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JoJo's Bizarre Adventure ERA |OT| Stand Up and Pose
- Thread starter Matsukaze
- Start date
There's been this big debate on twitter about Araki's skills as a writer. Oceaniz and Meti are chiming in
Araki is definitely a very capable writer, at times he's like "fuck logic," but other than that he's very good. Some just don't like how he tells a story I would imagine.
It just got announced for a reissue.
Togashi, Kishimoto, and an unnamed editor talking about Araki and some of his process.
Editor: So in Araki Sensei's JoJo's Bizarre Adventure, I wondered how you'd stop an enemy who could stop time. The answer was to stop time back. It's so simple, but it's done with such gusto that it works. I think being able to do that is a real talent.
Togashi Sensei: He was able to maintain that high level of art, without straying from the weekly schedule, and he came up with that story. You can't help but be impressed.
Kishimoto Sensei: It was so revolutionary. And I couldn't believe how many two-page spreads he did in a row. And it was convincing because he's built up the genealogy since Part 1. That's just something you normally can't pull off.
Editor: I've worked with Araki Sensei on a few one-shots, and he has an incredible eye for detail. He's like, "This happens here, which leads to this and then this." Everything is in place.
Togashi Sensei: Being able to decide everything while talking it over with your editor is amazing too.
Kishimoto Sensei: Araki Sensei has everything thought out beforehand?
Editor: He has the notion of a goal he wants the story to reach. Then we discuss how exactly we can get there. Then, once he has enough ideas, he gets into the storyboards. Then he says he'll deliver the storyboards in a month, and they arrive exactly when he said they would.
Togashi Sensei: It's amazing that he can tell exactly how long he'll need for the storyboards. A long time ago, during a manga award judging meeting, I heard that he took six hours to do the storyboards. I remember thinking that must be about right.
Editor: So in Araki Sensei's JoJo's Bizarre Adventure, I wondered how you'd stop an enemy who could stop time. The answer was to stop time back. It's so simple, but it's done with such gusto that it works. I think being able to do that is a real talent.
Togashi Sensei: He was able to maintain that high level of art, without straying from the weekly schedule, and he came up with that story. You can't help but be impressed.
Kishimoto Sensei: It was so revolutionary. And I couldn't believe how many two-page spreads he did in a row. And it was convincing because he's built up the genealogy since Part 1. That's just something you normally can't pull off.
Editor: I've worked with Araki Sensei on a few one-shots, and he has an incredible eye for detail. He's like, "This happens here, which leads to this and then this." Everything is in place.
Togashi Sensei: Being able to decide everything while talking it over with your editor is amazing too.
Kishimoto Sensei: Araki Sensei has everything thought out beforehand?
Editor: He has the notion of a goal he wants the story to reach. Then we discuss how exactly we can get there. Then, once he has enough ideas, he gets into the storyboards. Then he says he'll deliver the storyboards in a month, and they arrive exactly when he said they would.
Togashi Sensei: It's amazing that he can tell exactly how long he'll need for the storyboards. A long time ago, during a manga award judging meeting, I heard that he took six hours to do the storyboards. I remember thinking that must be about right.
Oh awesome! Guess I'll figure out something else to get my sister for her birthday. Probably get her the blurays of part 3
If only Togashi could do the same thing...
I don't respect Kishimoto as a writer.
Stardust Crusaders Pt. 1 is roughly $41 on amazon for prime day, and the DiU Pt. 1 set just dropped last week. Lots of options. There Pt 3 Nendos too. Josuke is out, Kakyoin is out in Japan, DIO later this year.
This interview applies to Jojo up to part 5, and to the grander scheme of part 6 and 7. However, especially in part 6, the attention to details becomes worryingly lacking. I'm not a huge fan of part 7, but at least there's no blunder like the snail-eating beetles.
Man pepole are going to be confused as shit about Underworld - Underworld and Heavy Weather back to back is peak JoJo fuckery
Jolyne getting transported randomly into an F-15 as it's about to get shot down is going to be hilarious...not to mention Miami Dolphins running back Larry Csonka.
reading it............Snailmeggedon is fucking werid
Stone Ocean's ending few arcs is pure unfiltered Araki
Stone Ocean's ending few arcs is pure unfiltered Araki
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Still waiting for that Togashi/Araki interview where Togashi fanboys over him the whole time.
Though has Araki done many interviews with other mangaka?
Having just rewatched it... no, it most certainly is not. It's good, no doubt, but Togashi's storytelling has improved by leaps and bounds since then.
