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As a human who works with a theme that will last for an eternity, that's all. Relatively unimportant factors like meta keywords are not included in the overall score. Search form. So, Dio originally liked Jonathan, right? I start to think I don't need a cell phone because its heavy and I wanted to toss it, and I had no signal anyways

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Even during the hiding, he was collecting information on incidents and wars that occurred in the world and various parts of Japan, and he was able to grasp in detail the trends of the underworld such as the Kenshin Himura and the Shanghai Mafia from the swordsman and the people concerned. In addition, fierce men outside the main team are also soliciting as a weapon of hunting. The chiefs who control the seven units. It became the stage of the third "actual inspection battle" Otaru To make a leap at.

Its identity is The remnants of the shogunate assassination group "Yaminotake" who once fought against Kenshin and lost However, the failure to assassinate Kenshin and the collapse of the Shogunate severely damaged his credibility, and he became a mercenary group that dispatched soldiers depending on the money. From such a background, Kenshin is called "grudge" and shows hostility. It is also known for its passenger weapons due to the freezing seat, and they were given the gold dust they had accumulated and were assigned to the passenger weapons side.

Even if it does not appear in the original works such as "Tokyo" and "Kyoto", it may appear in anime original episodes. At the end of the Tokugawa shogunate, Kenshin Hitokiri Swordsman was hostile to the Choshu people to whom he belonged.

Appeared in recollections such as "Kyoto" and "Hitotsu". The actual Shinsengumi is also a group of swordsmen, and Saito and Udo, who also appear in the main story, are depicted as having considerable ability.

Only a few frames appeared in the recollection scene of Kenshin in Volume 7 and "Remembrance Edition", and the following people are the ones whose names were revealed in the Shinsengumi group diagram in Volume 7.

In addition, several new soldiers are drawn in the reminiscence edition. Two new people have joined Hijikata, Nagakura, and Shimada-like characters to solidify Kondo's side. It has not been revealed who they are. The author was in charge of character design, " Shinsengumi wolf den Kondo and Hijikata appearing in the movie, the design of this work is diverted. These two also appeared in the OVA reminiscence edition.

An additional part recorded in "Special Edition -First Volume-", a person who appears in an episode five days before Kenshin arrives in Tokyo, that is, an episode earlier than the first act. The anime version of Katsu Kaishu is based on the novels version of Vol. In addition, there are some depictions and settings that are far from the original world view. A secret society that has existed since the Middle Ages with the aim of building an ideal society with the Meister as the chief.

Although it claims to be an ideal society, it is actually a world conquest. Members hide in each country and are diverse, including scientists, politicians, and military personnel.

They find out in a diary written by a Portuguese missionary who came to Japan about XNUMX years ago that "holy remedy" exists in Japan and there is a map showing its location. The aim was to develop a silver bullet for many illnesses with holy spirits and use the enormous profits to fund the mass uprising.

According to Melders, he asserted that if he had a remedy, he could uprising in three years. Germans such as Hans and Rudel are very upset just to hear that they are the Black Knights. Schneider says that the coat of arms of the Black Knights is similar to the coat of arms of the ancient ancestors of the Sanada Shinobu group found underground, and the letters written on it are very similar to those of ancient Europe.

Also, according to folklore, there were ethnic groups that crossed from Europe to the east long ago, and from these, it was speculated that their ancestors and the ancient ancestors of the Sanada Shinobu group might be the same ethnic group. A ninja group indigenous to Shinano, headed by Misanagi. However, I was on the fence about whether to do it at the time. I didn't think it'd be acceptable to recount his childhood in the middle of the last battle, so I just made it into a monologue.

When I think about it now, I could have spent a chapter of the series or about 19 pages drawing just Kakyoin's childhood, but during that era of Shonen Jump, it felt wrong not to have a battle every week.

It was like some kind of Shonen manga spell was cast on me. I never had any intention of doing that, actually. Even during "Diamond is Unbreakable", people were speculating if Kars would show up, but this is not the type of manga series that would go in that direction, and I'm not the type if person who would write that.

If that happened, to me, it'd be over. I am of the opinion that if readers ever think to themselves,"I expected that to happen! There are many manga out there that would go in that direction, but if I did that, it's over. I absolutely could not create manga alone. Coming together and discussing with my editor is of utmost importance.

By the way, until now I worked with more than 10 editors, but the most recent one tends to not tell me his opinion on things. I get a little angry when he does that. If you could use a Stand power, whose Stand would you choose and what would you want to do with it?

Araki : Well, which one do you choose, Shokotan? Can I call you Shokotan? Shoko : Of course! He calls me "Shokotan"! I'm so glad. My dream is to marry Jotaro-sama and have a child with him. He'd probably say to me, "Yare Yare Daze" and spit on me. That's my dream. Sorry, the question was about stands, wasn't it. Araki : So, Star Platinum? Shoko : I want to receive 'ora ora' from him. Araki : Laugh Hmm I think I would choose Rohan Kishibe's Stand.

I want to know what people are thinking by opening their minds. Shoko : You work with various people, so that would be useful.

Araki : Yes, I want to discover the unknown sides to them. Shoko : It's scary though, it seems like you are already able to use that Stand, I guess. Araki : Laugh Well, yeah. And your choice is Star Platinum, right?

Shoko : I want to be beaten up by him. Araki : I hope your dream will come true. Shoko : Laugh I am a completely bizarre person. What type of woman does Jotaro-sama like? Araki : Type of woman? Uh, I don't think he is interested in women that much. Shoko : I think he would say, "Yare Yare Daze," to a girl like me, right? Araki : He definitely would. That is his charm. Shoko : He would also say: "You are annoying. Shoko : That's what I want!

I want to have a child with him. How can i make him love me? Araki : He might say that you're annoying, but he'd still love you, I think. Shoko : I like it! It's tsundere. Does he prefer a girl who's neatly dressed or one with a short skirt? Araki : Eh, he is more of a straightfoward guy. He will enjoy the time with you, though he might say that you're annoying. Shoko : Really? Then I will do my best! I think I should go to a disco.

Is Jotaro's school cap a part of his head? Araki : Yes, it's true. Shoko : Is it? Why is the cap a part of his head? Araki : Well, because he never takes off his cap. Shoko : The cap is part of his body? Araki : Right. When drawing Jotaro, I felt it was OK to combine him and his hair since he never takes it off. Shoko : That's a unique idea. Araki : Indeed. By doing so, Jotaro looks more elegant.

I want readers to recognize him from the back, not just his forefront. Shoko : So he isn't actually wearing a cap. The cap is completely part of his body. Araki : That is right. Shoko : Only Araki-sensei could come up with such an idea. It's me who wants to use Rohan's stand to see inside of Araki-Sensei's imagination. Araki : Yeah, that actually surprised me.

I don't know why I drew such a scene. Shoko : You clearly wrote the word and the laughing plane. Araki : I don't even know why the plane is laughing. Shoko : You didn't intentionally draw the scene? Araki : Well, I don't know. I don't remember. I drew that scene as part of the story, but I don't know what it means. I learned about it recently, but I think it's just a coincidence.

