's manga series or common aspects. The characters and their translated dialogue are:
- Josuke to Jotaro : "Mr. Jotaro and me in a team? That's a great combination, even in Taro terms!"
- Jolyne to Jotaro : "I'll watch the stars until I meet you, I want to see the light of your stars."
- Yusuke (from Yu Yu Hakusho) to Jotaro : "The more fights, the more wins!"
- Giorno to DIO : "You're two in one body... But which part is my father?"
- DIO to Jonathan : "It's futile! I hate the futility of the futile... Really futile..."
- Taizo (from Taizo Mote King Saga) to DIO : "Do you remember how many pairs of underpants you have worn up to now?"
- DIO to Freeza (from Dragon Ball) : "You also seek for immortality?"
- DIO to Dr.Mashirito (from Dr.Slump) : "You were thinking this too doctor? After we win, World Domination!"
- Jonathan to Kazuki Mutou (from Busou Renkin) : "I feel the power of shining sun in you"
- Joseph to Franky (from One Piece) : "You aren't burping after so much cola?"
- Joseph to Yoh Asakura (from Shaman King) : "Damn you, a new Stand user!?"
Trivia
- The JoJo's Bizarre Adventure stage (DIO's Mansion) and the Yu Yu Hakusho stage (Dark Tournament) share the same background stage song, called "Sweat with Pain".
- Jotaro Kujo and Yusuke Urameshi (from Yu Yu Hakusho) appear as playable characters on the premade deck called "Trouble maker students".
- DIO appears as one of the villains faced on the final stage, alongside Freeza, Majin Buu (both from Dragon Ball), Raoh (from Hokuto no Ken), Dr.Mashirito and Caramelman (both from Dr.Slump), along with several other Support-Koma villains.
- This is the second game in its time to feature every previous JoJo protagonist from parts 1 to 7 in some way. Jotaro being a playable character, Jonathan, Joseph, Josuke, Giorno and Jolyne as Support characters and Johnny as a Help character.
- In the previous game, Jump Super Stars, the JoJo's Bizarre Adventure franchise had two representative stages (DIO's Mansion and Mexico), as at the time JoJo's Bizarre Adventure and Steel Ball Run were considered different franchises.
- In Jump Ultimate Stars, the Mexico stage was removed, leaving DIO's Mansion as the only representative stage.
Gallery
Jotaro Info page
DIO Info page
Jotaro's 4 square Koma, VS Tower of Grey
"Star Platinum!"Jotaro's 5 square Koma, VS Yellow Temperance
"ORA ORA!!"
Jotaro's alternative 5 square Koma, using his Stand to stop his heart
Jotaro's six square Koma, stopping time VS Dio
"I stopped time..."DIO's 4 square Koma, about to stab Joseph
"MUDA MUDA MUDA MUDA...!"DIO's 5 square Koma, attacking with the road roller
"Too slow! You can't escape now!"DIO's alternative 5 square Koma, sucking Joseph's blood
"Yes... It was an 'escape route' so I could suck Joseph Joestar's blood!"DIO's six square Koma, stopping time VS Kakyoin
"THE WORLD!!"
Joseph's 2 square Koma, after severing Wamuu's forearms
"I... I managed to get you again!"
Joseph's 3 square Koma, bidding farewell to Polnareff
"We'll meet again! If you don't hate me by then, at least... asshole!"
Jonathan's 1 square Koma
Joseph's 1 square Koma
Jotaro's 1 square Koma
DIO's 1 square Koma
Rohan's 1 square Koma
Johnny's 1 square Koma
Jonathan Joestar in jump ultimate stars (support)
Joseph Joestar in jump ultimate stars (support)
Josuke Higashikata in jump ultimate stars (support)
Giorno Giovanna in jump ultimate stars (support)
Jolyne Cujoh in jump ultimate stars (support)
Gyro Zeppeli in jump ultimate stars (support)
Interview
――Mr. Takahashi has always been a fan of Rohan Kishibe from "JoJo's Bizarre Adventure". Weren't you surprised as well as happy when you received this offer?
