I really would hate if everything cool and fantastic about the one piece world was (in world) manufactured. Besides the ancient secret being “we knew how to make giants” seems lame.
Greg: Teacher of SUPER " OP " course !
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Isn't that the way it is all going. Everything was meant to be and every sense of wonder is artificial
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Greg what are you thinking about the Shanks is "evil" stuff or better said are you thinking Kaidou wanted to actually help WB to free Ace on Yamato's behalf but for reasons Shanks stopped him.
It is still strange how in good terms even the WG is with him
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Greg what are you thinking about the Shanks is "evil" stuff or better said are you thinking Kaidou wanted to actually help WB to free Ace on Yamato's behalf but for reasons Shanks stopped him.
It is still strange how in good terms even the WG is with him
When you have that much influence, politics kick in.
–- Update From New Post Merge ---
Isn't that the way it is all going. Everything was meant to be and every sense of wonder is artificial
I'd hope some of it are random freak accidents and unpredictable consequences.
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@robby @cannon
Nami was a novice pirate, but gifted navigator. Even with her gift, the trip to Paradise and even the way to Fishman Island could've gone horribly wrong. The way they talked about it and what they had to maneuver around made it a big deal/issue.
I think there was an easier route mentioned by Neptune, Camie, or one of the Ministers when they hit Fishman island. Most ships don't have an educated navigator like Nami. It's not far fetch to believe that there are more amateurs than seasoned individuals trying to cross the Red Line. The crew almost crashed and lost Usopp on the way up the mountain
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I remember it being said during the Fishman Island trip that 70% of ships crashed on their way in FMI.
But I believe Oda simply doesn't think much about how non-straw hats characters travel. -
The differences between beasts and kings are not entirely clear yet but the largest difference appears to be just that, size. And while we don't know the nomenclature of sea kings, sea beasts typically seem to be 'Sea (insert animal name)'.
Sea beasts are big but not to the extent of sea kings.
Sea beasts, like their name, typically appear largely based on a particular animal with the head most closely resembling a land or other creature. In the case of Lord of the Coast, probably an eel sea beast? Which is pretty lame for sea beasts, but, that's the point I suppose.
Sea kings can also resemble terrestrial or other creatures but their design is much more free. Instead of being a fish/frog, it'll actually be a giant frog.
I needed to confirm the difference some time ago for some work and he definitely wasn't messing around but I always defer to his ability to change his mind.
I had to confirm a myriad of other things too but uh, yeah. We'll talk more about that in the future. For now, def a sea beast as per Oda's word.
In chapter 92, Arlong's eyes change when he snaps and Sanji notes that "They're the same eyes that a sea king has when it goes berserk!" combined with an image of the Lord of the Coast.
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I am pretty sure back then Oda didn't decide on the extent to which he would expand these creatures. -
This should probably go to "dumb predictions",but about the thing from the next two chapters that made the editor cry: O-Toki is still alive and she trasported herself to the moment when she will save Momo from Kaido.
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In chapter 92, Arlong's eyes change when he snaps and Sanji notes that "They're the same eyes that a sea king has when it goes berserk!" combined with an image of the Lord of the Coast.
Not according to the official translation. Sanji just says the eyes change when a fishman goes berserk.
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In chapter 92, Arlong's eyes change when he snaps and Sanji notes that "They're the same eyes that a sea king has when it goes berserk!" combined with an image of the Lord of the Coast.
Yup. Presented the same evidence when I asked. Still said sea beast.*
*with grace to change his mind whenever.
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I had never thought of Sea King's size being related to the search for Gigantification, but the thought of it is pretty compelling given the giant Straw Hat in Mariejoas being a "National Treasure," and all the hoopla around gigantification in Punk Hazard. If the Sea Kings were gigantified versions of whatever animal they resemble, it reminds me of Gene Wolfe's character Baldanders, in The Book of the New Sun, and 2 other God like beings in the book who have become so big they were forced to live in the sea. I think we'll definitely be told some huge clues about it during this arc, given the shape of Onigashima, Kaido's horns and racial ambiguity, and the silhouette that we saw about gigantification when Law mentioned it's history during Punk Hazard.
ps. Law only thinks that the gigantification was for the purpose of creating soldiers. It could be related to something we are completely unaware of concerning the ancient kingdom. This all makes me think about Gear 3rd, 4th, and whatever is next.