Shoko :Your stand can predict the future. Your Stand predicts the future AND keeps your yourself young. How can one defeat Star Platinum: The World, the most powerful stand ever? Araki : Eh Jotaro can be defeated only by Jotaro himself or by the child of Jotaro and Shokotan. Shoko : You allow me to have his child? So Jotaro-sama and I have a child and he won't be invincible. Araki : Correct. Shoko : That's a great idea!! Araki : Actually, it's impossible to defeat his stand at the moment.

Star Platinum can halt the flow of time, so to defeat him, you need to let time flow again. Shoko : So you would need to possess a power to control time itself? Sounds great. What do you keep in mind when drawing pictures in color? Araki : Well, the combination of colors is important.

Like what color should be placed where. Shoko : What is your favorite color? Araki : My favorite color? The mix of dark moss green and white is my favorite. Shoko : But the color you actually draw with and the color that is printed are somewhat different right? Araki : Yeah, you're right. So the important thing is not only the color itself but its adjacent colors. Shoko : When you were a child, what were you drawing? I'm a big fan of Ikki Kajiwara. I was curious how Joe Yabuki's hair looked like when we saw him from the forefront, right side and left side.

Shoko : Ordinary kids draw Joe only from the right or left sides, but you were not a normal kid. Araki : Laugh Yeah. What type of woman does Araki-Sensei like? Araki : EH..? This question is hard to answer. Shoko : You wife may be watching this show.

Araki : I like a woman like my wife. Shoko : A good answer. What do you like about your wife? Araki : As soon as you meet her, you will see that she loves gags. She will often say gags like Shokotan's giza thing means "super". Shoko : She uses "giza"? First you have Josuke who always feels like he's about to burst into a rage but he's always reliable when push comes to shove.

Then there's Jotaro who can get really mad and he'll barely lose the cool expression on his face. I thought them working together went well, I love that story. It's to be expected seeing as he's a scientist, but I'm really enthralled with how Jotaro knows so much about wild animals laugh. Araki : Yeah, I like partnerships. When I see artists that have partnerships, I get all jealous. Though I guess there's sort of a partnership between a mangaka and an editor. I liked the partnership of Josuke and Jotaro, too.

They both have a kind of "pursuer" feel to them, don't they? Kaneda : It was so cool when Jotaro said "You've got to be the one to shoot. Kaneda : I think that because Josuke respects Jotaro so much, he feels a lot of pride from just being with him. It's an exceedingly good relationship, even one that almost crosses a certain line laugh. Editor : Sounds like she's reading into it in a yaoi sort of way. I guess she's excited by that sort of thing. Kaneda : Yeah!

If you'd written that openly, there'd be no room for imagination and that'd ruin all the fun. I don't think anything like that would happen for the whole hunting thing, but if it turned into something like "After the hunt is over, do you wanna go to a hotel?

Laugh Also, if something like that were written in the story, there would be a lot of people that really like coupling and would say things like "the only one for Jotaro is Kakyoin! So I really think that stopping just short of that is much better. Araki : That kinda sounds like "Beverly Hills, ". This person and this person are connected, and this person is with so-and-so, that sorta thing.

Kaneda : It's good to draw all sorts of jumbled lines like that laugh. That way it never goes to the point of actual acts, it's more desirable to be potential. Kaneda : Really, from a boy's point of view a team play is "admirable friendship". And we want it to end with that double meaning.

Personally, I think Okuyasu and Josuke make a good partnership, too. Both are good-for-nothing-types. Truthfully, if Okuyasu were smart, he would have a top-class Stand.

I think that the user not being smart strikes a good balance. Kaneda : I think Okuyasu is the best person you'd want for your friend. Araki : That was me tracing the story of Part 1 with Zeppeli making Jonathan grow and trying to write it a bit more deeply.

This time they're a bit closer in age, and I'm really enjoying writing their conversations. Kaneda : I just love those pointless exchanges between the two.

Like when Johnny used his evolved nail bullets to brush his teeth and Gyro gave that monotone response about being jealous laugh. I remember thinking "This is how boys communicate! Araki : Yeah, boys tend to have those sorts of pointless back-and-forth conversations a lot, don't they?

Kaneda : You really feel their friendship in those sorts of scenes. Rather than hug each other or anything, that makes them really charming to girls. Araki : Yeah, there really isn't much room there for reading too much into it, is there? I wanted to have a deeper connection of friendship between teacher and disciple than I did in Part 1.

Kaneda : It's written so richly, so they don't even need to be coupled, I guess. People have ideas about how Johnny is paralyzed in the lower half of his body, so while Gyro generally seems very cold, there are times at night when he has to care for Johnny and that sort of thing.

Araki : Yeah, I like that laugh. Well, maybe I'll draw a scene of them in a night-time camp scene. Kaneda : That sounds good! I hope you do laugh! Also, I'm hoping that Dio gets involved in their relationship somehow Fundamentally, Dio is a character who started out in poverty. So then, because of his desire to be successful in life, he's not afraid of anyone and he's not afraid to dirty himself to make his way to the top.

Girls love that sort of thing. Like he started out from the status of prostitute, so he dirtied his body with lots of different men, but his soul never lost its purity. And the 16 year old Pucci was attracted by that Early on, there's a scene where Dio and Pucci are sitting slovenly on the same bed facing different directions and having a discussion 'The Time of Heaven', "Stone Ocean" Volume I simultaneously could barely believe my eyes and went mad with joy.

That's the effect you must've been going for, right, Araki-sensei? Araki : Uh I didn't really think it would be taken that way, I don't think. Guys do that sorta thing all the time. Just sorta crashing someplace. Like when you go drinking and it gets late, so you need to stay over at somebody's place.

Kaneda : Eh, then you're saying that Father Pucci and Dio were out late drinking?! Laugh Um, I'm not so sure these are the types of characters who would crash at each other's place because they missed the last train for the night or something.

Araki : Now that you mention it, I think I might've had something like that in mind when I drew it laugh. But Dio's sort of a composed character that could go either way.

He could go with a man or a woman. Kaneda : Really?! As I thought, my interpretation was correct So, Dio originally liked Jonathan, right? Kaneda : Jonathan Joestar was a man that had everything he didn't, so Dio felt that he wanted to make Jonathan his. That sort of thing. He couldn't allow Jonathan's first kiss to be with Erina, so he did it to Erina himself. Kaneda : No, but Dio thought about Jonathan seriously, but at the same time homosexuality was a serious crime in England during that era, so Dio had to hide his desires for such a future deep inside.

Kaneda : And those feelings he'd suppressed so long finally resulted in him taking over Jonathan's body. Araki : I see. Well if you look at it at that angle, it gives the story a fresh feel, I suppose.

Kaneda : Dio, someone so dirtied, wanted to profess "I like you" to Jonathan. But he was unable to and then Erina took Jonathan, so through bitter tears at the end he took Jonathan's body. If he'd had time to smooth his words over a bit more, he would have said that he wanted to be part of Jonathan's bloodline.

