What Is Life Even?

Can John Lennon do this?

Ringo star could NEVER

Note: add writing saying “I am only going to be addressing JoJo because 1) I have not read his older works, 2) His works before and including Phantom Blood lack what I am talking about here and 3)  I include JoJo spin-off manga under the “JoJo” moniker”

 As the man behind one of the most influential manga of all time, Hirohiko Araki is already a highly praised writer and artist. However, I believe what lies at the heart of Araki-sensei’s writing style is not explored often enough. What I think are the most important factors in the writing of JoJo’s Bizarre Adventure are the extremes to which the author takes his creative freedom and his skill in writing relationships between people.

Phantom Blood is the most conventional part of JoJo’s Bizarre Adventure. It has a structure very similar to other shounen manga at the time: hero has a rivalry, rival becomes obscenely powerful, hero learns martial art to defeat rival, ally dies, other ally narrates, hero wins etc. Phantom Blood’s writing only succeeds in the outlandish concepts introduced throughout: vampires appearing as a consequence of mayan blood rituals with magical stone masks, vampires somehow sucking blood by introducing their fingers inside a human’s skin, the power of the sun channeled (or created) by breathing, medieval warrior zombies, people being cleft in half by chains… frog punching. What also comes out here is a hint of the strategic battles the series will come to be known for, with Dio’s defeat at the hands of a burning sword.

A lot of the quality of the writing comes in the relationship between Jonathan and Dio, two characters who could not be more polar opposites who supposedly die together. While Jonathan is a typical nice guy shounen protagonist, Dio is a somewhat complex villain; he is irredeemably evil, but not unjustifiably so.

The decision to change protagonists was in itself an unheard of prospect at the time, each part bringing its own atmosphere and self-contained storyline, facts which allow Araki-sensei to explore all of them at length.

In comparison, Battle Tendency goes completely off the rails. If Phantom Blood is a cautious dip into the water, then Battle Tendency is a cannonball jump right into the deep end. This is where JoJo starts going from typical shounen manga to a manga characterized by battles of wits and skill rather than of pure brawn; and this change is reflected in its protagonist. Where Jonathan was the perfect gentleman who would never face his enemy anything less than head-on, Joseph likes to screw with his opponents’ heads. To show this change in character, his first major fight is against an enemy comparable to Dio, who is taken out a lot more easily thanks to Joseph’s fighting style. The insanity present in Phantom Blood is taken up to 11: the vampires are mere distractions to the new Pillar Men, Nazis are turned into Cyborgs and Hamon now apparently works on bubbles.

The relationship built between Joseph and Caesar is perhaps the most natural growth displayed in the series until this point. Their friendship grows gradually and culminates not with perfect teamwork, but with a realistic ideological fight between the two, one that Joseph would come to regret for many years to come. Caesar’s death is one of the most natural and powerful scenes in manga history, from the desperate dedication he displays even in his final moments, to Wamuu’s respect for him and to Joseph’s desperate cry for his best friend.

Stardust Crusaders is the start of Araki-sensei’s complete creative control. Stands now allow him to explore any fun and interesting idea he has in battles and to make stands that fit with their characters. The change of the format from single story to monster of the week supports the author’s writing style of throwing ideas at the wall and expanding them to his heart’s content. However, the clunkiness of his inexperience with such creative control is obvious. He is obviously pressured to come up with cool designs and powers for the stands (some of which he will later forget). In the second half of Part 3, getting used to the concept of stands, he starts writing interesting and fun ideas for his battles, like the D’Arby Brothers and Vanilla Ice. The insanity is punctuated by the increasing number of musical references (from Captain Tennille to Oingo Boingo).

Sadly, the characters take a backseat for the duration of this Part. Except for certain minor moments between the Crusaders, the characters don’t really have arcs (except for perhaps Iggy and Polnareff). For this reason, Jotaro, Kakyoin and Avdol are often criticized for having little to no character, which is a fair point. Jotaro himself is more of a superpowered version of the most barebone characteristics of Sherlock Holmes.

Dio’s return recontextualizes Part One as a tragedy rather than a story of sacrifice for the greater good, as well as making Part Three more of a culmination of generations of fighting rather than another story about saving the world. Jotaro vs Dio is still one of the best battles in shounen history because of the weight behind every single action the characters take feeling like the climax of the story.