It was a real joy. I never thought I would get to play a character I've loved since I was a teenager. Actually, it was a secret between me and my manager that I hoped to play Rohan Kishibe one day (laughs). Furthermore, I never imagined that I would be asked to play the role by director Kazutaka Watanabe, who I worked with on the previous historical drama Onna Jôshu Naotora, so I was thrilled that something like this was possible.
――Rohan is the type of person who is curious and pursues reality. What do you think is the appeal of Rohan, Takahashi-san?
Rohan is a particularly strong example of the kind of human beliefs that are portrayed in JoJo. Unlike the other characters, Rohan is a manga artist, just like Hirohiko Araki, the author of the manga. Characters with that kind of occupation are rare in JoJo, so in a way, I think he embodies what it means to be a manga artist in a very concrete way. When I first read Jojo as a teenager, he was the character who encouraged me to be so particular about my work, and to be so biased. That's the most appealing part.
――How did you develop your own image of Rohan, such as the saltiness of the quirky manga artist Shiobai and the balance with his partner, Kyoka Izumi, the editor in charge?
I don’t create how much energy I can go to or how I can express it myself. First of all, I'll give it my best. It was like trying out the limit of what I could do once, and then tweaking it to see if it was too much or not. I think the on-site staff are the closest viewers to watch, so while watching the reactions of those people, I also formed a dialog with Izumi-kun, who has a buddy feeling.
――I think it's difficult to make JoJo's world live-action, not just Rohan. Did you engage in discussions with Mr. Watanabe in creating the role, such as trying to faithfully reflect Mr. Araki's worldview or emphasize original elements?
Basically, I don’t talk about theater with any director. No matter how many words you say, "I will perform like this", if you try to do a play and you say, "No", that's it. Reality is just an accumulation of subjectivity, and I feel that it is difficult to share a worldview in words. That's why I believe that actors should first present themselves in their own bodies. This time, the director, Mr. Watanabe, was a person I could trust very much, and I thought he would tell me if it wasn't good, so I was able to approach it with an absolute sense of security.
Also, I thought it was important for me to create characters that would be convincing to many people, both those who knew Rohan and those who didn't know him, so as an actor, I asked myself, "how persuasive can I be? How much does it make sense?" That's what I was focusing on.
――Personally, I’m really looking forward to seeing how the corn scene in the “Millionaire Village” will be made into a film.
As you say, the corn scene is very dramatic and exciting in the manga. Moreover, Ikkyu, who is the guide of the rich village, is an unusual existence serving the gods of the mountain. However, in the drama, Shibasaki Fuga, who played Ikkyu, is very cute, and it only looks like an adult is cornering a child and making him cry (laughs). But I think the painful harshness clearly shows that Rohan does not look at children as children, but treats all people equally, as the subject of his manga.
The way people face each other based on a certain ability approaches with a kind of vividness and deformation. Through the "Millionare Village," "Kushagara," and "D.N.A," which will be made live-action this time, I think that the restrained and inner movement of the mind is dynamically produced.
――I love the exchange of "I'll do poaching" and "I like it because I like it" in the original work "Poaching Seashore", and Mr. Araki even said that he drew the story because he wanted to do it. In his comment, Rohan said, “the boundaries of the rules of modern society may be crossed for something more important. But don't forget to respect tradition and history." Takahashi-san, do you have any rules or aesthetics for acting?
Don't show any signs of "hard work." I said, "where did you work hard?" I'm not good at being asked. It is natural to work hard, and since I am a professional as long as I am doing it as a job, I feel that it is somewhat different to reinforce with words "I did my best." Now, we are in an era where everything is shared, but it seems that they are revealing the secrets of magic, and I always have a sense of incongruity about that. After all, I think it’s all about having people watch the play and how much they feel about it.
――This time, Mr. Takahashi I think there are many people who come into contact with the world of JoJo for the first time. Could you tell us how to enjoy it not only for hardcore JoJo fans but also for beginners?
If I mention the highlights of the performance, it will only attract attention, so I will keep it a secret (laughs). However, if you are reading a manga, you might say, "did you put out the movement of this volume and this story here?" I think you can understand that, so I want you to look for it. The use of the words in the original work is also interesting, so it would be great if you could immerse yourself in the story by taking as a starting point the vividness of when a real person spoke.
