DESCRIPTION

CAST

CHAPTERS

MANGA ActionJoJo no Kimyou na Bouken: Diamond wa Kudakenai
MANGA ActionJoJo no Kimyou na Bouken: Stone Ocean
ANIME ActionJoJo no Kimyou na Bouken: Ougon no Kaze
ONE SHOT AdventureJolyne, GUCCI de Tobu
NOVEL ActionJORGE JOESTAR
NOVELJoJo no Kimyou na Bouken: Akai Yuigon
NOVEL ActionJojo no Kimyou na Bouken II: Golden Heart, Golden Ring
NOVEL ActionHajishirazu no Purple Haze: JoJo no Kimyou na Bouken

REVIEWS

• 

  Fume

  87/100
  A darker bizarre adventure following our new Jojo, or GioGio, rather.

  Spoilers and a little swearing ahead, obviously

  This manga was... different, pretty damn different from what would be the previous parts, and if i had to choose a part that this reminds me of... weirdly enough, it would be Part 1.
  Why is that? Many things, specific and also cryptic things, but let's start from the very beginning.
  Vento Aureo is, of course, in Italy, which i really love. I knew from the very beginning that this was going to be all about the dangers of the mafia, climbing up ranks, betrayal, and very few friendly faces, and that's what i got.
  Our story follows Giorno Giovanna, our Jojo, or well, GioGio of this part, and he's pretty damn unique, unlike most of his predecessors, he has a dream that he plans to make reality as soon as possible, most Jojos had peaceful lives, suddenly made a living hell by the most evil bois of their respective parts, but Giorno had a rough life, no one cared about him, even as a baby, he knew that it wasn't worth crying if no one could hear you, that's true despair, until one day, he unconsciously saves a mafioso, who then becomes his guardian angel, giving him motivation to follow his dreams, making him decide that he wanted to become a GANG STAR! But not just for the sake of doing it, but to help others, he obtains what he wants through pretty shady methods but still had a kind heart. Oh yeah, and his dad is FUCKING DIO... his Jonathan's body ofc, and Giorno himself is one of the things that reminded me of Part 1, him and Jonathan are really alike, and yet so different, Giorno is kind, noble, serious and determinated, but unlike Jonathan, he's not innocent at all, nor does he let his emotions take him over, he knows what he's going up against and he's known since he was a little child, he's ready for what the world is going to throw at him, unlike his neck down dad, protecc Jonathan.
  Now, the gang, it's not my favorite cast tbh but they're really good nonetheless, i specially like Narancia because traps are not gay (Fr now he's cool), but the way death is handled here is pretty different from the other parts, nearly everyone here is used to killing, and some, made for killing, the villain of the week does not "retire", they fucking die, as well as some of our heroes, rest in peace Buccellati, Abbacchio and Narancia, i love all of you, most of the gang members are awesome characters, and then there's the tragedy of Fugo, which will cure my blue balls after i read Purple Haze Feedback. Also Polnareff, i absolutely was expecting someone from previous parts to come back, i had a hunch but man, Polnareff? Amazing, too bad he loses his stand literally when he first appears and then turns into a turtle... yeah, shit.
  The stands are not that different to those in Part 4 when it comes to complexity, though towards the end they do start getting slightly harder to follow, and no i don't mean King Crimson, he's not that hard to understand, more like Green Day, i know it's a meme but ffs, erasing time is the worst way to define it, it's more like he skips time or some shit, it's a cool stand, but how does he work? Well if you don't actually know, NARANCIA IS SMARTER THAT YO ASS.
  Aaand finally, Diavolo as the villain, he's currently not on my top 3 Jojo baddies because i was slacking with reviews and i already like Part 6 villain more than him, but he is pretty awesome nonetheless, i definitely don't think we had enough moments with him, or more character development up until the end, hell, Buccellati was Diavolo for longer than Diavolo was himself, he's cool but not on my top list, Doppio is awesome though... but man i don't think Diavolo deserved what happened to him, what was that? GER happened, the most OP Stando ever... from what i know, i'm not a Jojo god since i'm still reading, but from what i know, i don't think any stands can beat Gold Experience Requiem, some dudes saying The World could, really man? The fuck is wrong with yo head.
  Anywho, i'd say Part 5 is one of my top favorite parts, it was really enjoyable, with awesome villains, creative stands, charming cast and a pretty unique Jo- GioGio, you'll most definitely love it, and don't skip it, because, repeat with me. YOU SKIP A PART? LET'S KILL DA HOOOOOOOOOOOO!!!

  Thanks for reading everyone <3

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• 

  DragonDelta

  100/100
  The son of the devil, the soul of a saint. Golden Wind.

  Golden Wind is, alongside Stone Ocean, the best part of the first universe of JoJo's Bizarre Adventure. And I mean that. It is a part that divides, a part that some find too slow or too cryptic, but a part that, for those who give it the attention it deserves, reveals a thematic and narrative depth that is absolutely remarkable. Araki tackles themes rarely seen in shōnen, and in a way that had almost never been done before him.

