How did Hirohiko Araki's art evolve across the JoJo parts?

Part 1, Phantom Blood (1987), is drawn in the dominant action style of its moment: enormous muscled heroes in the manner of Fist of the North Star and the bodybuilding era, heavy shadow and gothic horror staging for its vampire villain, Dio. Part 2, Battle Tendency, keeps the bulk but loosens it, adding speed, humor and the first truly Araki compositions, bodies twisted into poses no anatomy lesson would approve and every reader remembers.

Part 3, Stardust Crusaders (1989 to 1992), is the hinge. The cast travels the world, the drawing tightens and sharpens, and the introduction of Stands changed what his pages had to do: now every battle was a portrait of two figures, the user and the power behind them, arranged like fashion shots. Through Part 4, Diamond is Unbreakable, the muscles deflate toward real human proportion, faces soften, and the small town setting fills the art with clothes, cars and everyday objects drawn with a stylist's attention.

Parts 5 and 6 complete the famous transformation. Golden Wind's Italian cast are drawn as runway figures, slender, long limbed and dressed in Araki designed fashion, while Stone Ocean builds its prison world around a female lead and some of his most sculptural posing. The line in these parts is fine, elegant and deliberately beautiful, a world away from Part 1's hulking Jonathan, though the dramatic heartbeat poses and sound effect lettering never leave.

The seinen era parts, Steel Ball Run and JoJolion, settle into a mature style: realistic bodies, dense landscape and architectural drawing learned for the cross America race, and faces that can hold quiet expression across a monthly chapter. Araki has said he pursues the art he currently finds beautiful rather than protecting a brand look. The covers of the nine parts, laid in a row, are this Library's clearest single image of an artist aging in public on purpose.