Araki : That kind of sounds like the movie, " Purple Noon ". Kaneda : He wanted to become Jonathan. But I think in the end, he lost track of whether he wanted to become Jonathan or he wanted Jonathan to become his. With his noble soul that harbored such sorrow, there were men showing up that loved Dio one after another.

Particularly in Part 3, whenever was mentioned, they talk about his almost-transparent white skin and his bewitching charm that made it hard to believe he was a man.

Even Avdol felt dizzy the first time laugh. Even Avdol, that macho guy that liked peeing outside was attracted to Dio. So he really had an aura that attracted all types of men. Kaneda I'm glad. If you'd said something like "There's no way there was anything like that! Araki : There's no way I could write that, but I'll admit that could exist as a sort of hidden meaning.

He definitely had some lust somewhere. Kaneda : Dio's confusion of not being sure himself if he wanted Jonathan's bloodline or wanted his body or wanted his heart is really juicy from a yaoi aspect. Kaneda : Speaking of which, he had lots of illegitimate children, didn't he? I feel bad for Ungaro being the only ugly one. Araki : Jonathan and the others' love is far deeper than Dio's.

They didn't run purely on desire like Dio. Kaneda : True. It doesn't sound so much like love as it does like stealing. Well, I suppose Father Pucci, pursuing the princess he would never obtain, was really the juiciest character of Part 6. Araki : Now that you mention it, I think I really did consciously write it that way Laugh.

Kaneda : He wanted so thoroughly to love Dio more, so when Pucci said the line "I love you as I love God", it was a real thrill. And in response to that, I'm glad Dio said "I was afraid you'd disappear".

Vanilla Ice loved Dio as well, but he died spinning around in circles like that, so you wanted to have a character express their intense feelings towards Dio in a more open way, huh? Araki : I think if Dio had lived, it could've gone a bit more in that direction. But he's dead, so all of that will just remain in the realms of imagination.

Kaneda : I suppose so. I think for Dio, their relationship was casual. There was a sort of feeling like "You don't know anything about my life, so don't start worshipping me like a god. Araki: But that's essentially a result of the fashion aspect, so I don't think they're fundamentally an established couple. Also, their fashion is mostly drawn referencing women's fashion, so it might be because they are a bit androgynous.

Kaneda: In part 5, everyone's wearing really sexy clothes that have holes which show their skin in various places. That must be mostly because its set in Italy, right? It feels totally natural that if it's in Italia, men can be so lovey-dovey with each other.

Araki-sensei, what kind of work is Part 4? Araki: In short, the theme of Part 4 is "building a city". It's meant to take JoJo's "mythical" story that its had up until Part 3, and drop it down into everyday life. Of course it's ordinary, but at the same time extraordinary.

I wanted the "reality" in Part 4 to bring the story closer to the real world. That's why a certain manga artist, whose profession I know best, and a chef of a familiar restaurant also appear in this part.

Araki: You get the feeling that the town of Morioh actually exists. Part 4 had to end because Kira was gone, but I really want to draw more. I want to put something else in that town, so maybe I will draw it again someday In Part 8 and 9 laughs. Araki: I would often think about the different sides of characters that aren't really shown in the manga, but not like obscure trivia or something.

For example, Josuke was truly hurt by the fact that he grew up never knowing his father. However, he covers up this pain with the pompadour man who saved him as a kid. He considers that man a hero, somebody he can rely on, and a symbol of his faith in people.

It didn't really bother me before and if there was no one around I would just go ahead and pass anyway. However, lately I've began to see it as bad conduct, so I've decided to stop and wait until it turns green. As soon as I finished saying this, I started getting bombarded with a flurry of comments such as "Oh c'mon nobody does that anymore!

What, are you trying to play goody two shoes now?! You just want someone to see you so he can write about it on 2chan! There it is. The "Season of Aggression" has arrived. If you get attacked for saying or doing something bad there's nothing wrong with that, but I did no such thing.

I mean, I didn't even pass the red light. See, this is the "Season of Aggression", that period of time when people get angry at me for reasons that I fail to comprehend.

And when it inexorably presents itself again, even in arguments where I could easily counter, I just end up being assailed and suffer even more. Because of this, the only thing that I can do is sit and wait until it passes again, just like people affected by pollen allergies; on hold, until the cause of their nuisance flies away.

In these circumstances, the saying, "The best defense is a good offense" does not work. JoJo's Bizarre Adventure has finally reached its sixth protagonist, Jolyne Cujoh, and she too is in the middle of this "Season of Aggression". Ever since she was little, she's lived in Florida, and with Jotaro being very busy in Morioh, she grew up without the presence of a father figure.

Jolyne has certainly inherited the tough and cool headed side of her family, but she slowly but surely went towards a path of restlessness. Her mother just scolds her. She falls in love with a guy whose affection she blindly trusts. He represents the love and affection that she never got from his father.

But it's precisely this sentiment that will drag Jolyne into a crazy world. Will she be able to free herself from it like "unraveling a string"? And will she mature as a person? This is the lay out that I had in mind when writing Stone Ocean and its protagonist. Some time ago, in the s, the impulse of trying a new creative adventure made me draw " Gorgeous Irene ," a short story which had a woman as a protagonist.

But in that time period I just, don't know, kinda felt something was off I perceived a weird atmosphere telling me that a female protagonist wouldn't go well in my works, and so I scrapped the idea of turning it into an actual series.

Almost 15 years have passed since then, and I'm convinced that, in some way, the times have changed. Today we live in an era in which, even if a girl takes a punch, or her finger goes flying, or she gets pushed down a building, you can still have a really strong atmosphere.

The responsibility is all on her dad's shoulders, Jotaro Kujo. He is the one who initially comes to save his daughter, but ultimately ends up getting saved by her. This, in turn, favors the internal growth of the girl.

It seems to me that putting yourself out there by inserting a character like this into a manga really pays off. We can be men and women, but the blood relations and the sentiments which derive from them are elements which we all inherit. What does "Stone Ocean" mean? This Stone Ocean can also refer to the image of the prison in which the story is set.

After having decided to draw Stone Ocean, I wanted to collect some material and went to visit a prison in Florida. It was divided into 4 sections: juvenile detention, female detention, young male detention and death row convicts detention that I could only enter after I was granted a permit. In America, there are also "private" prisons in which a penalty discount becomes the equivalent of a commercial enterprise.

Translator Note: 2chan or 2channel is a gigantic Japanese forum, in which millions of posts regarding a huge variety of topics are uploaded on a daily basis, these posts are left uncontrolled and go under almost no censorship.

Jolyne Cujoh, our protagonist, felt a deep void in her heart too because she was missing the paternal love that brought her to befriend the shady guy that caused her to be imprisoned, after causing a car accident.

So know what should I do for the accomplishment of this manga? The end. But this is not right, not at all, it feels wrong. This is what I was thinking then, until I had an idea. Go back to the origins!

The French painter Gauguin also built a whole new painting going back the origins that Tahiti represented for him. Araki: Oh, don't worry. I not here to make anyone nervous today, my goal is to be healing others: Really, please don't be nervous.