Diamond is Unbreakable, in contrast to its predecessor, is not in the least an epic story about cleansing evil. It is, for the most Part, a slice of life. Therefore, its stand users have abilities more suited to everyday life (Bad Company notwithstanding), or rather their own special needs. The town of Morioh truly feels like a real (albeit bizarre) place, with a community comprised of people with their own personal goals. The advantage of Part 4 in Araki-sensei’s writing style consists of the fact that the author is no longer chained by the needs of the lengthy story structure that plagued Part 3. He himself pointed out in an interview that he could always go back to continue Part 4 if he wanted to (I could not find the interview again, sorry. If you can find it or correct me, it would be most appreciated).

The character’s relationships in DiU are quite evidently better defined than in Part 3. The main crew of Part 4 is smaller and it never feels restrained to keep everyone around at every point in the story (like Part 3 was somewhat forced to). In this way, characterization and character relationships are better crafted within stories that emphasize only those characters and relationships. Jousuke is never forced to be the main character of an episode; rather, he only is when the story demands it, making for a much better experience. Of note are Koichi, whose growth is signaled within his stand’s abilities, Rohan, whose growth is exhibited throughout the series and within his spin-off series, Joseph, whose appearance is bittersweet to old fans, as the sneaky and crafty Joseph becomes senile and unable to do anything worthwhile and Kira, whose chillingly normal demeanor doesn’t betray his dark tendencies.

After Part 4’s gleeful atmosphere, Part 5 dives right back into the horror-inspired roots of JoJo. Giorno Giovanna, Dio’s son, is a far more dark and cunning figure than Jousuke. Indeed, Giorno and the rebellious cell of Passione he becomes part of are a reflexion of past characters painted in a new, more sinister light, fitting with the new Mafia theme. They are a family, led by Bruno Bucciarati just as the Part 4 gang was led by Jotaro, but because of their jobs, they live in a world almost completely devoid of the fun antics of DiU. However, their relationships are just as well developed: Abbachio and Giorno’s one-sided rivalry is resolved organically, Bucciarati and Giorno’s hatred of immorality is what binds them together and Fugo’s “betrayal” is completely in character for him etc. As a villain, Diavolo is well written insofar as we recognize that his main attribute is his megalomania and his relationship with Doppio is magnificently fucked up in the best way possible.

The fights in Part 5 are brutal bouts for survival. The enemy stand users are trained assassins who will stop at nothing to get their revenge on The Boss. What makes this change even more effective is their motive for chasing the gang, the murder of their “family members” at the hands of Diavolo. Therefore, each ability is more valuable than each of the ones in Stardust Crusaders, since there are just a lot less of them. Each stand is that much more developed and consistent in its use (with the exception of King Crimson, but I’m not going on that rant right now) On the other hand, the concepts introduced for them are just that much more insane: a turtle in which one can enter by putting a key in a hole in its back, a stand that dehydrates everything at long range, a stand that can put zippers on anything etc.

Part 6 is a much more plot focused arc. The whole part focuses on Jolyne’s search for her father’s memory and stand discs with the help of Stone Ocean’s gang of reluctant helpers. This gang feels less like a pseudo-family, more like a bunch of people chasing their own goals and helping each other along the way. This, by the end of the story, is what will bring their demise at the hands of Pucci, Dio’s best friend. Despite this, I can’t say they are not well-written characters. Foo Fighters’, Weather Report’s and Pucci’s characters and arcs particularly are very compelling.

Within this story driven part, the villain of the week format just does not fit anymore. This is why, despite their great ideas and executions, a lot of villains from Stone Ocean are made forgettable especially by the ending, which left almost no hope for a direct continuation to be made. In many ways, it can be said that one of Araki-sensei’s strong points eclipsed the other one completely.  The creative freedom which used to be a leading factor in why the series was so great was now taken to too many extremes (Looking at you, Heavy Weather and Bohemian Rhapsody) which detracted from the story more than they added.

On the other hand, the reboot Part 7 brought was exactly what JoJo needed, in my opinion. Now that stands had been grounded as more akin to abilities than the ghosts they were originally, there was no need to keep them as anything more than representations of the user’s skills. The bizarre nature of JoJo was also given almost complete freedom with the abolishment of continuity and concepts like stand arrows. Instead, Araki-sensei introduces pseudo-scientific and pseudo-philosophical concepts that fit in perfectly with JoJo. To explain the level of insanity, I will summarize the premise of SBR in one sentence: two men, one crippled and the other with the power of ball hamon, compete in a cross-country horse race in 1880s USA, while fighting dinosaurs and the president using powers granted by Jesus Christ. While the stand battles in the middle section are almost as forgettable as Part 6’s, it matters less because the most important aspect is the development of our two main characters.