I heard from a guy that worked with tetsuo hara(hokuto no ken artist) that togashi thinks everything through, so he takes a long time to finish storyboards, as you get older your pacing is bound to slow down a bit so that's probably whats up with him :/
Doesn't help that latest arc became fucking
game of thrones battle royale edition
Togash has actually said before that he loves drawing storyboards and has no problem finishing them quickly. He storyboarded the entirety of Election arc in a week and said he already has the storyboards of the next 10 chapters done when he last went to hiatus in November 2018
It is turning those storyboards into actual chapters that he seems to dislike and struggle with
It is turning those storyboards into actual chapters that he seems to dislike and struggle with
I didn't get much details lol it was just a friendly chat with the dude but i don't really know how much the assistants know about the work of mangakas they don't deal with, by his tone it seemed like togashi rewrote stuff a lot or something and judging by how intricate hxh got i wouldn't doubt it plays a part, take it with a pinch of salt xD, but iirc he's a bit of a perfectionist when it's about the story
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As much as I love Yu Yu Hakusho, it still really bothers me how badly Togashi botched the ending of Chapter Black. That arc went from fantastic to meh at lightning speed, and I feel like the rest of the series never really recovered from it.
Ah, yeah that makes alot of sense. It's a shame but I can't really blame Togashi for it at all, the life of a mangaka is fucking hard. Even if they're annoying and take forever, I'm glad that he gets the breaks that he needs nowadays.That timing sounds about right.
Diavolo isn't a high bar, but fun was definitely had with Diavolo over the course of the anime and he ultimately isn't redeemed in a way that Anansui was. Both are not good people, but Diavolo is never viewed through a heroic lens and Anansui never should have as well.
While i still think that the Part 6 ED will likely be a female singer - the more i thought about and the more i saw Reddit Discuss it, i think Train - Drops of Jupiter really fits as the Part 6 ED
This would also fit:
This would also fit:
Found this (partial?) interview from 2017. Many have probably seen it before, and if you know of any missing bits, definitely feel free to post them.
-- --
The first thing he said after seeing the Shonen Jump with chapter one of "JoJo's Bizarre Adventure" was, "First of all, those two colors are good."
Those "two colors," which are now only seen on article pages, refer to the black and red printing. Solid black lines with red shading.
"It gives it force, and expands the world view. I liked both seeing those colors and drawing them. I was a bit sad when they stopped being used. There's sort of a romance in them, as far as manga is concerned."
Hirohiko Araki made his Shonen Jump debut in 1980. Araki, a long-time reader of Shonen Jump, has described Jump in the '80s as, "like a minimally abstract, strange expressive medium consisting mostly of manga."
"I especially felt that when I saw Yoichi Takahashi's 'Captain Tsubasa' and work by Masami Kurumada [best known for Saint Seiya]. It's like, they just made the characters and story extremely simple. I found that amazing. I don't dare to do detailed descriptions of drawings, or depict the inner workings of characters. Even in the world of painting, people like Mark Rothko came along and abstract paintings ultimately became simpler. It's similar to that. The world that made me think 'this may be all I need' was in the early 80's and 90's Shonen Jump."
Although seemingly vastly different, Araki's style was influenced by the work of Kurumada and Takahashi.
"There was a time when I made a note of how many panels there were per chapter (laughs). I studied the work of these two artists and learned character creation and storytelling. I think Akira Toriyama was also an influence. I researched it and I think that 'Dragon Ball' was the first to use the minimum necessary elements. I think Shonen Jump makes it possible for everyone to influence everyone else."
And then, he continued like this. "Shonen Jump is a living organism that consists of various manga artists."
"Including the editors, I think. Each individual is like a body part of Shonen Jump. Various individual personalities get together as one body to give life to it. For example, when I see 'One Piece' by Eiichiro Oda and 'Naruto' by Masashi Kishimoto together, I feel like it's like yin and yang, or left and right, traveling along the same road. If either one is missing it feels lacking. There's those two, and Akimoto [best known for Kochikame, which ran in Jump for 40 years]. And it makes this life form called Shonen Jump. It lives so it also moves, its cells change over time, and its appearance may even change. I think that's because no work has the same personality, and no one part has to be the same as another to fit the body. If one part is the same as another, readers will shun it.
I'm no genius. I create while following a procedure.
If something has the same personality as another, readers will shun it; it's this Shonen Jump in which "JoJo" unleashed a truly unique personality.
