Video summary

Reference is NOT Stealing: How Araki Ethically References in JoJo

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News and Commentary

Overview

The video argues that Hirohiko Araki’s art in JoJo’s Bizarre Adventure is widely celebrated because his so-called “borrowings” work as open, transformative artistic references, not plagiarism. It contrasts Araki’s approach with other artists who were criticized or lost clients for directly copying photo/model references—referenced with the Japanese term “torepaku.”

Popularity and why Araki is praised

  • JoJo is presented as one of the best-selling manga series, with its success attributed largely to Araki’s distinctive visual style:
    • highly stylized poses
    • exaggerated human forms
    • strong fashion influence from the 1980s–1990s
  • Araki’s influences—especially major fashion brands like Versace and Gucci—are framed as an asset rather than a liability, even when some magazine-style imagery appears obvious.

“Inspiration vs theft” and the “torepaku” contrast

The host explains the boundary between inspiration and unethical copying using Hisashi Eguchi as an example:

  • Eguchi’s work (from the 70s–80s manga era and later commercial illustration) faced backlash after reports said he used Instagram/magazine models as direct references.

The video then uses this contrast to argue why Araki’s references are different:

  • Araki is described as not doing one-to-one repainting.
  • His sources are often acknowledged.
  • The final results are argued to feel cohesive and original rather than traced.

Araki’s career foundation and development of style

Biographical points are used to show how Araki built his career despite obstacles, including:

  • being far from Tokyo
  • early rejection

The video frames his early influences as groundwork for later JoJo pose language, citing:

  • Sanpei Shirato
  • Mitsuteru Yokoyama ( Babylon II )
  • especially Tetsuo Hara’s Fist of the North Star, noted as a key source of pose and “character-energy” influence

It also presents Araki’s evolution as iterative—adapting what worked for readers and changing settings—rather than copying wholesale.

Part-by-part examples of reference and transformation

Phantom Blood (Part 1)

  • The host admits early art can feel clumsy/stiff compared to later work.
  • However, the video highlights improvement over time and points to:
    • iconic characters
    • the narrative structure that takes shape

Stardust Crusaders (Part 3)

  • Introduces Stands and shifts toward a near-contemporary fashion focus.
  • Emphasizes pose/fashion influences, especially from designer Tony Viramontes.
  • Notes process details such as freehand sketches between chapters.

Diamond is Unbreakable (Part 4)

The video presents this as the host’s favorite for two main reasons:

  1. Araki’s style becomes more fully his own by the end
    • shown through Josuke’s evolving look (muscular → leaner development)
  2. The story becomes framed as JoJo’s version of Twin Peaks
    • including visual styling references such as:
      • a killer figure resembling David Bowie
      • a character referencing composer Angelo Badalamenti

Across these arcs, the video repeatedly claims that Araki uses identifiable references but remixes them into distinct compositions, character designs, and consistent manga “energy.”

Why references don’t become plagiarism (the video’s “method” argument)

The video argues Araki avoids “stiffness” by not copying directly or relying too heavily on exact model photos/frames:

  • Manga needs frame-to-frame consistency.
  • The host claims that heavy photo/model copying makes that consistency difficult.
  • Araki’s references are presented as filtered through drawing decisions and composition planning.

Theory and craft: golden ratio and character design

The video cites Araki’s 2015 instructional book:

  • Manga Techniques of Hirohiko Araki (English edition: Manga in Theory and Practice)

Key points mentioned:

  • using the golden ratio as a principle of proportion and beauty
  • emphasizing character development grounded in appealing proportions

It also connects Araki’s later design evolution to a view of character-driven storytelling and the human ability to overcome obstacles, referencing a quote from an Anime News Network interview.

Visual art influence beyond fashion

Araki’s inspiration is also traced to fine art:

  • Paul Gauguin is cited, particularly for stylistic qualities such as:
    • flat color areas
    • clear outlines
    • composition guidance using rounded shapes and negative space

Conclusion: legacy and community acceptance

The video concludes that Araki’s success comes from:

  • engaging characters
  • disciplined craft
  • a recognizable-but-transformed visual language

It also notes cultural acceptance of JoJo poses, including fan recreations on Instagram/TikTok, and suggests JoJo is structurally accessible—especially by starting with newer parts.

Presenters or contributors

  • Chris (host of Comic Tropes)
  • Hirohiko Araki (subject of the video)
  • Hisashi Eguchi (contrasting case mentioned)
  • Tetsuo Hara (Fist of the North Star)
  • Sanpei Shirato
  • Mitsuteru Yokoyama (Babylon II)
  • Frank Frazetta
  • Moebius
  • Antonio Lopez
  • Tony Viramontes
  • Michelangelo (referenced for musculature value)
  • Paul Gauguin
  • David Bowie
  • Angelo Badalamenti
  • Greg Land, Takehiko Inoue (Slam Dunk) (referenced for “reference-heavy” controversy context)
  • Moschino (mentioned via jewelry/uniform emblem resemblance)
  • Versace, Gucci, Givenchy, Valentino, Prince (fashion/visual inspirations referenced)

Original video