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The more important distinction between Sea Beasts and Sea Kings is sentience rather than size. Size is part of it, but sentience is the key. I think the idea that they were created through gigantification experiments makes very little sense.
I don't think Dynamaxing is the big secret of the void century. That would be really lame.
Luffy, Zoro, Nami, Usopp, Sanji, Chopper, Robin, Franky, Brook, Jimbei, Carrot, Vivi, Smoker
"ONE PIECE, IT EXISTS" - The Great Pirate Edward Newgate
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@Vongola_Boss_XI:
The more important distinction between Sea Beasts and Sea Kings is sentience rather than size. Size is part of it, but sentience is the key. I think the idea that they were created through gigantification experiments makes very little sense.
I don't think Dynamaxing is the big secret of the void century. That would be really lame.
I doubt it's the only secret, but gigantism in general for sure seems to be a part of the puzzle. I don't think the World Government is researching it just to create soldiers and I don't think it's a coincidence that the Straw Hat is giant. This doesn't necessarily mean the Sea Kings were artificially created, but their size is certainly going to serve some purpose concerning Noah in the future.
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I remember it being said during the Fishman Island trip that 70% of ships crashed on their way in FMI.
But I believe Oda simply doesn't think much about how non-straw hats characters travel.The Barto Club made it without a navigator.
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@Vongola_Boss_XI:
The more important distinction between Sea Beasts and Sea Kings is sentience rather than size. Size is part of it, but sentience is the key. I think the idea that they were created through gigantification experiments makes very little sense.
I don't think Dynamaxing is the big secret of the void century. That would be really lame.
Isn't every animal in OP sentient?
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Plot twist the void century accidently shrunk the whole world and they're trying to get back to size.
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The Barto Club made it without a navigator.
Yet Oden couldn't leave Wano because of his lack of sailing skills and his retainers shipwrecked because of it.
It's mainly important when the plot asks for it.:ninja: -
Yet Oden couldn't leave Wano because of his lack of sailing skills and his retainers shipwrecked because of it.
It's mainly important when the plot asks for it.:ninja:Wano is hard mode when it comes to sailing. Level 1 is literally just whirlpools and waterfalls everywhere.
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Plot twist the void century accidently shrunk the whole world and they're trying to get back to size.
Only if Im is played by Rick Moranis in the live action adaptation.
–- Update From New Post Merge ---
Isn't every animal in OP sentient?
I don't think to the same degree as the Sea Kings and Zunesha. There are sentient animals like the Kung Fu Jugon, Eyelash, etc.
–- Update From New Post Merge ---
I doubt it's the only secret, but gigantism in general for sure seems to be a part of the puzzle. I don't think the World Government is researching it just to create soldiers and I don't think it's a coincidence that the Straw Hat is giant. This doesn't necessarily mean the Sea Kings were artificially created, but their size is certainly going to serve some purpose concerning Noah in the future.
The hat is a head scratcher at the moment, but I'm not sure if it alone is the 'treasure of Marijoa'; I'm not even sure that's the thing Doflamingo is aware of. I think Im might be that which Doffy was referring to when he said he possessed knowledge the World Government would kill to keep secret.
Luffy, Zoro, Nami, Usopp, Sanji, Chopper, Robin, Franky, Brook, Jimbei, Carrot, Vivi, Smoker
"ONE PIECE, IT EXISTS" - The Great Pirate Edward Newgate
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@Vongola_Boss_XI:
I don't think to the same degree as the Sea Kings and Zunesha. There are sentient animals like the Kung Fu Jugon, Eyelash, etc.
