The Artistic Evolution of JoJo's Bizarre Adventure

Say what you want about Jojo's strange

adventure

, but the one thing no one can take away from him is his relentless sense of style, from his clothes to his color schemes. The author of Jojo, Hirohiko Iraqi, is clearly well-versed in the world of fashion. It's no secret that Jojo. The style is one of the biggest attractions of him, he even has his own clothing line, from sneakers to watches, gloves and shirts, even the volumes have a sense of elegance that I have never seen in any other manga. David Productions' anime is similar. close to this style and everything is impressive, in fact the anime is so similar to the manga style that it makes the ova that adapted Stardust Crusaders back in the 1980s seem like complete darkness, everything is taken so seriously and done without the elegance he does with some great versions of different fights, but they go completely against one of the main thrusts of the franchise, as with most long-running franchises,

jojo

's sense of style is constantly changing, as he The series began in the 1980s and continues into the 2020s.

See not only Iraqi's change within his own illustrative style, but also a change in the world around him of the different styles that came and went mixed with his own eccentricities. Part 1 begins with a period piece in the 1880s, costumes and dresses abound, but when our final villain is revealed, we get to see the ridiculously muscular tank bodies and the whimsical shot of a romantic Victorian era in full effect. apogee. The

artistic

inferences taken from Fist of the North Star are quite clear, as are some Sherlock Holmes elements that match the setting. Of course, basically the first part is a little less ambitious than everything else, from the history to the styles, in the second part the Iraqis still went full force with a period piece, although the 1920s are much more close to a modern look considering this is America, the clothing style, the poses. and the characters as a whole became more eccentric than conservative England here we have a style that fully matches the setting of the roaring twenties of the jazz era with an equally flexible adaptation of the style joseph joestar simultaneously looks like a child from once upon a time in america and a street fighter of rage to match the setting of both metropolitan new york and the

adventure

around the world to stop the iraqi pillars and then took us to that point, present day japan, i mean in that period because that was 40 years ago, 1980.

Japan because of this we are no longer in a period piece so the designs started to change to something new here we have the relevance of modern culture to add to the mix we have to Indiana Jones, the ridiculous versions of Japanese uniforms, the stans and the powers. It's named after all the Iraqis' favorite bands, singers and movies, since this is the 1980s, we still have crazy muscles, action and adventure, and the sharper, jagged line art is something that complements this part very well. of history. It seems like a bit more of the same, but here we get to see the Iraqi's more subtle and nuanced skills, his ability to take a suit uniform and make it pop whenever he wants, not to mention the stand designs and changes.

The character designs throughout the part are something that becomes even more a part of the series and something that makes the arc really stand out. The setting of a small town searching for a killer was apparently inspired by the best show ever made in Twin Peaks. The surreality. it's something that worked a lot in

jojo

's favor with much more rounded line art and a complex series of designs starting to become much more aesthetically pleasing and more in line with how araki's artwork would develop in general, i would say that as a story element, but also as a presentation topic, the

evolution

in jojo is a great detail, it's something that really gets going in part 4 and never stops until we reach the modern era, part 5 is a adventure only in Italy.

The Iraqi is supposedly a great lover of Italian culture. from his food to his past to his buildings to his design and, similarly, part 4 is a more isolated arc but with subtle nuances to the design. Part 5 is an isolated playground where Araki makes the story take place completely in one place, but in a place that he absolutely loves with the aforementioned soft line art, we get a really nice contrast with costumes and hairstyle designs irregular and intimidating to represent the brutality of the Italian mafia and the gangster way of life. Part 5 has the strangest designs in the entire series, even down to The fact that some of the booth users look a little stranger than their posture shows how much Iraqi loves Italy because the

artistic

evolution

of Iraqi work is more deep in this same part.

Part 6 of jojo takes this further and starts to go towards a semi-realistic attitude towards clothes and outfits, the main attraction of part 6's art style is what Araki does with the booth users, as we have some of the most destructive and reality-altering powers in the entire series. For part 6, Araki showed how great his background is. the art and the double page spreads really can be the seventh part of jojo is an alternative period piece that this time takes place in 19th century america. At this point, Hirohi Karaki was landing collaboration deals with companies like Gucci and Spur and this crossover sees a lot of changes. in the manga with the tall and thin modern style characters coming into full force due to the alternate setting and because we're back to a period piece, the Iraqis didn't shy away from making abstract designs where part 1 was pretty cool but tame and mundane.

Steel Ball Run turns a period piece into something truly worthy of the title Jojo. It really shows how closely Iraqis worship fashion magazines and the models they feature. Part 8 of Jojo is back in Japan in an alternate adaptation to the location of Part 4. This is a more modern part and gives us a really updated look at Iraqis' taste in fashion. Complaints about all the characters having the same face started to arise more in this part, although it is true that there are many similar looking characters that we can see. especially from some crossovers in promotional material and the general style of the volume covers, this was more of a stylistic choice.

The same facial aesthetic is a byproduct of making characters look like models on the cover of a magazine like Vogue, for example, you can even see the entire process. on some fashion covers and their jojo counterparts on volume covers, the more you see Iraqi's adventures outside of jojo's

bizarre

adventure, the more you will understand the inferences he is taking for said manga, the deadpan reaction of all the jojolian characters they're just there to look pretty, while Dejollian probably isn't the most detailed part of the story. We are at a point in time where the spirit of Jojo's Bizarre Adventure and his sense of style have been fully realized in artistic evolution. of jojo has been a very long visual adventure that culminates in a complete celebration of the world of fashion.

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