The second Jobro?
YO! YO! YO! Exchange Enough here again. It’s a pleasure to be writing more concepts for you who are reading!
I honestly have no idea if this should be a Jobro or not (I don’t even know if I’m going to write a story. Lol.) I just know I had a lot of fun creating this character, you have no idea.
Another little experiment in my “amusement park” called La JoJoLution. This would be an alternate universe version of Robert E. O. Speedwagon (from Part 1 of JoJo), but with a twist: to create him, I also decided to make a reimagining/counterpart of a character from Part 3—more specifically, Kakyoin. In this case, Speedwagon + Kakyoin. Well, as I said in the previous post, La JoJoLution is a reimagining of Part 3 with several concepts from other parts. It’s a crazy mix of everything I like in JoJo.
Robert E. O. Speedwagon II (Rob Speedwagon)
Robert E. O. Speedwagon II, known as Rob (18 years old), is a young British heir to the powerful Speedwagon Foundation. Despite his privileged background, Rob does not follow the expected path of comfort and stability. Still young, during a trip with his family to the United States, in New York, he came across an unusual object: an old, rusted green sphere, perfectly split in half, buried in the sand near the coast (a Steel Ball). This encounter marked the beginning of a silent obsession.
He began traveling the world searching for clues to try to understand what that strange object was—far too heavy to be a simple toy and completely out of place in its environment. His research led him to the Zeppeli family, a lineage of old Italian doctors, but they “closed their doors” to him without any explanation about the sphere, even when he offered money.
In his own words: “I’ll pay any price! I just need to know what this sphere does!” But it was useless. The Zeppelis responded only with silence. A silence that deeply bothered Speedwagon. Because of that, his obsession grew. He felt there was something strange about that perfectly split metal sphere.
It took more time and money until his research led him to the peculiar Joestar family, a family with a vast and strange family tree. He tried going to Hawaii in the U.S., where he heard about a rich but mysterious “Joestar,” but found nothing. Then he went to Japan, where he found traces of the Joestars in the eccentric town of Morioh, but still couldn’t make contact with anyone.
Eventually, his search took him to France, Paris, where he found a young Joestar with a criminal record in the French system. The boy had been judged and convicted for attempted homicide. This young man was Joaquim “Johan” Joestar. Rob decided he would meet this Joestar no matter the cost. What Rob doesn’t know is that Johan knows absolutely nothing about the Steel Balls.
Rob is a reserved and analytical person, with a calm and controlled demeanor. He observes more than he speaks, paying attention to details most people overlook. His intelligence doesn’t show itself in a flashy way, but rather in his ability to interpret situations and people with precision. He tends to reflect before acting and only speaks when he believes he has something meaningful to say, which gives weight to his words within the group.
Despite his introspective nature, Rob is not emotionally distant. He has a strong sense of loyalty, but he does not trust easily. His trust is built over time, based on observation and experience. Once established, however, that loyalty becomes unshakable. He also shows a slight social displacement, a result of his upbringing and his solitary journey, which sometimes leads to interactions that feel slightly out of sync.
The Steel Ball he found became a central element in his life. Although he does not fully understand its nature, Rob carries a “reconstructed” version of the object: a perfect purple sphere formed from the two halves of the original. He uses it in combat as a physical tool, even without mastering Spin or understanding the principles behind it.
Rob Speedwagon’s Stand:
「The Beatles」
(Separated)
Power: C
Speed: B
Range: B
Durability: A
Precision: C
Potential: C
(All four together)
Power: A
Speed: B
Range: B
Durability: A
Precision: C
Potential: A
(I’m not very good at this Stand stats thing :P)
「The Beatles」 is composed of four independent entities shaped like beetles, similar to rhinoceros beetles. Each unit has a hybrid appearance between biological and mechanical, with distinct elytra, organic mandibles, and eyes resembling camera lenses. They emit a constant, almost inaudible buzzing that subtly reinforces their presence.
Although they share the same base structure, each one has its own visual and behavioral identity, as well as a specific ability.