  Let us start with the setting, because it is one of the greatest strengths of Golden Wind. Naples, the 1990s and 2000s, the Italy of the Camorra, of social misery, of criminal hierarchies that structure the lives of entire neighborhoods. Araki does not simply use this backdrop as an exotic canvas. He makes it breathe, he makes it live. You feel the heat of the Neapolitan alleyways, the latent violence that permeates every exchange, the particular logic of a world where the rules of the street replace those of society. This mafia context is treated with a seriousness and a coherence that give the whole thing a texture unlike anything else in the saga. Every arc, every confrontation, every alliance fits into this criminal underworld logic with a precision that commands respect. Golden Wind is perhaps the JoJo part with the most developed sense of place, and that is something that considerably enriches the reading experience.

  The cast is one of the most exceptionally well written in the entire saga. Bucciarati, a natural leader, a man of conviction in a world without morality, embodies a form of secular sainthood that makes him immediately magnetic. Abbacchio, bitter and broken, haunted by his own past betrayals, is one of the most human characters Araki has ever written. Mista, Narancia, Fugo, Trish — each arrives with their own wounds, their own contradictions, and each is treated with a depth that goes far beyond what you would expect from secondary characters in a shōnen. What makes this cast so remarkable is that Araki uses them to explore themes rarely addressed in the medium. Loyalty as an absolute value in a world where loyalty leads to death. Redemption in a context where past actions never truly disappear. The question of what it means to do good when you yourself are on the wrong side of the law. These are complex moral questions, and Golden Wind poses them without ever pretending to have simple answers.

  And then there is Giorno Giovanna. The most misunderstood character in the entire JoJo saga, and probably one of the most fascinating. Giorno is often criticized for his apparent lack of emotion, for his coldness, for the fact that he seems to move through events without ever truly being affected. But it is precisely that reading which misses what Araki has built. Giorno is not a classic protagonist because he was never meant to be one. He is an incarnation of Christ, and Araki treats him as such with a symbolic and narrative coherence that reveals itself progressively throughout the reading.

  The religious representation in Golden Wind is one of the most audacious and most underestimated aspects of the part. Giorno is the son of the devil, literally, since he is the son of DIO, and yet he carries within him something that belongs to the sacred. He is the light born from darkness, redemption born from damnation. And Araki constructs this symbolism with remarkable subtlety. Giorno does not preach, does not moralize, does not impose himself. He simply exists, and his existence transforms those who come near him. That is his deepest Christlike nature : he is a mirror. In every first encounter with the members of the team, with Bucciarati, with Mista, with Narancia, Giorno reflects back to each character an image of themselves, reveals something hidden, repressed, fundamental. He does not convince them through arguments, he simply transforms them by being there, by showing them something they could not see alone. It is an absolutely unique way of writing a protagonist in the medium, and it is what makes Giorno a character of unsuspected richness for those who know where to look.

  And facing this incarnation of Christ, Araki places one of the most original and striking representations of the devil in all of fiction. Diavolo is an antagonist who steps radically off the beaten path, and that is what makes him so fascinating. He does not want to destroy the world, he does not want to dominate it in any traditional sense, he does not seek power for the sake of power. What Diavolo wants is something far more subtle and far more unsettling : to control what surrounds him, and in particular to control the knowledge that others have of him. His obsession is not power over others but the erasure of himself from the consciousness of others. By suppressing every trace of his existence, by erasing whatever knowledge anyone might have of his identity, his past, his nature, he becomes the perfect devil : the one nobody knows, the one whose existence nobody suspects, and who can thus go about his business without ever being threatened. It is a representation of evil of rare intelligence, because it roots the devil not in destruction or domination, but in invisibility and the control of perceived reality. King Crimson, his stand, is the perfect extension of this philosophy : a power that erases causes to leave only effects, that suppresses decisive moments from collective consciousness so that the world continues as if nothing happened. Diavolo and his stand are a coherent and brilliant metaphor for evil in its purest state, the kind that operates in the shadows and whose greatest strength is simply not being seen.

  The fights in Golden Wind are among the most inventive and intense in the entire saga. Araki reaches here a level of creativity in the design of stands and their confrontations that rivals what he would later achieve in Steel Ball Run. Every fight is a puzzle whose rules reveal themselves progressively, and the resolution of those puzzles is always surprising, always logical in hindsight, and always emotionally charged. The confrontations against Diavolo's agents, each with their own convictions and their own philosophy, are so many mini-narratives that enrich the universe and deepen the themes of the part.

  Golden Wind is a part that demands patience, attention, and a certain willingness to accept a protagonist who operates differently from anything seen before. But for those who give it that, it reveals a work of rare depth and coherence, carried by an exceptional cast, a magnificent setting, audacious religious symbolism, and an antagonist of absolute originality.

  Alongside Stone Ocean, it is the peak of the first universe of JoJo's Bizarre Adventure.

  10/10.

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