By the way, the word "Stand", which is familiar to JoJo fans, is not used at all in the drama. I think that it is easy for people who see it for the first time to approach it because it is put into the words "ability", "what you have received", and "gift".
This drama is not full of action, nor is it dynamic or physical entertainment. "How dramatic and exciting does what's happening inside look?", "How much can you make your inner life come alive?", I think it is a work like that. In this age, I feel that there are many works that are easy to follow the story and understand the feelings of the characters. That’s not a bad thing at all, but I think it’s a work with a different approach. I thought it would be good to have time to enjoy it, not to eliminate it because it is a foreign substance. I would be happy if you could enjoy such a strange feeling of foreign matter and discomfort.
――You have appeared in many manga-based works in the past. Is there anything you keep in mind when acting?
The premise of turning a manga into a film is that there are many people who have seen that character before. However, even the same character should look subtly different depending on the subjectivity of each character. Of course, I try to get as close to the movements, visuals, and descriptions of the characters as possible, but when I actually perform a play, I don’t feel any sense of urgency or try to keep this in mind.
I don't really trust forms that start with emotions. I think that the emotions that come from the form are actually more realistic. So, I think that more than half of the characters are completed depending on the shape. The visuals for Rohan were decided after many meetings with the director Watanabe and the character design supervisor Tsuge (Isao). At that point, I felt that the soil had hardened.
――I think JoJo fans and Takahashi-san fans will be interested, but what characters do you want to play outside of Rohan in the future? Also, this time it's a spin-off of Part 4, what part do you prefer, Takahashi-san?
There is no character I want to be other than Rohan (laughs). After all, I like Part 4 "Diamond is Unbreakable", but I think the philosophy of Part 7 "Steel Ball Run" is also amazing. I also enjoy the boyish side of JoJo. But... Part 2 "Battle Tendency" is also hard to throw away.
――It's hard to choose (laughs). Jojo is also sprinkled with musical, such as 'Red Hot Chili Pepper' and 'The Hand'. Mr Takahashi himself has sung the theme songs for dramas such as "Quartet" and "Tokyo Bachelor Boys". How does music influence your acting?
Basically, I'm the type of person who can't do without music in my life, so it's like the Tower Records slogan (NO MUSIC, NO LIFE.) (laughs). Recently I've been re-listening to some of my old favourites, like XTC.
――You love New Wave!
When I was in primary school, I saw XTC's "Dear God" music video on MTV and thought it was really cool. I was in the US for work at the time, so I dashed off to Tower Records in New York to buy it. In the music video, frontman Andy Partridge is dressed as a pastor, and in the "Impressive" music video, Andy is wearing sunglasses with round glasses, so I still wear sunglasses with round glasses too (laughs).
――Do you feel like you're listening to music while you're reading a script?
When I'm putting dialogue in, I try not to have a musical bias. However, I do put music on at the moment when I'm like, "It's done!"(laughs).
――It has been a quarter of a century since the role of Seiji Amezawa in the Ghibli movie "Heartless," and 2020 has become a ridiculous world. Even so, when I saw Takahashi-san’s latest work “Wife of a Spy” on the big screen of the theater, I was really moved by the wonderful film. I think living in the world of acting is a difficult thing if you don't keep yourself strong. I would like to ask you if there are any important things you have learnt in life from JoJo and Rohan.
Thank you very much. I felt really happy about “Wife of a Spy” when I saw so many people in the audience from the podium at the stage greeting.
Like Rohan, I, too, think it is very important to know the norms, rules and patterns first. After understanding them, how do you "protect, break and separate"? Even more so because ours is an intangible form of expression that does not require a licence or qualification, we need to learn a certain form before we can break it down or rearrange it. I don't think I'm old enough to imitate anymore, but I still think that human beings start from imitation. I think we all start by imitating, and then we put it into our own gut. I think it is important to think about what is really necessary for you when you have made it your own.
One way to do this might be to force yourself to think and approach things in a way that is opposite to your own. So, in the future, I'm going to write an article that says, "this is the place where I worked hard in a play!" If I said so, I think I was taking the exact opposite approach (laughs). There must be something that will not come out unless you look at it from the opposite point of view, so I may be constantly experimenting with that.
