Run the steel ball in JoJo’s Bizarre Adventure Adapts Part 7 overall by Hirohiko Araki JoJo’s Bizarre Adventure Manga. The series is somewhat different from the previous parts; The setting, abilities and structure are completely unique and make this part stand out from the previous ones. Perhaps it’s fitting, then, that anime has a unique style when it comes to release times and air dates. Steel ball running It was first released worldwide on Netflix with the first episode (referred to as Phase 1) premiering on March 19, 2026. Phases 2 and 3 are scheduled to be released weekly on streaming services starting on September 25 of the same year.
The first stage was a strong opening, and given its length as an extended 47-minute special, it provided plenty of opportunities to draw fans into the world of Steel ball running As well as setting the tone for future stages. While we await future phases, we had the opportunity during Anime Expo to speak with two very important members of the staff Steel ball running. Yugo Kanno has been serving as the franchise’s music composer ever since JoJo’s Bizarre Adventure Stardust Crusaders He is responsible for many of JoJo’s popular songs heard online. Noriko Dohi has been part of the series ever since JoJo’s Bizarre Adventure The Golden Wind He is involved in many pieces throughout the overall production process. The interview touched on music, staff selection, and the decision to move to a split hall model Steel ball running.
Portions of this interview have been lightly edited for clarity. This interview was conducted with the assistance of a translator.
Q: How did you both first meet? JoJo’s Bizarre Adventure? What was your first impression of the series and which part was the first you encountered?
Dohei-san: The first time I called her JoJo It actually had to work on Golden wind. I didn’t really know that when I was a kid. I’ve only watched a few of the anime, but everyone tells me how lucky I am to have learned about JoJo as an adult. Because it’s so great.
Kano-san: For me it was when I was a kid. I was reading Weekly Shonen Jump magazine. That’s when I learned about it. In elementary school, it was a bit difficult for me to understand some of the content. But when I went to middle school, I felt like I understood it better. In part 3, Stardust CrusaderI’ve been able to get into it so much more. I think that’s when I first contacted him.
Q: Kano-san, each part of JoJo’s Bizarre Adventure has a certain style that is different from the others. Can you tell us about the process you went through to define this style and translate it into music?
Kano-san: For example in Part 7, Steel ball runningI really think it’s a story of two people’s growth. It’s mostly this cross-continental race and the kind of situation that comes up in the stories. I find these specific keywords, as I mentioned here, to understand the essence of the story. So, I can move quickly once I’ve identified this core. Even then, it is very difficult to understand because Mr. Araki’s message is very important and sometimes difficult to decipher. I would say that keywords are the most important aspect that I focus on first.
Q: Dohei-san, as a producer, what is the most important thing when translating Jojo from manga to anime? What have you learned from working on the adaptation of Golden Wind and Stone Ocean that you hope to bring to it? Steel ball running?
Dohei-san: The original from Mr. Araki is pretty cool. The worldview, the story, the drawing style, everything is great. It’s really important to stay true to that in the anime. But just staying loyal won’t create the anime you see now. There is a lot of analysis and deep understanding that we have to gain first. Without that, I think it’s really difficult to express to the audience the original intention of the work.
Q: Kano-san, multiple parts of JoJo’s Bizarre Adventurestarting from stardust Crusaders, They have jazz and funk elements to them. Can you talk about your exposure to this type of music and how and why you brought it to the series?
Kano-san: For classical music, the emphasis is on the first beat. It’s on one. In jazz and punk, it’s two and four. This is called the other side of rhythm, you might say. I don’t think JoJo’s muscles, and the danceable, hip world he lives in, can be expressed through rock or classical music alone. These genres – when I was in high school or even before that, my parents loved records and would always listen to jazz at home. I grew up with that, and I think it became part of my jazz and funk blood.
Q: Dohei-san, how much does the production team work with American history experts to keep the setting right?
Dohei-san: So we had an expert who was our advisor, called Hidekazu Nishikawa. He’s an expert on American history, so he would check our script and say, “Oh, this may be in the original script but it’s actually not what’s realistic,” and so on. One of the things we adjusted was the value of money. The same amount was worth a lot more at the time, so we adjusted there, and then we also changed kilometers to miles to work better for American audiences, but also for the time period and everything. This is what we discussed from the scenario stage.
Q: Kano-san, are there any similar types of genre effects that you kept top of mind in STEEL BALL RUN? Was there anything different in your approach to the music for this part compared to the previous music?
Kano-san: Crossing the continent was a big topic, so I had Western music in mind. This time, I also used elements of jazz and funk as well. My world view of JoJo, with all this experience from parts 3, 4, and 5 – I started to notice what I thought it was JoJo– Like music, this became the only thing. So I continued this atmosphere, and I kept JoJo-ness, but I still show that larger range in music as well, and race as a genre is also part of it. So I expressed many different genres. As for the sound of the ball spinning, that’s something I’ve snuck in here and there. So this is something to listen to when you listen to the soundtrack.
Q: Dohei-san, from the production team, what did you have in mind when choosing the cast for the series? How do you balance incorporating staff who are familiar with the series and bringing in fresh eyes?
Dohei-san: We used the same output for Steel ball running As we had to Golden windThis is because our director Kimura-san loves him Steel ball running a lot. They told our producer that he wanted to do it, so they created it together with director Takahashi. In fact, it was because he wanted to do it and for no other reason.
Kano-san: By the way, all Japanese creators want to do this JoJo.
Dohei-san: But no one comes and says they want to do it! I wish more people would reach out to me saying they want it.
Q: Kano-san, what are some of the difficulties in writing the series?
Kano-san: I feel pressure from all over the world.
Dohei-san: in Dancing with running steel ballI remember you saying, “This is what you’ve all been waiting for.”
Kano-san: By far, this was the most painful part of the birth. I have what is called the curse of the fifth part – because the theme song for this part quickly spread throughout the world. I feel like the fans are waiting and it’s a tough battle to meet those expectations. It was a difficult birth. To me, this is better than the fifth part I came up with. I feel a sigh of relief.
Q: Dohei-san, can you talk about the decision to release the series in separate chapters? Should we expect a similar pace across all courses, and similar time periods between them and the first and second stages? We have to ask, do you have any information on release dates for these future phases?
Dohi-san: This is very important, so I would like to answer it in detail. Firstly, this anime is very difficult to produce. Horse racing, in particular, has to look really real, and that’s very difficult. It takes an incredible amount of work. Not only do we need really good performances from our actors, but we need the reality of it as well. The original is quite long, so we can’t push our animators and staff to do the whole thing continuously. That’s why we chose to split the courses.
As for the pace of each cycle, the first was issued in March, as I mentioned, and the second and third phases, as announced today, will be released on September 25 via live broadcast. I realize that after Phase 1, fans really wanted to watch right away, but we knew Phase 1 was the best introduction to convey to people what this season was about and to get fans to want to watch it. For many reasons, we had to do this, but we also… required To do it this way.
Going forward, what we announced today is basically all we can say. But, despite the long wait, we really want to announce our upcoming release dates and such. Please follow along, and know that our staff is working incredibly hard creating this anime. When it’s not airing, it means they’re working hard on the next part, so please stay tuned. It’s as if you are in the race with us.
We would like to thank Yugo Kanno and Noriko Dohi for taking the time to talk to us during the Anime Expo and thank all the staff behind us. Steel ball running To create such an exciting entry in the franchise. Coinciding with September 25, the first show date for the next stage, Steel ball running A trailer was released during Anime Expo.