"In music, there are guitarists you can recognize right away just hearing a little of the music. I want to create manga that's recognizable as mine at a glance. I was told in the beginning, 'Don't create anything that's similar!' (laughs)."
While treating individuality as important, he's repeatedly said his work is "main street."
"I'm traveling down main street (laughs). Artists like Kurumada and Toriyama create manga that's special. I draw and shade and remain faithful to the art. But, everyone does planar drawings. It's incredible. When I talk to them about it, it seems that they do it unconsciously, so they're probably geniuses. There are geniuses in Shonen Jump now too. Some manga, when I first read them I can't follow. It's like they aren't normal and don't make sense, but as I read I start to get it. Shonen Jump's solid popularity is because of those kinds of manga."
It's interesting that Araki, who may be called a genius himself, thinks of other artists as geniuses.
"I'm no genius. I create while following a procedure."
It's true that when you read "Araki Hirohiko's Manga Technique" written by Araki three years ago, you can tell that he creates in a logical way.
"I think that about myself (laughs). I also read books by Hitchcock on making films, 'manga for beginners' type books, and I even learned things from my teachers in junior high and high school art classes. I just brought those theories I learned to manga. I analyzed manga with my friends since elementary school. My friends would say things like, 'Mizuki Shigeru's backgrounds are scary, and Kazuo Umezu's people are scary.' (laughs)"
I wanted to discuss manga with other Shonen Jump artists.
In the '90s, Araki was in the middle of the fourth part of "JoJo" when Shonen Jump hit its peak circulation.
"I was in my 30s, about 10 years after my debut. I was sort of in my prime. I wasn't a rookie, and I was starting to really understand how to create manga. When I think about it now, I was fortunate at that age to have been published in Shonen Jump when it was really jumping (laughs). When I say 'jumping' I don't mean only circulation numbers, but also the content."
He seems unaware that when Jump was "jumping," he was one of the catalysts.
"There's always something above you. There are always more popular creators. I never felt I was like that."
He never felt that any other creator was a rival.
"Maybe it's because I created this kind of manga, that I didn't feel that way. But at the same time, I didn't feel much camaraderie with the other artists either. I guess I never had much of a competitive spirit (laughs). But I do sometimes wish I had discussed manga more with other Jump artists, like I used to with my friends in elementary school. I had no experience as an assistant, and no friends who were assistants, so I had no chance to talk about manga. Even now, I'd like to talk to them."
The inexpensiveness of Shonen Jump as a printed publication adds to the romance of it.
When entering the 2000s, Araki came to feel that the 19 pages per chapter mandated by Jump was unsatisfactory, and he moved to Ultra Jump where he felt he could produce higher number of pages. There are things he felt for the first time after leaving Shonen Jump.
"About four years ago (in Weekly Shonen Jump) I did a series of Rohan Kishibe stories, which I hadn't done in a while, and when I saw them in print I thought, "Ah, this is Shonen Jump!' There's a certain scent to it. Like I said, there's a certain romance to the inexpensive printed magazine. I wonder if that same charm will continue on. As printing technology evolves, and paper becomes slicker or digital, I'm concerned that the romance will disappear as new things are built and the old are discarded. There is also romance in the thinly colored printing. If you ask manga artists, we have preferences as to the print colors. But I don't get to select them myself. I don't like the times when the ink is blue. I feel like, "This isn't my manga!' (laughs). It's like… there's just something about printed ink. For example, Go Nagai draws women's skin with a stroke of a G-nib pen, and it comes to life. A manga artist feels that 'something' when drawing, and wants the reader to feel it too."
Many people around the world have felt that "something" from Araki's work, and continue to be influenced by him. What does he think is appealing to people about his work?
"Well, it's really nice to hear that, but I don't have any idea myself. Maybe it's the way I draw people. I don't rely on robots or equipment. I decided in the beginning to create human will and physicality because that's all I think about. Oh, and also, I recently met with my first editor and he said, 'You've been watching horror movies all this time, haven't you? I think that's good.' When I thought about it, I had been. Even if there's only one really bad horror movie at a certain rental shop, I rent it anyway expecting it to have some redeeming quality. I've been watching them for decades, so maybe something from one of them showed up in my work (laughs)."
What is Weekly Shonen Jump to Hirohiko Araki?
It's like a nostalgic home town.
I've been with it longer than I lived in my family home,
and I was raised with it. It feels nostalgic when I go back to it.