I: Well my first question is, what kind of 22 year old were you, and what was your life like after graduating from high school? A: Um Well, it was the 70's. The mangakas at that time were a generation after people like Tezuka-sensei, Akatsuka-sensei, and Fujiko-sensei.

And it was a time when the genre of manga really diversified. Not only manga, but music too, like jazz crossing over to rock music. I spent my teen during a time when everything was fusing together, so I kind of caught the momentum of that, and then Yudetamago-sensei, who was the same age as me debuted when we were about 16 or Then I realized that I can't be wasting time.

Of course I studied too, but as a student, I also was really interested in art, like manga, music, film, and fine arts. I really aspired foreign countries as well. A: Well, from around high school, or maybe even middle school Then I dreamed of being a mangaka or have a job relating to that.

A: Read it, and, well, there were many mangakas, and I couldn't do anything about that, but I felt like I had to something myself. A: Well, how should I put it You know how you learn from your elders?

Back then was a time when doing the same thing as your elder was really looked down at. You had to do something different. If there were several paths that your elder paved, it was like finding somewhere in between that no one else has gone before. Kind of like that. A: Well, you had to kind of make sure not to mimic anyone, yeah. It wasn't necessarily about going your own way, but learning from your elders and not stepping in their footsteps.

You were looked down if you ever stepped in it. Draw an area that hasn't been explored by others I didn't think of that at all, so I guess I was pure in a sense, yeah. I: Interesting. This gets a little personal, but going to art school, I really understand what you mean. You take a class with a teacher and you get drawn towards your teachers style, but are punished if you fully adopt that style. A: Well, I was worried sick and couldn't sleep during earlier works, and even when starting JoJo.

I wasn't sure if it was alright. A: Ahh, yeah. In my case, I based my works on works of art from the past that I felt sure, and things that were done by people I was sure about, so even if someone saids something bad or negative, I always was able to feel sure.

And the told me that I had to be bold if I wanted a serialized series. Failing a serialized series is losing to yourself, so I think it works out well for an optimistic person. A: I think people who can keep doing it are like that. More like someone confident than an optimist. Many of them have absolute confidence in themselves.

Many seems like they go beyond narcissism. So, you don't want to cripple their pride, you have to nurture it. They're probably simpletons. Out in the real world, you have to be careful not to be scolded for that.

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Hiten-Goken method See also. A beef hot pot shop in Tokyo. There is another store in Kyoto under the name "Shirobeko". In the "Hokkaido edition", a large number of female employees are hired and it is depicted as prosperous. In the Kinema version, the setting was changed, and in the Edo period end of the Edo period , it was Saito Hajime's favorite wholesaler called "Akabeko", and since the Meiji era, it has become a beef pot shop "Akabeko" like the original.

Oniwaban It is drawn with the motif of a real Shogunate organization called, but the following are all fictional characters, including the above Aoshi Shinomori and Misao Makimachi. The common name of the subordinates is Noh , Kyogen It is derived from the name of the surface used for. In "Hokkaido", all the members of Aoi-ya have their own households. A member of the west assassination group, Yaminobu, who reports directly to the Shogunate, along with the Oniwaban in the east.

He is training in the "Forest of Barriers", which is a magical forest with a strong magnetic field, and is good at tactics to block the movement of the opponent. Draft etc. According to the relationship, "I have selected those who have a grudge against Nukitosai," but the only people who actually gathered and who really have a grudge against Nukitosai are himself, Whale Wave, and Eighth Eye. Yami Nobu There are many people involved in.

Kamakura Period Of Master A battle group that claims to be the descendants of the Kamakura samurai who played an active part in the battle.

Since the Mongol invasion, it has moved north without interfering with all the wars in Japan, and has been training to become a trump card to protect Japan from the invasion of foreign countries at the end of Hokkaido. Its physical ability surpasses that of humans, and it manipulates unusually shaped weapons and special skills called "power. Each working unit is governed by seven unit generals. Even during the hiding, he was collecting information on incidents and wars that occurred in the world and various parts of Japan, and he was able to grasp in detail the trends of the underworld such as the Kenshin Himura and the Shanghai Mafia from the swordsman and the people concerned.

In addition, fierce men outside the main team are also soliciting as a weapon of hunting. The chiefs who control the seven units. It became the stage of the third "actual inspection battle" Otaru To make a leap at. Its identity is The remnants of the shogunate assassination group "Yaminotake" who once fought against Kenshin and lost However, the failure to assassinate Kenshin and the collapse of the Shogunate severely damaged his credibility, and he became a mercenary group that dispatched soldiers depending on the money.

From such a background, Kenshin is called "grudge" and shows hostility. It is also known for its passenger weapons due to the freezing seat, and they were given the gold dust they had accumulated and were assigned to the passenger weapons side.

Even if it does not appear in the original works such as "Tokyo" and "Kyoto", it may appear in anime original episodes. At the end of the Tokugawa shogunate, Kenshin Hitokiri Swordsman was hostile to the Choshu people to whom he belonged.

Appeared in recollections such as "Kyoto" and "Hitotsu". The actual Shinsengumi is also a group of swordsmen, and Saito and Udo, who also appear in the main story, are depicted as having considerable ability. Only a few frames appeared in the recollection scene of Kenshin in Volume 7 and "Remembrance Edition", and the following people are the ones whose names were revealed in the Shinsengumi group diagram in Volume 7.

In addition, several new soldiers are drawn in the reminiscence edition. Two new people have joined Hijikata, Nagakura, and Shimada-like characters to solidify Kondo's side. It has not been revealed who they are. The author was in charge of character design, " Shinsengumi wolf den Kondo and Hijikata appearing in the movie, the design of this work is diverted. These two also appeared in the OVA reminiscence edition. An additional part recorded in "Special Edition -First Volume-", a person who appears in an episode five days before Kenshin arrives in Tokyo, that is, an episode earlier than the first act.

The anime version of Katsu Kaishu is based on the novels version of Vol. In addition, there are some depictions and settings that are far from the original world view. A secret society that has existed since the Middle Ages with the aim of building an ideal society with the Meister as the chief. Although it claims to be an ideal society, it is actually a world conquest. Members hide in each country and are diverse, including scientists, politicians, and military personnel.

They find out in a diary written by a Portuguese missionary who came to Japan about XNUMX years ago that "holy remedy" exists in Japan and there is a map showing its location. The aim was to develop a silver bullet for many illnesses with holy spirits and use the enormous profits to fund the mass uprising.

According to Melders, he asserted that if he had a remedy, he could uprising in three years. Germans such as Hans and Rudel are very upset just to hear that they are the Black Knights. Schneider says that the coat of arms of the Black Knights is similar to the coat of arms of the ancient ancestors of the Sanada Shinobu group found underground, and the letters written on it are very similar to those of ancient Europe.

Araki: It was more like an escape route than a revolution, haha. For example, Hara Tetsuo wrote Fist of the North Star so that whoever says the most powerful lines wins. Nisio: Novels are only words, after all. The main thing is dialogue.

So characters that say powerful lines do become stronger. Nisio: Thank you. I have no words. Araki: Thank you. I remember it being really scary. I was creeped out by this weird armored warrior but thought Joutarou was really cool.