――We look forward to witnessing the amateurish Mr Takahashi (laughs). Lastly, the "Good Life with Books" site is a book website, so what are your all-time best and most recent recommendations other than JoJo?
I love the stories that Takehiro Ueda writes. I can really empathise with the way he pursues one thing. "Sun and Planets" to the latest work "Cue", the themes are the same, even if the works differ or take different forms. The film stubbornly depicts war as the limit of humanity, and what kind of place humanity will ultimately end up in. I can't get over the fact that he keeps trying to pierce it from a single point all the way through.
I also like Yoko Tawada's "The Lantern Envoy", a novel published in 2014, which seems to embody what would happen if we went further from our current situation. It's about a Japan that has closed itself off to the outside world in the near future, and what happens to people from there. It's interesting, so please give it a go.
[Translated by LocacacaFarmer]
――高橋さんはもともと『ジョジョの奇妙な冒険』の岸辺露伴ファンとのこと。今回のオファーが来て、嬉しさとともにびっくりしたのではないですか？
本当に喜びでした。まさか10代の頃から好きだったキャラクターを、自分が演じさせていただけるとは思っていなかったので。実は「いつか岸辺露伴がやれたらいいね」というのは、僕とマネージャーさんだけの秘密だったんです（笑）。しかも以前に大河ドラマ「おんな城主 直虎」でご一緒した演出の渡辺一貴さんからお話をいただけるなんて想像していなかったので、こんなことがあるんだと感動しました。
――露伴は好奇心旺盛でリアリティを追究するタイプですよね。高橋さんが思う露伴の魅力とは。
ジョジョを通して描かれているそれぞれの人間の信念のようなものが、露伴は特に強く出ているところでしょうか。というのも露伴は他のキャラクターたちと違って、原作者の荒木飛呂彦先生と同じ漫画家という、職業人なんです。そういう職業を持っている登場人物はジョジョのなかでも稀なので、ある意味すごく具体的に、漫画家とはなんたるかということを体現しているように思います。僕も初めて読んだ10代の頃、仕事に対して「ここまでこだわっていいんだ」「ここまで偏ってしまってもいいのかもしれない」という後押しをしてもらったキャラクターでもありました。そこが一番の魅力です。
――クセの強い漫画家・露伴を自身に落とし込む際の塩梅や相棒の担当編集者・泉京香とのバランスなど、高橋さん流の露伴像はどうやって作り上げていきましたか？
僕はどこまでやっていいのかというエネルギーの出し方や表出のさせ方は、自分では作っていないんです。まずは全力で出してみる。自分ができる限界まで一回出してみて、そのあとにやりすぎかそうじゃないか微調整をしていく感じでした。現場のスタッフの方々は一番最初に見てくれる間近な視聴者だと思うので、その方々のリアクションを見ながら、バディ感のある泉くんとの掛け合いも形作っていきました。
――露伴に限らず、ジョジョの世界は実写化しづらいと思うんですね。荒木先生の世界観を忠実に反映させよう、あるいはオリジナル要素を強く打ち出していこうなど、役作りのうえで渡辺さんとのディスカッションはされたんですか？
僕は基本的に、どの演出の方ともお芝居の話をしないんです。いくら言葉で「こう演じます」と言ったところで、いざお芝居をしてみて「違う」と言われたらそれまでなので。現実なんてそれぞれの主観の積み重ねでしかないですし、言葉で世界観の共有をすることは難しいことだと感じています。だからまず俳優は、自分の肉体をもって提示するべきだと思っているんです。今回は演出の渡辺さんが非常に信頼できる方でもありましたし、ダメだったらダメと言ってくださると思っていましたから、絶対的な安心感を持って臨むことができました。
