As the beginning of a series, there are bound to be a lot of imperfect settings and immature plots at the beginning of creation. But the reason why the first generation is attractive, in addition to the impressive opera-like lines, is probably the in-depth portrayal of the interaction between the two protagonists. In the words of the original, it is an "orchestrated relationship" by God (the author). In the data set, Araki mentioned his creative process in the opposite direction: first, he designed the villain of Dior, and then created the antagonistic protagonist Jonathan. In other words, the author left Jonathan a blank space to grow, and he used the knife of fate to carve him to have his final appearance. If there are no setbacks and suffering, people will not grow. And his counterpart, Dior, is the same. It is precisely because of the tenacious opponents of Jonathan and the subsequent Joestar family that he will gradually transform until he grows into one of the most charming villains in the history of comics.
Araki's design of the relationship between Joe and Dior reminded me of counterpoint in music creation. Personally, I think it is of great reference value, so I want to sort out the emotional entanglement between the two in the original work, and by the way, also serve as an afterthought.
First Big Joe to Dior.
As for his righteous brother who has been targeting him everywhere since he entered the house, Da Qiao hates it, but in fact he is too cowardly to do anything. It was not until Dior bullied his lover Elena that he finally broke out. Here Da Qiao has completed the first growth of his personality - he can surpass his own cowardice for others. The next is the seven years of the superficial brothers. Dior, who has a restrained nature, is a perfect top student in school and has performed well in various occasions. This social ability has been recognized by Da Qiao. But Dior's disguise confuses him. Later, it was discovered that Dio had poisoned his father, and Da Qiao tore off his hypocritical mask without hesitation. Personally, I feel that rather than pretending, Da Qiao is more willing to see Dior's real appearance, even if the real righteous brother is a selfish scum. Because Da Qiao, like his father, has a kind of tolerance in principle. He will not spurn each other just because he has a dark side. At most, he will be sent to the police station in accordance with the moral law. I hope that people can one day be probated and reformed. Unexpectedly, Dior has already chosen Don't be human.
After Dior evolved into a vampire, Da Qiao began his second growth - he had a sense of responsibility. Da Qiao can rationally realize that Dior's demonization is inextricably linked to his own research on the ghoul face. This sense of responsibility gives him the courage to transcend his fears and challenge the demons. After learning Ripple with Zibelin, it is this sense of responsibility and mission that has always driven him to fight. Here to reiterate the counterpoint method mentioned earlier, the growth of Da Qiao in the original work has always been inspired by Dior. The so-called youth shared by two people, I think, in addition to the seven years that the fake drama of Harmony and Harmony under the same roof is roughly portrayed, it should refer to the time that is finely portrayed for many years, forging each other forward. So the two fought until the end, although God does not allow Dior's evil, but the encouragement that Dior has always brought to himself should make Da Qiao feel reluctant and grateful to this fateful opponent. His tears as he watched Dior's fall from the high platform of the castle were also a natural expression of this emotion.
When Dio had only one head left on the boat to take Da Qiao's body, Da Qiao finally completed the third growth of his personality. Before that, I think Da Qiao should have noticed that Dior always kept his hand when he played against him (he was cruel to others, only to Da Qiaolang). At the end of the story, he completely understood the other party's obsession with himself through Dior's words. Unlike Dior, who has always been fighting with fate, Da Qiao chose to accept the death entanglement set by fate for the two of them when he was about to die. Accepting the fact that Dior is the other half of himself is somewhat similar to embracing suffering and reconciling with fate in a religious sense. God gives people cruel trials, and people grow through hardships - this is the two-in-one at the end of a movie as I understand it. Therefore, although Da Qiao was executed at the end, his outlook on life has entered a higher realm, which confirms the author's creative concept of "as long as the protagonist grows up, even if he dies".
Then let's talk about Dior.
Dior, who invaded Qiao's family for the purpose of family property, at first despised the pampered and soft-spoken Joe, until the other party suddenly burst into tears. Dior, who was deflated, began to examine his plan, put Da Qiao in the high position of "opponent", and also took the first step in the growth of the villain: disguise. As a result, they pretended for seven years as soon as they pretended, and the seven years of false feelings were about to become true. Maybe due to space reasons, during this period of time in the original work, the two seemed to have no friends that they could care about except each other. So for Dior, maybe Da Qiao is the only one who can occupy a place in his heart, and it was probably at this time that his twisted obsession with Da Qiao began to sprout.
However, Dior, a hard-working family, can still work perfectly, and he is concerned about the Qiao family property. When the time was right, he chose to first get rid of his adoptive father who was in the way, but the conspiracy was exposed at a critical moment. Dior, who was in a desperate situation, resolutely decided to give up being a man and entered the second stage of the villain's personality: loss of humanity. Dior, who had just become a vampire, completely liberated his desires. He regarded the bridge as a threat and obstacle to his own survival and development, and wanted to get rid of it quickly. The confrontation between the two in the fire on the roof of the mansion can be said to be the purest and most thorough battle of Dior's evil.
In the subsequent confrontations, as Da Qiao escalated step by step, Dior's actual behavior was more dominated by conquest and possessiveness. A person as smart as Dior should realize earlier than Da Qiao that a person's growth is inseparable from the hard work of the environment, which also makes him feel sympathy for Da Qiao, who is as hardworking as himself. Therefore, in the battle of the tower, Dior did not make a ruthless attack at the critical moment, but wanted to turn Da Joe into a "servant of the night". Although the result was a fiasco, it also made Dior take another step forward on the road of villain, or in other words, it was no longer a simple villain image, but an old enemy.
Dior, who survived by chance, continued to reflect on himself. He realized that fate had set up the entanglement for the two of them, so he had the obsession that Da Qiao and himself were destined to be together. But after the battle of the tower, he knew that it was impossible for Da Qiao's will to succumb. In addition, only his head was left, and he had the whim of taking his body. When I saw Elena on the boat, I was probably very jealous, so I made the wonderful NTR declaration (see Guantong "Over Heaven"). When he was finally killed by Da Qiao, although he didn't hear the other party's inner monologue, in Da Qiao's arms, he should have directly felt the other party's voice that he had accepted his fate and was ready to die together. At this time, Dior was emotionally shaken, and coupled with the urgent desire to survive, he tried to use options such as servants of the night to make the other party change his mind, but it was too late. When Dio least wanted Da Qiao to die, Da Qiao died and was killed by himself. Therefore, in terms of rhetoric, this is a very connotative ending in which the villain seems to be better than the hero on the surface, but in fact the villain has been convinced by the hero.
The direct depiction of an original is discontinued here. I don't know how Dior was feeling when he took Da Qiao's dead body, and how the two of them sank into the sea after he took it. Must be quite lonely. While trying to integrate with Da Qiao's body, he did not know when he would be able to see the light of day again, and suffered a cage-like despair. What kind of changes Dior's thinking has undergone during this period, someone specially made an interesting analysis from his three-part dressing style, the design of the substitute diving suit, and the six model boats built in front of Pucci. I won't go into details here. In short, this century of time is probably static for Dior. Because of weakness, despair, and loneliness, he chooses to sleep most of the time. The only way to chat and masturbate is probably only his past memories and Da Qiao's body. After being salvaged, it is natural for his personality to have a huge change. And all this is thanks to Da Qiao. So we can see that in the third part, Dio Brando finally merged with his most respected Jonathan Joestar and evolved into DIO, the savior of villains.
By the way, they also gave birth to children in the fifth or sixth department.
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