Nowadays Shounen Jump has more manga with Stand-like abilities, but Jojo still sets itself apart. Nisio: To be honest, I originally wanted to be a manga artist. There are many scenes in my head that I have an image of. Araki: So you start with an image and replace it with words. The desire to write feels like something that comes welling out, but I wonder how that works. Nisio: When you read something good, it makes you want to try it.

Of course, reading your manga gives me motivation. Drawing is like that for me, like when I see a drawing that makes me wonder how it was drawn. For example, there are manga artists who can draw lines in unbelievable directions. Like Hara Tetsuo. For painting too, I wonder how someone made a color and things like that. It fires me up somehow. My publisher keeps telling me I should write something new besides Jojo, but it feels weird to start something new before finishing Jojo.

So I might keep writing it. Until humanity dies out. Araki: That would have to be when new manga artists come out. Araki: Yeah. I was trying to write with a youthful feeling.

Nisio-san, a time like that will come for you, too. It really is nice to have some elders around. Nisio: I like how the enemies were defeated in Part 1 and Part 2, before Stands were introduced. They were mental, tactical battles, and it might just be because I like mystery books, but I love those kind of strategical tricks.

Even after Stands came into the story, the mental battles were the most captivating. Araki: Ah, yes. There is that amazing strength people that have during fires. They used these kind of tricks, things with logic behind them. Like digging a hole in the ground and setting off gunpowder. That influenced me. Nisio: In Part 2, did you just come up with the idea for the battle with Wamuu to be on chariots? Araki: No, I think I was inspired. In shounen manga, I like when the battles are one-on-one in some kind of arena.

That seems tiring to just to write, so two-on-two is the most for me. Nisio: Drawings have incredible persuasive power. There are things that you can draw, but when you write about it, it turns into an explanation. Araki: I once read a story about a beautiful picture.

But the readers can imagine something. If you wrote a manga with that story, you would have to draw the picture. There was a character who has an arm injury throughout the book. So I drew an injured arm, but then at the end it said that the injury was on the left arm, and I had drawn it on the right arm.

You really have to read carefully. Insert illustrations are hard to draw, too. Nisio: When I know that there will be insert illustrations, I try to make it easier for my illustrators to draw them.

Nisio: Take-san is the one drawing them. That was supposed to be about the level of realism or reality in the illustrations…and then they came out like this. When you line up the 9 volumes like this, you can really see an improvement in skill. I like these pop-style backgrounds, too. Nisio: A long time ago, when I read an interview between you and Otsuichi-sensei in Yomu Jump [magazine associated with Weekly Shounen Jump], I was so jealous that he got to meet you.

Interviewer: Nisio-san, if you were going to write a novelization of Jojo, what would it be like? Nisio: I would write about Part 2, or maybe Part 1. Where the enemies are vampires and perfect lifeforms. Nisio: I would choose not to use Stands. If I did, it would turn into a contest with Otsuichi-sensei. What if I lose? Whose perspective would you write from? Nisio: Part 4 is Kouichi-kun. Part 2 was…did he have a name? This is bad. Nisio: I somehow figured it out as I was reading.

Like how when Stands get injured, their users also get injured. There was an explanation of what Stands were at the beginning of one of the volumes, and it all made sense after that. That was really helpful. So I went to a bookstore and browsed through a poker rulebook. Araki: Oh really?

When I was writing that I assumed everybody knew how to play poker. It seemed like everybody at least knows poker. Nisio: I was in elementary school, after all. After that I really wanted to play poker, haha. Due to its length this entry will be broken into 2 parts. The lecture hall was filled to its 1, person capacity. There were so many people that there was a delay while people moved in and out of the hall, and the lecture began 15 minutes later than planned, at 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. 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 feel like I've met an entire lifetime's worth of people today. Araki, who marks his 25th year as a manga artist this year, used to dislike from well over a decade ago being told "I used to read your comics!

But in the past 5 years or so, he has had a gradual change of heart, and has begun to enjoy and appreciate the accolades he gets, especially from older people and people in esteemed positions in society. Also, when he was younger he may have been writing manga to benefit himself and his publisher's bottom line, but now he has a slightly different point of view and wants to give back to people, especially younger people. That's when he got an invitation from Saturday Program, and, figuring it would probably just be a classroom of people, he said "sure, I'll do it.

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.

And when his sisters' evil doings came to light, a fight would erupt; and this would occur on a daily basis. He used to find relief in spending time along in his room, reading classic manga from the 70's and his father's collection of art books, which he supposes was his motive for drawing manga.

He figures that had he not started drawing manga, he "might have gotten out of hand and killed my sisters. He attended a prep school through junior high and high school, but a friend complimented him on the manga he drew apparently he drew his first manga while he was in 4th grade , which made him think that if his very first fan thought he was good, he might want to become a manga artist.

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 Yudetamago or younger than him 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 Shogakukan, which published 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 one rookie editor about 6'2", or cm, 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 Tezuka Awards in 5 days. 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!

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. Drawing styles which are so distinctive that you can look at a person from 10 meters away and go, "oh hey, he's reading that manga" are incredible: Araki managed to make his debut, but didn't feel like he had that unique style.

And so from onwards he started thinking about how he could achieve that distinctive style, something that would make people think "oh, that's him! Showing a blank piece of paper If you told your art teacher "this is a drawing of 'snow" he would be very upset at you, but in manga you could say this was "the flash from a nuclear bomb" or "my soul is barren" and that would fly.

And here Mr. Araki drops a bomb: "There are people who get paid for stuff like this. You know, like I guess I could get in trouble for mentioning names. Araki tried to patch things up by claiming that he was joking, but could not help further mentioning how much per page said-artists were probably paid for those particular pages.

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:. Oh no, we're gonna get sued! He also introduced things like the smiley face and Morizo and Kiccoro Mr. Araki thought that Akira Toriyama had designed them , and explained that he respected these types of drawings that anybody could recognize, and that it was what he aspired for. It's the ultimate style. 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. 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. If you don't think about "where you stand," you won't have any sense of direction even after you become a mangaka, 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?

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. 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.

Since there were a lot of questions, they'll be summarized and presented together in a certain order. Question for Araki-sensei! I didn't have any collections; neither did I have any 'solid' objects like plastic models. I enjoyed drawing pictures. I was a boy who wanted to live in a world of fantasy with movies and novels. When asked what influenced his works "After achieving success, respecting my sempai was the most important thing for me.

It all started with Da Vinci - reading about such people was very important for me. I learned about the things they mastered, and through their discoveries, I found my own answer. Since the '80s, construction began on a new residential district. The new houses were beautiful, but strangers from who-knows-where were scary, and those personal experiences have been tied together with the town itself.

Of course, Araki-sensei likes his hometown very much, but he was intimidated by the rapid increase in stragers, 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.

Although he went a boy's school, he had a girlfriend. There was no model, but there were influences from "muscle movies" such as "Rambo" and "Terminator. After drawing Part I, I wanted to do something I haven't done before. The most powerful technique: "Time". Stopping it, returning to the past, watching the future 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. 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'?

