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From the 1st episode of the 1st season, “Dio the Destroyer” The rules established through this meeting were later distributed to all the staff involved in the JoJo anime, and became a sort of “bible” for the rest of the series. In this way, everyone agreed to pursue the complete reproduction of all elements, including the onomatopoeia. They came up with everything from easy to understand things like “onomatopoeia” and “unique posing” to impressions like “I feel refreshed after reading” and “the battles are difficult.” At the end of the process, they sorted through all of it, and Kasama concluded, “If we follow the usual methods of creating animation, we’ll end up with ‘JoJo’s Ordinary Adventure.’ JoJo has to be a ‘bizarre adventure.’ If you think about it, the answer was in the title from the very beginning.” Tsuda and his team read the original manga again and again until their copies were worn out, writing as many elements and characteristics of JoJo as they could think of on the whiteboard. The first aim that Producer Omori discussed with the production team was to “make JoJo.” Not something “JoJo-like” or “JoJo-style,” but JoJo itself.
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Yasuko Kobayashi joined as series composer at the recommendation of the editorial department, and then, with the further addition of Yasufumi Soejima as visual director, the JoJo anime was finally ready to get going. The respect for the original manga that can be felt from every corner of the film is perhaps a natural result of this lineup. Coincidentally, all four were huge JoJo fans. The core members of the team were Omori and Kasama, the producers, and Tsuda and Suzuki, the directors. It’s a big title, but rather than be controlled by the opinions of the people around us, we were going to make our own JoJo.” I wasn’t afraid of anything (laughs).” On the other hand, Suzuki said, “I didn’t feel any particular pressure, and the joy of being involved with JoJo, which I love, was greater than anything else. When I think about it now, it’s more like the folly of youthful passion. Suzuki, I thought we might be able to do it. I thought that by working together, we would be able to capture both the strength and the fun of the original manga.” In fact, Tsuda also said, “I’m a JoJo fan myself, but if I had been asked to make the anime by myself, I might have refused. Kasama explained why he chose Tsuda and Suzuki: “Tsuda is a good comedic director, and Suzuki is a good action director. Although there is a slight difference in the way they are credited, with Tsuda serving as “director” and Suzuki as “series director,” they essentially collaborated on all aspects of the production.
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“To be honest, I thought it would be difficult for a single director to take on Araki’s extraordinary talent, so I decided to have more than one director, which is unusual for a TV animation project, and challenge him as a team.”（Kasama） The task fell to Naokatsu Tsuda and Kenichi Suzuki. When David Production’s producer Hisataka Kasama received news of the anime adaptation, he came up with the secret plan of having multiple directors.
Omori was convinced, “I can let them handle this,” and approached them.Ĭhallenging Hirohiko Araki’s talent as a production team At the time, David Production was still a newly established studio, but their work on the anime for the “Tatakau Shisho” series, which is also a JUMP property like JoJo, showed powerful linework and careful animation.
Naturally, a studio that could draw JoJo would have to be one that “could draw powerful muscle movements.” Therefore, Omori turned his attention to David Production, which was descended from Gonzo, a studio that had created numerous works in the past.
He says, “There was the problem of what to do with the design, but the power of the work itself has not faded, and above all, I am a big JoJo fan myself, so I decided to take on the challenge despite the difficulties.” After getting Shueisha’s consent, he immediately started to choose a studio. However, he decided to go ahead with the anime adaptation. Omori wondered if people who weren’t familiar with JoJo would be able to accept these designs. It was very different from modern trends in character design.
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In the early days, Hirohiko Araki drew characters in a gekiga style that was full of machismo. When he was approached by an anime-related company about making a TV anime, Hiroyuki Omori, a producer at Warner Brothers Japan, was worried for a while that, “This is a difficult task.” Although JoJo is one of the biggest series in Japan, the original manga started in 1987. The anime adaptation started with “This is a difficult task”
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