また、露伴を知っている人も知らない人も、多くの人たちが納得してくださるようなキャラクターを作っていくことが自分にとって大事なことだと思ったので、俳優として自分の台詞や動きで「どれだけ説得力を持たせられるか？ どれだけ腑に落とせるか？」ということに注力していました。
――個人的には「富豪村」のトウモロコシのシーンがどのように映像化されるのかすごく楽しみです。
おっしゃる通りトウモロコシのシーンは、漫画だと非常にドラマティックにエキサイティングに、アクティブに描かれています。しかも富豪村の案内役である一究は、山の神々に仕えている異形の存在。ただドラマでは、一究を演じた柴崎楓雅くんがものすごくかわいくて、まるで大人が子供を追い詰めて泣かしているようにしか見えないんです（笑）。でもその痛快な厳しさには、露伴が子供を子供として見ず、自分の漫画の対象としてすべての人間を対等に扱っているということがよく表れていると思います。
人と人がある能力をもとに対峙するさまが、ある種の生々しさとデフォルメさを持って迫ってくる。今回実写化される「富豪村」「くしゃがら」「D.N.A」を通して、抑制された、内側の心の動きがダイナミックに出せているんじゃないかなと思います。
――原作の「密漁海岸」での「密漁をします」「だから気に入った」のやり取りが大好きで、荒木先生もそのくだりがやりたいがために描いたとまで言っています。また一言コメントには「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越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」とあります。高橋さんも演技するうえでのルールや美学はありますか？
「がんばった」という形跡を見せないことです。僕、「がんばったところはどこですか？」と聞かれるのが苦手なんです。がんばるのは当然ですし、それを仕事にしている以上はプロなので、「がんばった」と言葉で補強するのはなんだか違う気がして。今はなんでも共有の時代になっていますけれど、手品の種明かしをしているようで、それに対する違和感も常日頃から持っています。やっぱり芝居だけ見てもらって、どれだけその芝居に感じるものを持ってくださったかということがすべてだと思っています。
――今回、高橋さんきっかけでジョジョの世界に初めて触れる方も多いと思うんです。筋金入りのジョジョファンはもちろん、初心者に向けた楽しみ方を教えていただけませんか。
見どころを言ってしまうとそこばかり注目されてしまうので、あえて内緒にしておきます（笑）。けれど、漫画を読んでいる方々なら「この巻の、この話の、この時の動きをここで出してきたか！」というのがわかると思うので探してみてほしいです。原作の言葉の使い方もおもしろいので、実際の人間が発語した時の生々しさを取っ掛かりにして、物語に没入していってくださったら。
ちなみにジョジョファンならおなじみの「スタンド」という言葉は、ドラマでは一切使っていないんです。「能力、いただいたもの、ギフト」という言葉に落とし込んでいるので、初見の方々もとっつきやすいと思っています。
今回のドラマは、バリバリのアクションがあるわけではないし、動的で肉体的なエンターテインメントというわけでもない。「内側で起こっていることがどれだけドラマティックでエキサイティングに見えるか？」「どれだけ内的なものを躍動させられるか？」という作品だと思うんです。今の時代は、物語を追いやすく、登場人物の心情がわかりやすい作品が多いと感じます。それは決して悪いことではないけれど、そういったものとは違うアプローチの作品ではあると思っています。異物だから排除するのではなくて、それを楽しむ余裕があってもいいんじゃないかなと。そういう異物感や違和感、それこそ奇妙な感じを楽しんでもらえたら嬉しいです。
――これまでも漫画原作の作品には多数出演されていますが、演じる際に心がけていることはありますか？
漫画原作を映像化するということは、前提としてそのキャラクターを見たことがある人が大勢いるということです。ただ、同じキャラクターでもそれぞれの主観によって微妙に違って映っているはずで。もちろんそのキャラクターの動き、ビジュアル、描写にできる限り近づけたいしその努力はしますが、実際にお芝居する時は、自分のなかで気負いを感じたりこれを心がけようと意識したりすることはありません。
僕は、感情から始まる形をあまり信用していないんです。形から入る感情のほうが、実は真に迫っているんじゃないかと思っていて。なので、形によって半分以上キャラクターはできあがっていると考えています。露伴のビジュアルも、演出の渡辺さんや人物デザイン監修の柘植（伊佐夫）さんなどと何度も打ち合わせを重ねたうえで決めていきました。その時点で土壌は固まっていると感じていました。