Araki: It's an interesting and powerful concept. To what extent is it changing? Is the other side of the earth being affected by it as well? And things like that. And now the 'forbidden question': "Why, as an old man, is Joseph such a lustful man? There shouldn't be anymore Jojo! Since I didn't know what would happen in the future, even though I wanted to keep his personality, the personality did match up with his age Joestar is an old man in Part 4.

When asked about the reason why he's only focusing on the story of the "Joestar family", according to Araki, going back, back, way back, all the way to the origin of the family lineage, his character's lineage gives him a feeling of pride - the wonder and the mystery that exists within the "lineage".

Troubled by the question, Araki replied: "My combined feeling would be 'the salvation of the heart'? I think it's very important. 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. Everyone starts a roar of laughs.

The imitative sounds of Jojo is also influenced by music This was said on "Weekly Shounen Jump"as well. So while "JoJo" is influenced by Rock, it is also influencing "Rock"! 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.

Often fan letters would ask: "Please take out that character from the manga", but since the character is almost complete, I don't want to take it out, and that is all. Although "Baoh the Visitor" ended as though it will later continue, but 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? And so the time has come, the last words from the moderator, and the falling of the curtain. The clock says it is PM on June 24, An event of about 1 hour and 20 minutes long, but to Araki's fans, without a doubt it was a "golden personal experience. My favorite ones being those with stories dealing about sports, horror, and even sci-fi. Therefore I was inspired by all of this to create my own stories.

I'm not sure but still I consider having been inspired a lot of by the works of my elders and I reckon my work wouldn't be what it is "without them.

Anyhow I'm still attached to the past of manga and there is still today influence by the authors I'd read as a teenager. The generation of mangaka I belong to was inspired much by the artists like Michaelangelo or some French painters in order to create characters whose physical aspects was more striking.

On Tetsuo Hara, I suppose "The fact that our drawings look alike is very easy to explain. We started at about the same period in the early 80's and it was then too that movies starring Sylvester Stallone or Arnold Schwarzenegger started to come to Japan and all these action movies were big hits there.

Actually I reckon we wanted to make manga starring macho characters, with big muscles and fighting all the time, a bit like the heroes of the action movies.

So the idea of stand came to me by thinking of shintoism, which teaches us that our ancestors are always by our side to protect us. I'd rather go for a more stereotyped approach where I create a hero who will fundamentally be good and to make it balanced, oppose him to a truly evil being.

Every week I've to hand in 20 new pages to mine. I work simply, on Friday I imagine what's next in the story and write the scenario, then from Saturday to Tuesday I create the drawings, so normally I've two days off a week, but I mainly use them to imagine the stories of weeks to come.

Your thoughts about your 25th anniversary as an author? I think that it was a very quick 25 years. But when I look back at my work Yeah, that's what I honestly feel. So, when I read it I can kind of read it objectively; I can read it as though I was a fan. Do you read back on your old work? Not very much, but if there's a game or something released like now, I'll read back and think "Ohh, so I was writing this kind of stuff?

Someone will mention a guy and I'll be like, "Who was that again? The readers know more than me. Next year will be the 20th anniversary of JoJo. Well, they let me debut on the New Year's of '82 but that still felt a bit vague to me. I couldn't really imagine myself as a manga artist; it wasn't clear on what kind of manga artist I was going to be. It was like I just was incidentally awarded the Tezuka Award, it wasn't really like I was aiming to win it.

So that was kind of when I began training. So the period when I was thinking about what style and what kind of manga I should draw was right before JoJo. I sort of feel that I finally became a pro with JoJo; it was like everything opened up in front of my eyes.

How was "JoJo" born? I liked movies and at the time Sylvester Stallone and Arnold Schwarzenegger were popular. They're both muscular characters and their bodies are covered in muscle, which made me think to myself "I wonder who the strongest person in the world is?

Themes such as immortality, seeking life, justice and things that humans innately seek spawned from this and eventually lead to the creation of Part one. So basically stuff to do with immortality and super macho guys and how strong they can get; that was what I was pursuing. Also, I had gone on a trip to Italy about 2 years before that and you may already know but, the art in Italy kind of strives for human beauty.

When I saw the original artworks, it made me want to do the same. The origin of the name "JoJo" I wonder if it's okay to say this..? Umm, the place I used to hold meetings with the editor was at a local family restaurant in my neighborhood called Jonathan's. We were thinking of making the name "Jonathan" Something, and you know how a name can be two S's like Steven Spielberg? I wanted something like that so I thought "Well if it's Jonathan then it'll start with J so Joestar should be okay.

It was a big adventure so I was really grateful to my editor at the time. Regarding the birth of the arch nemesis, Dio He's full of confidence, very arrogant and he's aiming to become a God, or top of the world. I like Heavy Metal and Rock so I used those as a reference to make characters. They're also characters that I created to signify 'black and white' or good and evil. Part 1:Phantom Blood What were your initial ideas? Back when I started drawing part one, I liked stories that went over several generations like 'East of Eden' and the show 'Roots' that they did on TV.

The lead character changes but it kinda continues; it's something like an American periodical drama or periodical novel. And I don't think it was very Jump -like in style but I thought that it might be good to go where nobody else had before.

I also wanted fights that followed rules in JoJo, so the Ripple was one of those things. Also, you can't see psychic abilities right? Like if you concentrate your mind and something breaks, you can't really see it. But it's a manga so I thought I should be able to draw it and try and make it easy for readers to know what kind of psychic powers they were, which is how I came up with the ripple.

It kind of spread from that like how ripples slowly spread, no pun intended. If I was to draw him now, I'd probably show more of the weaknesses of his heart too. One more thing that you weren't supposed to do in those days was to let your main character die. That was another forbidden act. We had a discussion as to whether that will happen first and it was eventually decided in a meeting that we'd kill the main character.

Because of this, I had to drastically change the story's characters and portray events that I didn't show in part one in part two and then similarly portray events I didn't show in part two in part three.

That was my plan. I had a story devised up until part three, but because the story convention required Part 2 to be different to Part 1, I created Joseph. He does share similarities to Jonathan though in that he is also a muscle type. Was it always your plan to revive Dio in Part 3? I really wanted to draw him being dead for awhile and then coming back to life, but if I was to do that I needed something to happen in between Part 2. I tried portraying the ripple through pictures and I also tried portraying the psychic ability of Stands with pictures too but, how should I say it I wanted to have punches from here away from body.

I had a meeting for it where I was asked, "What are you going to do next? You can't use the Ripple anymore. So I was like, how should I say this? Well, there's a thing like a guardian spirit and I told them that I think I could create alot of characters this way; I could make like a green colored punch or a sharp thing spawn and make them fight.

Unlike the ripple, I can do lots of variations. That's how I started with Stands, though I originally thought that people who read it at first wouldn't know what's going on. Stands gave me alot of trouble when it came to explaining them, but I really felt that I could keep inventing new characters and ideas this way forever.