-- --
The first thing he said after seeing the Shonen Jump with chapter one of "JoJo's Bizarre Adventure" was, "First of all, those two colors are good."
Those "two colors," which are now only seen on article pages, refer to the black and red printing. Solid black lines with red shading.
"It gives it force, and expands the world view. I liked both seeing those colors and drawing them. I was a bit sad when they stopped being used. There's sort of a romance in them, as far as manga is concerned."
Hirohiko Araki made his Shonen Jump debut in 1980. Araki, a long-time reader of Shonen Jump, has described Jump in the '80s as, "like a minimally abstract, strange expressive medium consisting mostly of manga."
"I especially felt that when I saw Yoichi Takahashi's 'Captain Tsubasa' and work by Masami Kurumada [best known for Saint Seiya]. It's like, they just made the characters and story extremely simple. I found that amazing. I don't dare to do detailed descriptions of drawings, or depict the inner workings of characters. Even in the world of painting, people like Mark Rothko came along and abstract paintings ultimately became simpler. It's similar to that. The world that made me think 'this may be all I need' was in the early 80's and 90's Shonen Jump."
Although seemingly vastly different, Araki's style was influenced by the work of Kurumada and Takahashi.
"There was a time when I made a note of how many panels there were per chapter (laughs). I studied the work of these two artists and learned character creation and storytelling. I think Akira Toriyama was also an influence. I researched it and I think that 'Dragon Ball' was the first to use the minimum necessary elements. I think Shonen Jump makes it possible for everyone to influence everyone else."
And then, he continued like this. "Shonen Jump is a living organism that consists of various manga artists."
"Including the editors, I think. Each individual is like a body part of Shonen Jump. Various individual personalities get together as one body to give life to it. For example, when I see 'One Piece' by Eiichiro Oda and 'Naruto' by Masashi Kishimoto together, I feel like it's like yin and yang, or left and right, traveling along the same road. If either one is missing it feels lacking. There's those two, and Akimoto [best known for Kochikame, which ran in Jump for 40 years]. And it makes this life form called Shonen Jump. It lives so it also moves, its cells change over time, and its appearance may even change. I think that's because no work has the same personality, and no one part has to be the same as another to fit the body. If one part is the same as another, readers will shun it.
I'm no genius. I create while following a procedure.
If something has the same personality as another, readers will shun it; it's this Shonen Jump in which "JoJo" unleashed a truly unique personality.
"In music, there are guitarists you can recognize right away just hearing a little of the music. I want to create manga that's recognizable as mine at a glance. I was told in the beginning, 'Don't create anything that's similar!' (laughs)."
While treating individuality as important, he's repeatedly said his work is "main street."
"I'm traveling down main street (laughs). Artists like Kurumada and Toriyama create manga that's special. I draw and shade and remain faithful to the art. But, everyone does planar drawings. It's incredible. When I talk to them about it, it seems that they do it unconsciously, so they're probably geniuses. There are geniuses in Shonen Jump now too. Some manga, when I first read them I can't follow. It's like they aren't normal and don't make sense, but as I read I start to get it. Shonen Jump's solid popularity is because of those kinds of manga."
It's interesting that Araki, who may be called a genius himself, thinks of other artists as geniuses.
"I'm no genius. I create while following a procedure."
It's true that when you read "Araki Hirohiko's Manga Technique" written by Araki three years ago, you can tell that he creates in a logical way.
"I think that about myself (laughs). I also read books by Hitchcock on making films, 'manga for beginners' type books, and I even learned things from my teachers in junior high and high school art classes. I just brought those theories I learned to manga. I analyzed manga with my friends since elementary school. My friends would say things like, 'Mizuki Shigeru's backgrounds are scary, and Kazuo Umezu's people are scary.' (laughs)"
I wanted to discuss manga with other Shonen Jump artists.
In the '90s, Araki was in the middle of the fourth part of "JoJo" when Shonen Jump hit its peak circulation.
"I was in my 30s, about 10 years after my debut. I was sort of in my prime. I wasn't a rookie, and I was starting to really understand how to create manga. When I think about it now, I was fortunate at that age to have been published in Shonen Jump when it was really jumping (laughs). When I say 'jumping' I don't mean only circulation numbers, but also the content."
He seems unaware that when Jump was "jumping," he was one of the catalysts.
"There's always something above you. There are always more popular creators. I never felt I was like that."
He never felt that any other creator was a rival.
