Comparing any anime to a Tarantino flick always feels like reaching for low-hanging fruit (dude featured a whole anime chapter in one of his movies, lest we forget). However, there’s really no denying the comparison when you’ve got a show that’s as exuberantly retro as this one.
THE WOMAN CALLED FUJIKO MINE might’ve also blended the past with the present, and hewn closer to the spirit of older manga, but it still wasn’t nearly as… baroque as this has been. The show’s got the earnest hot-blooded of the most memorable anime of the 70’s and 80’s - - SPACE ADVENTURE COBRA, SPACE PIRATE CAPTAIN HARLOCK, FIST OF THE NORTH STAR, et al - - and that shouldn’t be shocking, since it seems to be based on the original comic from that era.
The backgrounds constantly shifting through neon colors, the sound effects being actual physical props and the sort-of cameo device revealing Dio’s true, inner thoughts, though…?
JOJO isn’t just bold enough to use stylistic storytelling flourishes that have fallen out of vogue for being too over-the-top, it’s using them all at once. When you’re used to most modern anime playing things a certain way, getting such a lush antidote is just… exuberant, like I said.
There were thousands of ways to play out this scene of Dio’s betrayal of the Joestars finally coming to surface. At every step, the show cranks to the dials to 11, and my head’s still spinning after trying to keep up with each outrageous twist. Put it this way - - a major character being named after R.E.O. Speedwagon is unquestionably the least ridiculous part of this episode.
So… wow. Just, wow. I don’t know what the hell’s coming next, because I’m still not sure how the hell we even got here.
About the Author
|Tom Pinchuk’s a writer and personality with a large number of comics, videos and features like this to his credit. Visit his website - - tompinchuk.com - - and follow his Twitter: @tompinchuk|