It was like I dug up a gold mine. No one else thought it was gold, but I was like "Wow, look what I dug up! Part 4: Diamond is Unbreakable What were your ideas from Part 4 and onwards? Part 3 was a story that had the shape of a role playing game. It's like a board game where you go here and there. There's a book called "Around the World in 80 Days," which I made Part 3's story with that as an influence.

If that's the case, then enemies have to be types that come and attack Jotaro themselves, though they might be waiting for them too. So when i was thinking of ideas I thought of people that were willing to wait in their positions for a long time: like people that live in houses and attack when customers arrive, people with personalities like trapdoor spiders. I had a lot of these ideas left over and so I thought that I could probably use all of them within a single town.

There were various incidents back then such as a serial killing incident that sent huge shockwaves across Japan. The feeling of your neighbor possibly being a serial killer was the perfect atmosphere, so I used that idea when positioning lots of Stand users around the town.

That's basically how Part 4 was born and you can see how it's different from part 3. Making Part 3 different to Part 2, and making Part 4 different to part Up until Part 3, the setting was in an imaginary, mythical kind of world but for Part 4 I drew an everyday world so I feel more closeness to Josuke, which is why I like him the most. I found it really fun to write, it was like he became a friend of sorts.

Jotaro, however, is someone that you admire, like a hero from a mythical tale. But Josuke seems more like a friend or a senior. Josuke is supposed to be the child of a lover but? Yes, he is. If I could write more of Part 4, I'd like to explore that more specifically. You would probably develop some complicated ways of thinking if you were a child of a lover and Josuke was also meeting his dad for the first time in a while, so I'd like to write more in depth about that.

If I had the opportunity to write that, I would really like to. Part 4 isn't really finished yet. If I decided to continue it, I could as much as I want. Part 5: Vento Aureo Why did you make the hero Dio's son?

Oh yes right. In part 5, he's not really a blood relative I find great importance in the upbringing and background of the characters. Stuff like what kind of place they were born, and what their parents were like. If I know that then it makes it easier to understand and write.

That's what I do it for, so I find bloodlines very important. It might seem like a bit of a stretch, but that's how Part 5 started. During Part 4, the editor said to me, "Are you able to draw sadness? He asked me if I could draw that, and initially I said that it wasn't really my style but during Part 5, I suddenly felt to urge to draw just that. Like the sadness of being ostracized by society but still having a sense of justice. That was what I tearfully wrote for Vento Aureo. Part 6: Stone Ocean You once said that you can't draw females.

Back then, it was an era when it was unthinkable to have a female character taking punches and in JoJo, arms can go flying if you're not careful.

I felt that I wasn't able to draw that with female characters and the readers wouldn't be able to keep up. As I grew older, the difference between genders became less important, and I started to feel that I could actually draw a tough female.

What I came up with was Stone Ocean, whose takes place in a prison setting. And I already made Dio stop time, so I figured the readers wouldn't be happy unless I thought of something even stronger. That factor had become a bubble-like situation and so I thought what would happen if you sped up time really fast, and ended up going full circle.

Your brain goes strange when you think about infinity. What are your thoughts regarding time? It's mysterious isn't it? If you think about time, it feels mysterious and possibly the ultimate power if you could control it. My thought process involved coming up with this ultimate power and then thinking up how on earth you'd defeat it.

Even while writing JoJo I myself often thought, "Oh Manga Artist Hirohiko Araki About drawing old characters. I really find it hard being asked to draw previous characters. I wonder why that is..? I just get really tired. First, I have to try and draw the essence of my older style and then I have to fuse it with my current style, which made drawing the cover of this game really tiring.

Though I did end up drawing it anyways after telling them that I can't draw older characters. Second, artwork always changes; for example, I said before that muscular characters were really popular in the 80's but that wasn't really the case anymore in the 90's. I think it's strange to keep drawing muscular people if that's the case.

So when I started on a new chapter back then I made Giorno Giovanna quite thin to be like a normal sized person. From around the time of Josuke, I decided to change from a mythical kind of person to a more ordinary size. That's the kind of way that artwork changes. Well, that's what I think.

Also, I don't know about my art getting better. You could say that I was bad at the beginning though. I don't really try to keep it like my older styles; they're pictures that I've drawn in a classical kind of method, so I don't really mind if it changes.

About the game's cover Well I first imaged it as having the ripple, but I was requested to have Dio and Jonathan fighting with the stone mask but I basically tried to bring the stone mask to the front more.

The stone mask is like the game's emblem or the game's mark, so I put water and ripples over the background to lessen its impact. Usually, the main character is right at the front for package illustrations but I kind of made it the opposite of that.

About the poses. The poses are influenced from Italian sculptures. I really like the way the bodies are twisted and it makes me want to turn them into a drawing. Also, you might not understand unless you're a person that draws, but the pelvis moves up and down and that's what I find fun. Like doing this Hand gestures It's fun to draw while you theorize about that.

Well for example, I'll show you here If you put weight down on your right leg like this, your left shoulder drops and stuff. Or if you raise this hip, you go like this; it all moves oppositely. If you raise one hip then a shoulder goes down. If you concentrate on it you'll notice it, I found that about the human body very interesting and I really find it fun putting that into a drawing.

Also, it's not related but I actually enjoy drawing skin getting peeled. So I had alot of fun when drawing Koichi turning into a book. Not because it's grotesque but I think it's because I have to theorize what it might be like.

It's strange. Also, things like what would happen if you bend a finger this way. You can make it possible by drawing. I think those are the kind of things I like, though I like drawing the poses too. About the unique 'sound words'. Oh, right. They're influenced from horror movies and rock music. In progressive rock and horror music, they use synthesizers and an instrument called a mellotron and sometimes I really want the tinkly kind of sound it produces for some scenes.

Also stuff like "Chwween" and "Kyun Kyun Kyun! I get the feeling of wanting those in my work. So I just write them out using letters and they naturally become the sound words I use, and I'm not really conscious of it. Is the model of Kishibe Rohan yourself? Everyone I meet for the first time thinks that I'll be like Rohan, so it's a bit of nuisance.

I once thought about just acting like that character but that is something I aspire instead and I'm sorry if I break anyone's dreams, but I'm not really like that. Everyone comes into my house a little bit frightened. Sorry, but I'll use this to change my image now.

Do you lick spiders like Rohan? Well, I do sometimes try eating some unusual things. If they tell me that it's edible cooking then I'll eat it, but To not negate human beings.

What I mean by that is is to have positive thinking characters that don't stress about things going wrong. They're not allowed to stress. They believe strongly in what they do. Even if its a bad guy doing bad things, those actions are very important to him and he'll use that to move one step forward.

Then in response, the hero comes to defeat that. When they both step out forwards they'll then conflict. That's what I find interesting. I don't think it's interesting as a Shonen manga if the hero feels some sort of empathy for the villain. For example, with the character Yoshikage Kira, he's a serial killer but I think that he had his own proper reasons for doing so, such as the poor environment of his childhood, his relationship with his mother and his father always ignoring him.

But if I write that you start to feel sorry for Kira, and so despite being such a horrible villain, when Josuke fights him, I think he'll kind of feel sorry for him. But then Kira says that he's fine being that way and moves one step up.