――ジョジョファンも高橋さんファンも気になるところだと思うのですが、今後、露伴以外でやりたいキャラは？ また今回は４部のスピンオフですが、高橋さんは何部派ですか？
露伴以外になりたいキャラは、ないです（笑）。やっぱり４部の「ダイヤモンドは砕けない」が好きですが、７部の「スティール・ボール・ラン」の哲学性もすごいなと思います。ジョジョの少年的なところも楽しめますし。けれど……、２部の「戦闘潮流」も捨てがたいです。
――なかなか選べませんよね（笑）。ジョジョは「レッド・ホット・チリ・ペッパー」や「ザ・ハンド」など音楽ネタも散りばめられています。高橋さん自身も「カルテット」や「東京独身男子」といったドラマで主題歌を歌われています。音楽は演技にどう影響を与えていますか？
基本的に生活のなかに音楽がないと無理なタイプなので、タワーレコードのスローガン（NO MUSIC, NO LIFE.）と同じです（笑）。最近はXTCなど、昔から好きだったものを聴き直しています。
――ニューウェーブがお好きなんですね！
小学生の時にMTVでXTCの「Dear God」のPVが流れていたのを見て、めちゃめちゃかっこいいと思ったんです。当時仕事でアメリカにいたので、ダッシュでニューヨークのタワーレコードに買いに行きました。フロントマンのアンディ・パートリッジが牧師の格好をしていて、たくさんの人がまたがっている木をトンカチで叩いて揺さぶって、彼らを落としていくという印象的なPVなんですが、そのなかでアンディが丸メガネのサングラスをしていたので、僕もいまだに丸メガネのサングラスをかけています（笑）。
――台本を読んでいる時も音楽を聴きつつやる感じですか？
台詞を入れている時は音楽のバイアスは入れないようにしています。ただ、「終わった！」という瞬間には音楽をかけています（笑）。
――ジブリ映画「耳をすませば」の天沢聖司くん役から四半世紀、2020年はとんでもない世界になってしまいました。それでも高橋さんの最新作「スパイの妻」を劇場の大スクリーンで観たときに、やっぱり映画は素晴らしいと本当に感動しました。演技の世界で生きていくということは、自分を強く持ち続けなければ大変なことだと思うんです。そこでジョジョや露伴から生きるうえで学んだ大切なことがあれば、お聞きしたいです。
ありがとうございます。「スパイの妻」は、僕も舞台挨拶で壇上から客席のたくさんのお客様を見た時に、本当に嬉しい気持ちになりました。
僕も露伴と同じように、まず規範やルールや型を知ることはとても大事にしたいと思っています。それをわかったうえで、どう「守・破・離」していくか。僕らのように免許も資格もいらない、表現という無形な仕事だからなおさら、ある形式を学んでおかないと崩していくこともアレンジすることもできない。もう僕は模倣の年齢ではないと思っているんですけれど、やっぱり人間は模倣から始まるんじゃないかと思うんです。それを自分の腑に落としていく。落として自分のものにしていった時に、それは果たして自分にとって本当に必要なものなのだろうかと考えることが大事だと思っています。
自分と正反対の思考やアプローチを無理やりしてみるというのもひとつの手かもしれません。だからこの先、僕がなにかの記事で「お芝居でがんばったところはここです！」と言っていたら、正反対のアプローチをしているんだなと思ってください（笑）。逆の視点から見ないと出てこないものはあるはずなので、そういうことを常に実験しているのかもしれないです。
――あまのじゃくな高橋さんを目撃するのを楽しみにしています（笑）。最後に、好書好日は本のサイトということで、ジョジョ以外のオールタイムベストと最近のおすすめを教えてください。
僕は上田岳弘さんが書く物語が大好きなんです。ひとつのことを突き詰めている姿勢に、すごく共感できると言いますか。処女作の『太陽・惑星』から最新作の『キュー』まで、作品が違っても形を変えても、テーマ性は同じなんです。戦争というものを人類の限界として、その人類が最終的にどういうところに行き着くのかということを頑なに描かれている。ずっと一点突破で穿ち続けようとしているのがたまりません。
あとは多和田葉子さんの『献灯使』も好きです。2014年に出された小説なんですが、まるで今の状況から先に行ったらこうなりますよというのを具現化しているようです。近未来に鎖国した日本の話で、そこから人間がどうなっていくかを描いています。おもしろいのでぜひ。
See also
- Famicom Jump: Hero Retsuden
- Famicom Jump II: Saikyo no Shichinin
- Jump Super Stars
- J-Stars Victory Vs