The characterization in Part 7 is the best it’s ever been in JoJo. Johnny’s hopeful nihilism contrasts perfectly with Gyro’s playful jackassery. The main cast – now smaller than any that came before it – only consists of two characters (if we don’t include the very well written reccuring side characters). Every character gives a feeling of having their own agenda, while also each contributing to one side of the battle between Johnny and Gyro and President Valentine. Interestingly, Funny Valentine is probably right from an ideological stand point, which is an unexpected turn out from a mostly childish manga up to this point.

Part 8 brings Steel Ball Run’s ideological musings into the 21st century with a return to Morioh. Araki’s style has retained its mature edge, but shifted them into science-fiction territory. The characters retain the moral ambiguity found in Part 7. Jousuke would do anything for Yasuho, even torture somebody. Yet the familial aspect that had long been missing from JoJo returned in full force with the Higashikatas and their rival pseudo-family, the divided Rock Humans. This makes Joubin a perfect antagonist despite his seemingly underpowered ability.

The bizarre atmosphere of JoJo’s fourth part returns with the Shakedown Road and the Milagro Man arcs which have almost nothing to do with the overarching plot of the series, but enhance the sense of a world existing beyond the characters. The battles in JoJolion are realistic and brutal to the extent not even Vento Aureo was willing to go, despite the relative bizarreness of the enemies’ stands.

This is how Hirohiko Araki’s writing style changed over the years from simple and restrained to bold, philosophical, dark and bizarre. The overall mundanity of Hamon was slowly replaced by stands and other special abilities, allowing the author to indulge in outlandish ideas that complimented the intelligent, consistent and thoughtful structure of his battles. To conclude, I believe Hirohiko Araki is a great writer because of the balance between his strange, out there ideas and his calm and logical understanding of his concepts (with a few exceptions), combined with his ability for writing strong and believable arcs and relationships for characters.

First, you had a lot of commercially prepared products like Jello and Spam (Spam, Spam, Spam …) and things like that being available to the general public for the first time.  A lot of these recipes come from ads for processed foods; they’re “serving suggestions” writ fancy.

Second, the Jello molds in particular are a democratization of an old-fashioned and very upper-class way of preserving perishable foods, which was to encase them in a meat jelly called aspic.  The aspic would preserve the food by preventing bacteria from getting at it.  It took time and effort to make an aspic, so it was rich-people food, prepared by cooks in big houses.  Jello (in its more savory flavors) could do the exact same thing, except that one lone housewife could make a Jello mold cheaply and easily.  I’m not saying that aspic was necessarily the most appealing food out there, but it was high-status because it was associated with Fancy European Aristocrats.

Third, more people had refrigerators, not just iceboxes.  A lot of these dishes need to be chilled, so here’s a way to use one of your fancy new kitchen appliances.

Fourth, this is not everyday food, for which we are all grateful.  It’s Fancy Food, meant to show off.  You’d serve it at a party (and then, presumably, your friends would retaliate by holding another party and serving something else equally revolting).  So this is food that takes careful preparation, lots of time, and lots of effort.  You, as the Middle-Class Fifties Housewife, are showing off your new postwar prosperity.  You have the skill to make food look … um, “attractive,” you have the money to buy all these ingredients, you have the kitchen equipment and appliances to prepare them, and because your husband works a comfortable middle-class job, you have the time to stay at home all day and construct something like this.  This kind of food is the physical manifestation of Thorstein Veblen’s theory of Conspicuous Consumption.

Fifth, if you’re a housewife making this in the 50s and 60s and even into the 70s, there’s a good chance that you were born in the 20s or 30s, and that you grew up during the Depression and WWII.  You might have grown up poor, not having access to a wide variety of food, or not having time or a place to prepare it.  You might have seen fancy food in magazines, but not a chance that that kind of eating would ever trickle down to you!  And then … voila, it did!  I think a lot of this sort of thing is just a grownup way to play with food, to experiment with all the neat new things that technology, processing, and a new tax bracket could bring you.  These are adult mud pies; who cares how it tastes?  We can make it look Really Cool!  We don’t care all that much about specific nutritional value; we’re just so happy to have all this food, and sufficient calories, that we’ll just play with it and try it in weird combinations and enjoy it.  (Or, I suspect, “enjoy” it.)