That's what I like. That's the reason why I really like Kira. Although he may have had a bad childhood and turned into a serial killer, I always hope that he tries his best at being one.

I can't really say that out loud much though. I'm secretly a fan of his. So living with a positive outlook like that is the theme of JoJo. It's a 'celebration of humanity. There may be conflicts because of that but that sort of thing is a theme. Will that remain to be the theme? Yes, probably. I said this before but I think that if the villains weak, it'll definitely be a boring story.

They may be that way in real life but its better if its not in a manga like this. A final message to the fans JoJo's Bizarre Adventure: Phantom Blood is a piece that I created 20 years ago and it really feels nostalgic. I'm really thankful that it has been adapted like this after 20 years.

I find it more special than a recent and currently serialized one being adapted because it makes me think that it really has been appreciated for 20 years. So I would really like to express my gratitude and say thank you very much. I hope you really enjoy it. I've properly checked the game myself and I've given it my guarantee.

Though I don't know if it's all right to say this. Araki: By coincidence they frequent the same beauty salon as my wife.

So apparently she was chatting with the beautician saying "My husband draws manga," and they told her "We have other clients who are manga artists too. Nekoi: That's right. Then I heard that Araki-sensei's wife was there and basically it turned into a huge deal. Araki: We live quite close so said "Why not come over sometime if you like? Nekoi: But really, I've only met Sensei four or fives times in total up to now.

And it was always the four of us as a group, so I think this is the first time we've had a one-to-one conversation. I'm really nervous.

I thought it was a man pretending to be a woman in order to draw in a girlish style. And then I heard rumours that it was several people collaborating and not just one person, and I thought, What the hell?

There were too many pieces of information flying around, I couldn't make sense of it. It was pretty mysterious. Araki: : B. I got into so much trouble with the editors for that one. They said right off the title was impossible, there's no way you can run a manga called "Devil Boy" in Shounen Jump, and that the main character was evil. I had to explain that it was essentially a rehash of Sherlock Holmes and in the end somehow I convinced them. Nekoi: That's amazing, it was that difficult then. I couldn't have imagined but there was something alien about it I found as a child, I think, and that fascinated me.

Araki: Really though, the 70s were a period in the manga world where you had to develop to set yourself apart from the crowd. That was the tide, to go where no one else had gone before. I worked hard on that, so it makes me very happy to be told someone liked it. Araki: Thank you very much! But, to think those readers back then have become what they are now They even criticized my work.

Nekoi: But, anyone would do that if they had their favorite manga artist in front of them! You don't know if the chance will ever come again, right? So you want to run up and make them tell you everything! Araki: If I had to say what interests me the most as someone in the same line of work, it would be how you divide the work among the four of you. I've heard you don't use assistants so… In any case I would venture that xxxHolic is mainly drawn by Nekoi-san, is it not?

Araki: It must be Nekoi-san, surely. The kimono styles, the atmosphere of the art has that feel to it I don't suppose you can tell me? Nekoi: I'll go with the conclusion. The female characters in xxxHolic are drawn by Mokona.

I draw the male characters, the yokai, and any spirits that aren't in human shape. And animals. The covers and color pages are Mokona and I together.

The overall flow is blocked out by Mokona from Ohkawa's script, after which I check it, and that's how things typically advance. If we get stuck on anything we go back to Ohkawa and ask, "I don't quite understand this part, what is it supposed to be? Once everything is settled, Satsuki, Mokona and Nekoi each draw our parts separately. Araki: You're really systematic. How did you establish xxxHolic's global aesthetic? Nekoi: There's a concept for the cover or opening art each time, and that's decided by Ohkawa.

The story and worldview are all Ohkawa. She's like the overseeing producer. Araki: The gothic atmosphere that permeates the work is a large part of its charm. All that flat black is great. Araki: Yes, it's good to have a clear divide between black and white. That's something I can't do. I can't bring myself to color something in as a flat surface. I have to crosshatch and make it stand out in 3D.

Something like a school uniform, it's frightening to color it in… if I bring it down to a basic aesthetic level, perhaps. Araki: I see.

But you can also draw in a gothic style. That's amazing! All of xxxHolic has a flat, decorative feel to it, like Japanese prints or Alphonse Mucha. Araki: I thought so. It comes across. And the base color of the tankobon covers is never white. Araki: The feeling that there's an overriding concept at work is what makes it special. I think it's cool. With the JoJo series I wanted to use the classical method as a base and then introduce modern elements in the singular.

For instance, drawing in a realistic style but coloring in completely impossible colors. Or completely impossible poses. Araki: True, true. That's the thing, I aim for impossible but then am like, "Huh?

Well, I guess it's possible after all Nekoi: Almost never. We know that drawing from imagination can't approach the solidity that comes with research, that level of reality where people can say, "Turn the corner right there and you'll see my house Aside from that I think depicting fantasy in a fantastical way is also a matter of technique.

Well — one of our early stories did have an Indian flavour to it. Araki: I understand. For my part, you see, I'm currently drawing a journey as my main theme. I started wondering about the psychology of someone who's been walking for three days straight.

So I went and walked the Kumano pilgrimage road, which is a World Heritage site, to see what it was like. Araki: Yup. After three days, first of all you want to throw away everything you're carrying. I even wished I could throw away the cel phone they told me to carry in case I came across a bear. And when I saw the shrine at the end of the road, I felt thankful from the bottom of my heart. I honestly and unironically thought, "Thank god I came this far without getting hurt.

I understood then that the road was put there in order to give people that experience. Araki: xxxHolic takes place in a magical alternate world, doesn't it. What I get hung up on is, What are those yokai-like things?!

The ones shaped like young girls and the ones shaped like animals, and the monster types, are they all part of the same existence? Nekoi: Er But then, if you put them all together one can't say much other than "Well, that's the kind of world it is.

Araki: The "Stands" in JoJo can be conceptualized as a reification of hidden talent, with their source being a sort of energy that's been in the earth since ancient times. So there are no real monsters or yokai in my story. I've never really been able to get the existence of such things. I looked at Mizuki Shigeru-sensei's drawings and thought they were lovely, but when I saw something like a "bean washer" in the picture I would just think, What's up with that? I couldn't see any reason for that creature to exist.

Purely for the sake of washing beans? Nekoi: That's true. It's the sort of world where you go take a bath and there's an "akaname" in there. Araki: Exactly. What the heck is it? Is it an enemy? An ally? What does it want? If you can't figure out that much how are you supposed to fight it!

Is what I think. Araki: With that in mind, the other day I went to Toono, in Iwate. In order to gain a better understanding of yokai.

Araki: "I'd like to draw yokai tooo" was what I was half-thinking. And as I was standing, there was this middle school-aged boy there at the same time, and he bursts out with, "Hirohiko's in the Kappa River! Araki: And even I for some reason thought for a split second, "Gah, I have to get out of here!

Nekoi: You understood what it feels like to be a yokai, huh His brother came and said, "There's no such thing, you're lying! Nekoi: I watch films in the usual way, because I'm always following fads.

I liked "Jurassic Park".