because araki

Ok so, the director of the Jojo anime, Naokatsu Tsuda, did a Q&A at anime boston and he had a lot of very cool things to talk about! I also got to ask him a question, get a photo with him, and shake his hand so that was pretty exciting.

It was interesting to hear that Araki had approached them when they started part 4 to ask them to add in the foreshadowing scenes with Kira, because when he was writing it he didn’t know who the main villain would be, and if he had known, this is how he would have wanted it to have been.

He said the color schemes for the characters were based off the medicos palettes because those are Araki approved, and that they wanted to add in those color changes because 1) no other anime does that and 2) he felt like everyone reading it had different visions of the colors and wanted to include that feeling it in.

His favorite openings were the first one and Great Days, and he talked about how usually directors don’t get a say in the openings but he got to choose the style of music and the feel for the openings. He also mentioned he couldn’t legally say which songs he wished he could have used for the endings but he had a lot.

Usually, animes come out before games, so the VA’s from the anime carry over to the game, however since All Star Battle was out before the anime, what they did was they allowed those VA’s re-audition for their rolls, however since game voices are recorded alone, and anime is recorded together in a group, they cast VA’s based on how well the teams meshed together, which was why some VA’s were chosen differently for the anime. They wanted to have a team that sounded good all together.

He also said the first opening included all the Jojos because he wanted to promise the fans that he would animate them all. He really wants to do all the parts, and said it really helps if we show the companies like Warner that we have an interested in them by doing things like writing in! So please let them know you want more Jojo!! He asked us all to please send comments in!

Anyway, my own question was which part he would be most excited to animate and he said part 8. And then facetiously asked how we all knew part 8 if it wasn’t officially translated which we all nervously laughed at. I mentioned I owned ultra jumps and that iggy keychain that came with one of them and he said he had that too.

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did some facial ref practice with the vento aureo gang also @ davidpro part 5 when????

dont get me wrong i love jotaro kujo and i love stardust crusaders so dont think this is jotaro hate but like the whole fandom rides jotaro like a damn bike but then some people turn around like “giorno is so boring”. im not going too deep on this analysis because im tired and i want to sleep but like…

giorno is about as expressive at first glance as jotaro, just as calm and composed, (and albeit has a vastly different personality) but genuinely has a lot more thought and intention in the way his personality is, and a deal more complexity as show by the narrative. while jotaro seems to serve as an archetypal “strong silent” character (while subverting some tropes and not entirely playing into them in other cases because araki knows how to properly write archetypes without making them uninteresting), giorno’s design seems to be a lot more intentional in regard to his heritage. 

giorno displays a mix of jonathan and dio’s characteristics. he’s charismatic, intelligent, tricky, but also kind, caring, and passionate. He’s got a very righteous drive and a strong moral compass, but it is self-serving (thought not malicious) and with something akin to dio’s unrelenting ambition, he’s a little terrifying and unstoppable. He also has a tendency for cruelty, like Dio, but not towards his allies, whom he comes to rely on very deeply, like Jonathan. 

He has a lot of his own traits as well. he doesn’t lose his shit like dio does, but he clearly shows distress and rage, though he seems to keep a pretty good grip on himself so as to control those emotions and use them to his advantage, instead of letting them control him. there’s even more to his character, stuff that even the first few chapters of part 5 make clearly evident. he’s a product of his ancestry and his abusive childhood as well as his redeeming encounter that led to his life’s dream… giorno is altogether a really interesting character but he gets so much more shit even when his very same (baseless) criticisms could apply to a character that the fandom worships. i get that the translations arent the best but its not that deep yo

tl;dr if you dont like giorno i beg u to reconsider he is a good boy 

About Marco’s death in the next episode

So I’ve gotten quite a few asks concerning this topic and decided to put my thoughts down here.

In short, this looks like Bert reacting to Reiner reacting to Marco reactionception. We see the walls of Trost in the background, even the weather fits, this basically confirms that the rather tragic flashback plays next Saturday.

I have mixed feelings about the decision. On one hand, Marco’s demise serves as a parallel to Bert’s fate a few chapters later, and also helps kickstart his more determined persona we can see during the Shiganshina arc. Since his death, despite its presentation, remains an important even in the story, giving him this flashback to contextualize it all a bit more worked really well in 77. So I am slightly worried about what’ll happen once we get Shiganshina animated…but that’s a question for 2000 years from now.

There are many aspect of this I enjoy a lot though. First of all, it brings Reiner’s mental issues full circle right away. Ch 46 does a great job at introducing his split personality issue to the viewers, so seeing its origin gives the whole thing more weight, and adds to the humanization of “humanities enemy”. Furhtermore, I was personally quote bugged by the reminder of the existence of Reiner’s issues in 77, I felt that there was a possibility they might return in some shape or form, and that Isa reminded us of them on purpose (in retrospective maybe dumb, but Reiner’s brain was literally blown to bits at one point…is it too far fetched to make a connection between those events?). So not having that reminder in Shiganshina works wonders for me.