JOHN — Black carapace, matte-black elytra with a structural golden fissure running from head to abdomen. Moves in a deliberate and slow manner. Every movement feels like a conscious decision.
PAUL — Dark reddish-brown carapace, almost wine-colored. Perfectly symmetrical elytra. The fastest of the four. It genuinely seems to enjoy moving.
GEORGE — Metallic emerald-green carapace with micro diamond-shaped patterns engraved on the elytra. The smallest one. Moves less, observes more.
RINGO — Gray-silver carapace with irregular oxidized copper stains. Asymmetrical elytra. Its buzzing in flight is a third higher than the others, clearly distinguishable.
They do not operate as fully obedient extensions of the user. Rob defines general intentions, but execution depends on each unit’s individual judgment, which can cause slight variations or delays in action.
The Stand’s functionality is contact-based. Each beetle must land on a surface to activate its ability. While in flight, they have no active effects, functioning only as mobile and hard-to-hit units. Removing a beetle from its contact point immediately ends its effect, except in specific cases.
The beetle John, associated with the ability “Twist and Shout,” induces rotation at the point where it lands. This rotation occurs around an axis defined at the moment of contact and can be oriented in any direction. The motion starts slowly and continuously accelerates as long as John remains in place. In smaller objects, the rotation can persist for a period even after removal, maintaining accumulated motion before gradually slowing down.
The beetle Paul, with the ability “Hello Goodbye,” acts on the direction of forces. It does not alter the object itself, but instead inverts the direction of forces applied at the point where it is anchored. This includes impacts, movement, and even vectors such as gravity or momentum, resulting in immediate inversions with no perceptible transition.
The beetle George, linked to the ability “Something,” creates a point of attraction where it lands. Everything within a certain radius is pulled toward that point, with intensity increasing over time. The effect applies impartially to anything within the area, including objects, people, and even the user.
The beetle Ringo, with “Don’t Pass Me By,” generates the opposite effect: a field of repulsion. Everything within its area of influence is pushed outward with increasing force. Unlike George, this effect does not apply to the user, allowing Rob Speedwagon to remain within the area as a stable point while everything else is expelled. When combined with George, placing Ringo and George at opposite points creates a corridor of forces—everything is simultaneously pulled toward George and pushed by Ringo, generating acceleration that surpasses pure brute force.
The Symphony: “Come Together”
All four together don’t just create four simultaneous effects. They create interactions between those effects that none of them could produce alone.
Some combinations:
John + Paul — An area where everything spins and all applied forces are inverted. An enemy attempting to strike within this area receives their own attack back in an accelerating spiral.
George + Ringo — The force corridor described above. At maximum scale, it can move entire structures.
John + George — Acceleration Orbit. George establishes a central point that pulls everything inward, while John imposes rotation on that axis. The result is not just something being pulled and spun, but a forced orbital field: everything that enters the area has its trajectory taken over and begins to orbit continuously around the center. Objects are not launched like projectiles—they are held in orbit, accelerating progressively and colliding with each other, forming a mass of constantly rotating debris. Entering the area means losing control of movement; leaving it requires breaking both the attractive force and the rotational axis simultaneously.
Paul + Ringo — Repulsion that is inverted at the point of contact. Anything pushed away by Ringo that touches Paul’s field is sent back toward Ringo with the same momentum. A closed force loop that scales indefinitely.
The ability of all four together has not yet been shown.
Despite its versatility, 「The Beatles」 has clear limitations. The need for direct contact, dependence on positioning, and the partial autonomy of the units require constant planning and adaptation from the user. The beetles are durable for their size, but can be neutralized by direct attacks from combat-focused Stands.
Overall, 「The Beatles」 is a Stand focused on force manipulation and spatial control, functioning less as a direct offensive tool and more as a system for constructing situations. Its effectiveness depends on the user’s ability to read the environment, position each unit correctly, and exploit the interactions between their effects.
Well, that’s it. Thanks for reading this far, and have a good day/night.