Emperor Crimson, formally recognized as King Crimson, serves as the Stand manifestation of Diavolo, the primary antagonist in *Golden Wind*. This humanoid Stand mirrors Diavolo’s stature while projecting a heightened imposing presence. Its form features a raised diagonal grid pattern across most surfaces, excluding the face, neck, hands, and abdomen. A secondary face named Epitaph occupies its forehead, displaying expressions synchronized with King Crimson’s emotions and anchoring its precognitive powers. The Stand appears primarily crimson across adaptations, with green eyes and metallic accents in white, silver, or gold. Diavolo originated under extraordinary circumstances, born in an all-female prison in 1967 without a known father after his mother claimed a two-year pregnancy. Raised in Sardinia by a priest, he later used the alias Solido Naso to form a relationship with Donatella Una, fathering Trish Una before abandoning them. In 1986, the priest discovered Diavolo’s mother buried alive beneath their home—a revelation triggering a village-destroying fire where Diavolo was falsely declared dead. He fled to Egypt, unearthing six supernatural Arrows. Keeping one, he sold five to Enya Geil for vast wealth, likely activating King Crimson. This funded Passione, a criminal syndicate dominating Italy’s underworld while masking drug trafficking with public charity. Diavolo enforced absolute anonymity, communicating through proxies and concealing within an alternate personality, Vinegar Doppio. King Crimson possesses exceptional strength—severing limbs and fracturing stone in single strikes—and bullet-outpacing speed, though confined to a 2-3 meter range. Its signature ability erases sequential time up to ten seconds. During erasure, Diavolo moves consciously while others act predeterminedly, unaware and unremembering. He exists intangibly, evading attacks but unable to strike. Post-erasure, victims instantly experience the outcome of skipped time. Diavolo exploits this to dodge threats, reposition, and time attacks. Epitaph grants Diavolo and Doppio foresight into the next "several tens of seconds," projecting conclusive outcomes as environmental imagery in their hair. These inevitable yet contextless visions allow countermeasures, like Doppio removing throat-embedded scissors. King Crimson’s erasure can selectively void predicted segments, altering Diavolo’s fate while others’ remain fixed. Diavolo’s psyche centers on pathological paranoia and erasing personal history, viewing past ties as vulnerabilities. This drove him to burn his hometown and order the dismemberment of identity-probing subordinates like Sorbet and Gelato as warnings. It extended to assassination attempts on his daughter Trish, seen solely as a genetic threat. Concurrently, he proclaimed himself "Emperor" or "King of Kings," convinced of fated supremacy bolstered by King Crimson’s perceived invincibility—a grandiosity rooted in his extraordinary life and belief in divine trials. His narrative culminates in Rome. After killing Bucciarati and Narancia, Diavolo sought the Requiem Arrow to empower King Crimson. Giorno Giovanna intercepted it, evolving his Stand into Gold Experience Requiem. This nullified King Crimson’s time manipulation, rendering it irrelevant. Gold Experience Requiem condemned Diavolo to an infinite death loop, cycling him through fatal scenarios across realities—an eternal punishment eroding his sanity into terrified dissociation. Diavolo and King Crimson’s conceptualization echoes themes from King Crimson’s 1969 album *In the Court of the Crimson King*. Tracks like "21st Century Schizoid Man" explore psychological fragmentation and paranoia, reflected in Diavolo/Doppio’s duality and King Crimson/Epitaph’s synergy. Lyrics referencing destructive rituals and corrupted innocence parallel Diavolo’s village incineration and child exploitation via drugs. The album’s critique of disconnected authority aligns with Diavolo’s Passione leadership, prioritizing control through fear and secrecy over loyalty, ultimately inciting mass betrayal.