Another thing is that we actually get to see RBA in action once. Though its implied numerous times at that point in the story, 77 is the only time we actually get to see them acting towards their goal, and not overly professional at that. It’s great because A) all three of them are once more humanized, a major theme of the clash arc anyway, and B) gives more context to Bert’s crush on Annie, which becomes an actual plot point in ch 49. Since we actually see them all doing shit together, it feels more organic in my opinion. 

Additionally, both Annie and Marco have appeared in flashbacks this season—gotta pour in the salt while the wounds are still open. The clash arc already is overflowing with tragedy, lets throw in the horrible demise of the fan fav character in there too. Thanks Attack on Titan.

And for what its worth, this isn’t really a disrespect from the anime team concerning the placement of the scene in ch 77. In fact, the anime team went to Isayama requesting storyboards for Marco’s death, bc they were planning on including it there, yet Isayama hadn’t even though about introducing it to the story yet. Only after creating the scene for the anime team did he decide to introduce it in the manga, and it happened to fit in really well. (x)

 Funny thing I realized earlier: remember the titan that ate Marco’s half? He had an eerie resemblance with series director Tetsurou Araki, didn’t he?

It’s because Araki was the one to ask for the scene. Araki was the one who initiated the creation of the death of Marco. Araki was the one to kill Marco.

o.0

HELLO EVERYBODY THIS DRAWING MADE ME REALLY SAD BECAUSE I LOVE GYRO BYE

I woke up today at 2:30 in the afternoon, immediately thinking “GOD I love JoJo’s Bizarre Adventure but I feel strangely frustrated about it right now” so y’all are getting a wall of text about it.

I will forever be disappointed in the way Araki wrote Jotaro before part 6.

I did like Jotaro during parts 3-4 (mainly because a) he’s attractive, b) he’s voiced by Daisuke Ono, and c) his assholeish/badass moments were so tropey and over-the-top that it was amusing) but I never truly LIKED him as a character until part 6, when we saw how his stoicism and overpowered stand completely backfired on him and made him weak and more realistic.

Most of his character before part 6 consists of random quirks that made him a tiny bit more interesting than just a typical “jerk with good intentions” archetype: he likes the ocean, he fusses a lot over his clothes, he’s a bit softer towards children, etc. But he barely got any depth in terms of his character or just how he felt about the shit that was happening to him, because Araki either doesn’t write out his thoughts (and when he does, he’s just thinking about how to get out of the situation he’s currently in, like “when DIO resumes time I’ll beat the shit out of him!!”) or just skips over the parts where Jotaro might’ve had some genuine feelings about something other than getting angry, profusely sweating, or going “yare yare daze.”

Jotaro could’ve been so much better as a character if only Araki paid less attention to him being badass and more attention to how he felt on the inside. Seriously, part 3 is about him as a 17-year-old boy going through all this heavy shit like his mom being on the verge of death and half of his squad dying, yet his reaction to any of this was just a zoom in to his face and him going “tch.” You could argue that this was his thing, that he’s supposed to be inexpressive, and that little reactions like this were how he showed he cared, but listen: clearly this didn’t work out because half the fanbase thinks he’s a stale piece of bread because of how stoic he is. 

There’s just so many things that Araki left open that would’ve given him some much-needed characterization:

  • Was he ever concerned that any member of their party could die at any time?
  • Since he and Kakyoin were both Japanese high schoolers, how close was their friendship?
  • Did he ever see Kakyoin’s corpse after the SPW foundation recovered it?
  • When he went back to school, did people ever ask him where Kakyoin went?
  • How does he feel about owning the same stand that killed Kakyoin and almost killed Joseph?
  • How does his relationship with Holly improve after part 3? Did he ever apologize to her?
  • What was his relationship with his dad and do they ever see each other again?
  • How close did he and Polnareff get after the Egypt stuff, since they were the only crusaders left other than Joseph who was becoming old and fading?
  • How did he feel when Polnareff was “killed” by Diavolo?
  • Did he ever learn that Polnareff was alive the whole time but is now trapped inside a turtle as a spirit for the rest of eternity?
  • How did he meet his wife and why did he marry her?
  • What was he feeling when Jolyne was born?

TL;DR Jotaro is the poster boy of JJBA so he should have and could have been the best JoJo in my eyes, but he wasn’t, and for a teenager who can’t write for shit I have unreasonably high and unrealistic expectations for a manga about dudes fighting each other with punchghosts that was literally written as it was being published weekly.

Me to myself after writing this and feeling like an absolute fool:

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in reality, he

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Until I can properly fangirl over the “Musical Touken Ranbu ~Mihotose no Komoriuta~” (because I haven’t watched the musical yet ><), all the mentions from Sakiyama Tsubasa (Ishikirimaru) about Team Sanjou with Kashuu Kiyomitsu is seriously making me miss them.

