My work centers around protagonists who grow as they overcome hardship. In creating Johnny, I didn't necessarily set out to depict a hero with a disability. He was the end result of my pursuit to create a character who could grow, both physically and mentally, during a race where he would be forced not only to rely on other people, but horses as well. You worked for several years with a weekly deadline as part of Shonen Jump, until transitioning to a monthly deadline when JoJo's Bizarre Adventure moved to Ultra Jump in 2004. What are your feelings on the weekly vs. monthly model of creating manga? My closing conclusion is this: ultimately, the 'golden way' or 'royal road' to Hirohiko Araki is alike to Shelley's 'sublime.' That is to say, it is directly linked to his philosophy on the 'Golden Ratio' or symmetrical perfection; divine beauty derived by synchronised, synergised points of emphasis. He understands he does not achieve this all the time, but aims to achieve it where possible by refining his style and attitudes accordingly to maximise the propensity. Is worthwhile advice given to many children but often forgotten later down the line, especially in writing. It shouldn't be outwardly apparent all the time, sometimes illusionary, but they are the words that glue together intrigue. Araki no cree que existe algo así como un manual para conseguir el éxito. Él cree en los puntos clave, los elementos existente en todas las obras de éxito, pero no en las reglas universales. Cada obra es una montaña. Y para escalar esa montaña, el autor debe encontrar sus propios medios, incluso si hace uso de un mapa. En otras palabras, Araki nos da las bases a partir de las cuales cada artista debe encontrar su método.

That is not to say that I do not recommend purchasing this book. The insights into the mind of a mangaka is interesting to read about. At first, I thought he was telling you how his way was the only way, only to find out that he wants you to take what you have learned in his book and do better. Be original. Follow certain paths, but create something brilliant. Also, the book is full of references to Hirohiko Araki's own work. Not just his most famous serial "Jojo's Bizarre Adventure", but also his other less known work such as his first one one-shot "Poker Under Arms" (1981), and his first serial "Mashounen B.T." (1983).Reading this book has confirmed some of my suspicions of JoJolion's 'shoddy writing' but beautiful execution. It was deliberate, him employing the tropes and mechanics he'd neglected or despised in the past, and an opportunity for him to indulge in all he'd once strove to avoid. It was him letting go and having fun again. Likewise, I've been drawing inspiration from Greco-Roman statues and post-enlightened paintings for my writing. Something about the depth and complexity of a statue is awe inspiring; I'd very much like to visit Italy, myself sometime. Aún explicando la necesidad de los cuatro elementos regidores de toda narración —personajes, historia, escenario y tema; en ese estricto orden de importancia— Araki siempre acaba poniendo algo de sí mismo entre líneas. Cual es el método que él utiliza, o ha utilizado, para llegar hasta sus conclusiones. Y en ese arranque metodológico, es donde deja ver lo obvio: consiste no en hacer, sino en mirar. keeping up a serialized manga requires great amounts of time and stamina. Missing a deadline will begin to exact a mental and physical toll, and once you finish your assignment and it comes time to face the next week’s planning meeting, you’ll already be exhausted in mind and body. Under those conditions, continuing to make good manga is not possible. If you can’t find time to do this kind of research, or even to watch movies or read books or other activities to help find ideas, you’ll wither as a mangaka." Araki Sensei: I think it can be applied, but I'm not too familiar with American/Western comics so I can't give specific examples. However, I believe that detailed, precise manga panel development designed to depict intricate emotions is the defining feature of Japanese manga, and that approach can be applied in various forms.

Araki is the creator of the long-running Jojo’s Bizarre Adventure, which has sold over 100 million books worldwide. It’s been animated for television, OAVs and theatrical features, as well as adapted to novelizations, video games, etc. Araki was one of five artists featured in the 1990 exhibit Le Louvre invite la bande dessinée (“ The Louvre Invites Comic-Strip Art“). Qué hace concretamente en el libro? Nos explica cuáles son las claves universales de la narrativa, cuáles son los elementos más importantes del manga y, para mostrarnos porqué es así y no de otra manera, también nos pone ejemplos tanto de su propia obra como de la de otros, sean del manga o fuera de él. Porque Araki no cree que su libro esté limitado al aspirante a mangaka. Ni siquiera que el manga sea una singularidad. A sus ojos, las leyes del manga son leyes universales. Todo medio narrativo, de la literatura al cine pasando por el manga o el teatro, siguen las reglas que él recopila en el libro.Every artist, author, musician, whatever, needs to evaluate this. Are you doing this so others can see you do it and congratulate you, eternally? Or do you WANT to do it, regardless? Is it built into you? Do you want to build it into you? Or do you want to pretend until you can't anymore? Hirohiko Araki advice is an excellent contribute to the mangaka community; however, this book the reader will only get to the middle of Chapter 3 before putting the book down to take notes for contemplation of putting the puzzle together. The Shueisha Inc. who translated this from Japanese into English did not properly structure the paragraphs of this book. Blame Shueisha Inc. editorial staff for disrupting the flow of the story, not Hirohiko -since English is not Hirohiko's native language!