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JoJo’s Bizarre Adventure: Stone Ocean 1-24 – Review

Jolyne, Jolyne, Jolyne, Jolyne… As an anime-only fan of JoJo’s Bizarre Adventure and chronic heroin addict, I was looking forward to david’s productionadapting the Stone Ocean arc for a long time. I had heard of Jolyne, seen signs demonstrating her chilling cruelty to prison life. And really, JoJo’s Bizarre Adventure: Ocean of Stone met my highest expectations and more, because between battles it turned out to be one of the richest and most thematically interesting parts. franchise so far.

It’s just…a JoJo’s Bizarre Adventure always had so little real animation, or has David Pro been overloaded these days? The animation in ocean of stone is little more than a slideshow, just a step or two above an animated comic strip. Figures rarely move more than their mouths, perhaps gesturing but almost never moving more than one limb at a time. Motion is more often expressed through backgrounds with action lines than animation. It’s strange to see in a series so action driven, with fight sequences that often span multiple episodes carrying most of the plot, especially one with a huge audience, and that makes me ask me if something went wrong during production.

The production team finds ways to make up the difference. As little as the characters move, they still have distinct physiques. Araki drew this arc well in his era of high fashion, taking a lot of inspiration from models during magazine shoots, and the animators carried that sense of expressiveness in facial expressions, dynamic poses, and fashion decisions very interesting in the animated adaptation. The affective storyboard and color palette also carries much of the visual storytelling, using changing camera angles, lighting, and color palettes to create the appropriate mood in any given scene.

And where the visuals fall short, the audio elements more than make up for it. Yugo KannoThe musical score of never fails to express the emotional tenor of any given scene, communicating the tension of a fight, the feeling of cramped confinement, and the growing sense of relief when a character fulfills their purpose. The way Jolyne’s motto, another variation on the evolutionary themes of her ancestors, comes into play each time she has found a way to get the upper hand on her opponents creates a beautiful sense of recognition, both for her impending victory and the feeling it truly has is a continuation of the Joestar line we’ve followed for generations. The theme songs are also excellent, from the opener “Stone Ocean”, which encapsulates an angry energy of 90s Riot Girl, perfect for the 90s season, to the closer melancholic, “Distant Dreamer” of Duffy.

The voices in English and Japanese are excellent overall. The actors of Jolyne in both languages, Ai Fairouz and Kira Buckland, both got into voice acting with the hopes of playing Jolyne one day, and they truly do the character that inspired them proud. Jolyne is a complex character, angry and scared and both powerful and powerless within the prison system, and they portray her layers with aplomb. The weak points of the doubleunfortunately, are Pucci and Dio, who are voiced by industry powerhouses Tomokazu Seki and Takehito Koyasu in Japanese. Patrick Seitz may have been the right fit for Dio in previous seasons, but he doesn’t do particularly well sultry, and he and YongYea lack the chemistry needed to pull off scenes of the two characters together.

I’ve been told that Stone Ocean is two-thirds of the way through, and I can’t begin to understand why. (Well, I have a few guesses, but I’m not about to start critiquing this review.) It has some of the most interesting and complicated characters, the most paced storytelling, and the richest themes. from the whole. franchise so far. I fell in love with Jolyne instantly, not only because I was excited for a Jojo woman, but because of the complexity she showed in the early episodes. She is simultaneously vulnerable, angry, scared, and loving, retaining all of these traits within her without ever coming across as inconsistent or contradictory.

She kind of reminds me of her great-great-great-grandmother Erina, and how she changed between phantom blood and Fight Tendency. Erina, who was so sweet and kind but also fierce, who washed her mouth out with dirty water because she preferred it to the remains of Dio’s stolen kiss, who grew tougher over the years because of from the sadness of losing her husband on their honeymoon, then her son whom she raised herself, and finally raising her grandson alone after so many losses. Jolyne was never really a ‘nice’ girl – she acted out due to her father’s absence and drank before she was of legal age – but she had to grow up hard and fast to survive in prison . At Green Dolphin State Prison, she is constantly assaulted by other prisoners who have been granted stands by an invisible enemy, as well as institutionalized state violence that is deeply embedded in the American “justice” system. . This is not a tale of rah-rah female power, but a story about victimization and how trauma reverberates through the generations, because while Dio may be gone, he’s certainly not forgotten. , and this memory remains an active threat to the Joestar bloodline.

Like her ancestors, Jolyne attracts a team of loyal allies, and they might be weirder than any before them. Sure, Ermes could be the protagonist of a fairly typical revenge story, but you also have characters like Emporio, an 11-year-old boy who was born in the prison and has been using his stand to live within the walls ever since. And then there’s FF, who… well, to say anything about them would run the risk of spoilers. ocean of stone approaches its mixed cast the same way it had its all-male casts before, unafraid of portraying them as transgressive or ugly or weird, exploiting them for fan service or sex appeal. Well, except for Johngalli A in the shower. You have to see this man’s ass to believe it.

Pit fights can be hit and miss for different viewers, depending on how much importance they place on their “rules”. Many of them seem simple enough, like making targets in zero gravity, but in practice things can start to look a bit like Calvinball. This may frustrate more logic-inclined viewers who view Stand fights as puzzles to be solved, which is more or less how the story presents them, but captivate viewers who are willing to put their hands up and accept things as they come and prioritize thrilling action over the laws of physics. It’s all in service to a well-paced plot, where Jolyne and her allies pursue a threat that constantly manages to stay one step ahead of them, throwing obstacles in their path to slow them down just enough so they never seem to be able to keep up. This keeps things tense and, combined with the oppressive prison atmosphere, a bit dark and often lacking in levity.

I anticipated ocean of stone more or less since I entered JoJo’s Bizarre Adventure. It didn’t cement its place as my favorite part – we’ll see if the ending is enough to topple The diamond is unbreakable of this throne – but I can say that I will think about it for a long time. Jolyne made her way deep into my heart, and netflix only know when I can see the conclusion.