"Maybe it's because I created this kind of manga, that I didn't feel that way. But at the same time, I didn't feel much camaraderie with the other artists either. I guess I never had much of a competitive spirit (laughs). But I do sometimes wish I had discussed manga more with other Jump artists, like I used to with my friends in elementary school. I had no experience as an assistant, and no friends who were assistants, so I had no chance to talk about manga. Even now, I'd like to talk to them."
The inexpensiveness of Shonen Jump as a printed publication adds to the romance of it.
When entering the 2000s, Araki came to feel that the 19 pages per chapter mandated by Jump was unsatisfactory, and he moved to Ultra Jump where he felt he could produce higher number of pages. There are things he felt for the first time after leaving Shonen Jump.
"About four years ago (in Weekly Shonen Jump) I did a series of Rohan Kishibe stories, which I hadn't done in a while, and when I saw them in print I thought, "Ah, this is Shonen Jump!' There's a certain scent to it. Like I said, there's a certain romance to the inexpensive printed magazine. I wonder if that same charm will continue on. As printing technology evolves, and paper becomes slicker or digital, I'm concerned that the romance will disappear as new things are built and the old are discarded. There is also romance in the thinly colored printing. If you ask manga artists, we have preferences as to the print colors. But I don't get to select them myself. I don't like the times when the ink is blue. I feel like, "This isn't my manga!' (laughs). It's like… there's just something about printed ink. For example, Go Nagai draws women's skin with a stroke of a G-nib pen, and it comes to life. A manga artist feels that 'something' when drawing, and wants the reader to feel it too."
Many people around the world have felt that "something" from Araki's work, and continue to be influenced by him. What does he think is appealing to people about his work?
"Well, it's really nice to hear that, but I don't have any idea myself. Maybe it's the way I draw people. I don't rely on robots or equipment. I decided in the beginning to create human will and physicality because that's all I think about. Oh, and also, I recently met with my first editor and he said, 'You've been watching horror movies all this time, haven't you? I think that's good.' When I thought about it, I had been. Even if there's only one really bad horror movie at a certain rental shop, I rent it anyway expecting it to have some redeeming quality. I've been watching them for decades, so maybe something from one of them showed up in my work (laughs)."
What is Weekly Shonen Jump to Hirohiko Araki?
It's like a nostalgic home town.
I've been with it longer than I lived in my family home,
and I was raised with it. It feels nostalgic when I go back to it.
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Holy shit he remembers saint seiya lol
Really nice interview, nice to see he keeps studying despite all the mileage he got through the years @-@
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OP
OP
Awww so cute, you can definitely tell DIO would love watching this lil guy butcher intruders.
"Pet Shop-chan, go fuck up that dog."
"My bird of prey is so kawaii"
It releases every month on the 18th, usually at the end of the day.
We should get spoilers tomorrow, though.
Edit: How long does everyone expect this arc to last, anyway? I'm thinking another two, maybe three chapters myself. That would get us through volume 22 and into volume 23.
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I know but i always pray for leaks ;-;
2 chapters seem right but i just wanna know what the fuck is going on with tsurugi
Araki has once again changed the chapter titles in the latest volume release: "Countdown to the Harvest" (chapter 83) is now "The New Rokakaka" and "The Head Doctor of TG University Hospital" (chapters 84-86) is now "The Wonder of You (The Miracle of Your Love)."
It's worth noting that "The Wonder of You" is an Elvis song, which may indicate that it's the name of the head doctor's (or Tooru's) Stand.
Edit: The volume itself is also titled "The Wonder of You," so yeah, that's likely the name of the Stand we saw in the stairwell.
It's worth noting that "The Wonder of You" is an Elvis song, which may indicate that it's the name of the head doctor's (or Tooru's) Stand.
Edit: The volume itself is also titled "The Wonder of You," so yeah, that's likely the name of the Stand we saw in the stairwell.
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I hate that we're gonna have to wait like at least 2 more months to see what's up with the head doctor and/or Tooru's Stand. Like, the Ojiro stuff is neat and all and I do really want to see what's up with Tsurugi, but man is the suspense killing me.
It's been a loooong time since Gappy has ORA'd anyone, and that Tooru punk seems like a prime candidate to get his shit wrecked by Soft & Wet.
It's been a loooong time since Gappy has ORA'd anyone, and that Tooru punk seems like a prime candidate to get his shit wrecked by Soft & Wet.
OP
OP
Just dropping in to ask for some dope ass jojo phone wallpapers to spice up my new s10.
Please and thank you x
Please and thank you x