(And I’ve chosen to use backstage photos in this post because, not gonna lie, one of the biggest reasons why I miss them so much is because I simply miss this cast being absolute dorks together ♥ xD)

Keep reading

ships are ships and it doesn’t really matter how they are in canon, and objectively jota//kak is an appealing, age-appropriate ship - it’s the ship in part 3 most people can hone on to immediately, because it’s just that likable! - but just like jotaro, people like to… well, waste its potential and bend it to suit their tastes.


kakyoin is constantly stripped of his personality in order to make him an accessory to jotaro. it either goes that his “feminine” traits are accentuated to the point of him being nothing more than an occasionally snarky waifu companion for jotaro, or he’s turned into some sort of sex-obsessed dominatrix because people think his stand is kinky (keep in mind, he’s canonically underage no matter what part you put him in).

people almost always end up supporting some sort of ooc variation of jotaro and kakyoin (again ridding jotaro of his flaws and ridding kakyoin of, well, everything) because in reality - as araki himself admitted at the end of jojonium 12 - they have very little chemistry. but really, his word doesn’t mean much since it’s the fandom that brings pairings life; yet, even if they were best friends in canon, i still feel like the destruction of kakyoin’s character would have happened anyways because of the dom/sub (or seme/uke) ideals many fans tend to apply when celebrating m/m pairings, and kakyoin and jotaro’s general designs almost encourage it (hypermasculine man/reserved, “feminine” man) which is really just unfortunate.

tldr: jota//kak is not my personal cup of tea because people tend to break both boys’ characters (particularly kakyoin) in order to fit a model of dom/sub, which is an unfortunate issue in m/m shipping, and oversexualize 17-year-old kakyoin for it.

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Nanase Fujkura - Rohan at the Louvre.

She looks so much like kaato in these panels, I had to share them here.

anonymous asked:

Hey there! So I've been wondering: is there any actual significance to Giorno's name sounding rather feminine, something which is pointed out more than once by Koichi in the early chapters of Part 5? (Also, how does 'Haruno' sound anything like 'Giorno', even in the Italian pronunciation? 'Shiobana' and 'Giovanna', I can see - the 'jo' in Jotaro's name can even be read as 'sho' - but the only thing 'Haruno' and 'Giorno' seem to have in common is that they both end in 'no'.)

Giorno’s Japanese name, Haruno Shiobana is written like this:  汐華 初流乃. Kanji can have multiple readings in Japanese, called the on and kun readings (with some kanji having a third reading when applied to names). The usual reading of the first kanji of Giorno’s name (初) is usually “ha”, but in its less common on reading, it’s read as “sho”. Haruno Shiobana then becomes Shoruno Shiobana. 

Shoruno Shiobana –> Joruno Jobaana

Or if we write it in katakana:

ショルノ シオバナ –> ジョルノ ジョバァーナ

In Japanese both sounds are incredibly similar. Hence Koichi’s realization that Haruno was in fact Giorno: he just read the kanji of his name with their secondary pronounciation.

As an aside, when I heard Giorno’s Japanese name, without seeing the kanji, by the sound of them alone I thought his name would mean something like “salt flower of spring”, but looking at the kanji used in his name it means something more like “(he who is) born from the first tide” (if you try to tie the meaning of all the kanji into a coherent sentence), which given the fact that Dio emerged from the sea I find quite appropriate.

Koichi points out that Giorno’s birth name “sounds like a girl’s but he’s a boy” once, when looking at Giorno’s picture given to him by Jotaro; and even after his change of name, that part of femininity subsists in his surname “Giovanna” (which is a first name rather than a last name, and is the feminine counterpart of the name Giovanni)

Now I’m not saying this is 100% what Araki meant to do, but it is my interpretation of it. Araki is a pretty big fan of Italian culture, and of the Renaissance period. I remember an interview where he mentioned he took inspiration from elements of Michelangelo’s David to design Giorno - his donuts were always stylized tight curls to me (something I believe is even more apparent now with the introduction of this massive cutie in Jojolion). In the JOJOmenon artbook there was a small article explaining how a lot of Giorno’s imagery and poses for his illustrations were inspired by themes from the myths of Eros and Apollo (respectively the gods of love and of light - both described as being exceedingly beautiful in many stories. A lot of Japanese fans picked up on it because they chose this illustration to accompany a text explaining how Giorno was essentially love and light incarnate). With so many direct references to mythology, I think Giorno’s name (both in Japanese and in Italian) is another slightly more discreet one.

I mentioned up there that when you try to form a sentence out of Haruno’s name meaning, it gives you something like “born from the first tide”. There is actually another divinity who is also known for being beautiful enough to cause wars and who was also, very literally born from the sea: Aphrodite. Because at this point Araki is basically hitting the reader over the head with a mythology book while saying “Giorno. Is. Beautiful!!!” Just like Dio, whose beauty was also emphasized. They’re both quite literally super-humanly attractive, although one of them because he’s a monster whose lore focuses on the seduction of unwitting victims while the other is seen as something more godly, even if ultimately both of them use their charm to seduce people into joining their causes. 

So I personally think that is why Koichi makes that small comment about Giorno’s name being girly. The reference to Aphrodite is certainly not an obvious one, and hell, maybe Araki didn’t even mean to make it, but it ends up being yet another way in which you can effectively compare Giorno and Dio, and see how similar yet different they are at a glance.