All animals in OP talk in their own language and understand human speech (even when they can't speak human language themselves). They also show all kinds of emotions. Basically, all of them are sentient.
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The Barto Club made it without a navigator.
yea, but they had Gambia’s grandma to call when they needed help so they were pretty well off.
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@Vongola_Boss_XI:
The hat is a head scratcher at the moment, but I'm not sure if it alone is the 'treasure of Marijoa'; I'm not even sure that's the thing Doflamingo is aware of. I think Im might be that which Doffy was referring to when he said he possessed knowledge the World Government would kill to keep secret.
That's a good point that I agree with, but I think we can all say that the hat is certainly significant and it's not so large for no reason. It also makes me think back to the prophecy concerning someone with a Straw Hat destroying Fishman Island? Oda's building up a lot of different things and I just think gigantism is part of it. Also, this is off the top of my head, but I think Oda references something important behind the almost giant sized humans in an SBS or something.
edit: It could also be that the search for gigantification through the world govt. is linked to the search for immortality.
–- Update From New Post Merge ---
All animals in OP talk in their own language and understand human speech (even when they can't speak human language themselves). They also show all kinds of emotions. Basically, all of them are sentient.
Right. Chopper has already revealed as much. The big difference between Sea King's sentience that we are aware of is that Luffy, Momo, Roger, etc. are able to understand their speech. There is likely more to it, but that's what we can confirm.
edit: Also, Sea King's can be called by the Mermaid Princess. This also makes me wonder if her giant size is the reason behind it considering she's barely short of a giant's size as a teenager.
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Right. Chopper has already revealed as much. The big difference between Sea King's sentience that we are aware of is that Luffy, Momo, Roger, etc. are able to understand their speech. There is likely more to it, but that's what we can confirm.
edit: Also, Sea King's can be called by the Mermaid Princess. This also makes me wonder if her giant size is the reason behind it considering she's barely short of a giant's size.
Well, that's not a criteria of sentiency. We all know that those beings are connected to the deeper lore of OP, but that doesn't mean they're more sentient than others. These are just two different things.
Also, we don't know if the ability to Hear The Voice of All Things can apply to every living being or only those ancestral creatures. It's not unreasonable to think that Luffy will be able to talk to anything in the future. It's even hinted that Luffy briefly understood the speech of that dragon artificially created by Vegapunk in Punk Hazard.
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Well, that's not a criteria of sentiency. We all know that those beings are connected to the deeper lore of OP, but that doesn't mean they're more sentient than others. These are just two different things.
Also, we don't know if the ability to Hear The Voice of All Things can apply to every living being or only those ancestral creatures. It's not unreasonable to think that Luffy will be able to talk to anything in the future. It's even hinted that Luffy briefly understood the speech of that dragon artificially created by Vegapunk in Punk Hazard.
True it's not, but the point stands that it's the only thing separating them from creature's like Eyelashes, who we know has perfectly coherent thoughts and feelings. As for the dragon talking, that was Kinemon's butt (it's pretty clear on reread since when it's taken off of the dragon it says Who Goes There again). I guess there's a chance that the first line of spoken dialogue from it is the dragon itself, but it seems unlikely. Luffy might be able to understand anything in the future, but so far he's only been able to hear the voices of giant animals.
Check out my podcast for conversations about Greatness in anime, sports, music, and whatever else we can think of.
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Check out my podcast for conversations about Greatness in anime, sports, music, and whatever else we can think of.
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As for the dragon talking, that was Kinemon's butt (it's pretty clear on reread since when it's taken off of the dragon it says Who Goes There again). I guess there's a chance that the first line of spoken dialogue from it is the dragon itself, but it seems unlikely. Luffy might be able to understand anything in the future, but so far he's only been able to hear the voices of giant animals.
What I'm guessing to be the dragon actually talking at the end of chapter 655 used a slightly different type of bubble speech, more similar to the "stop" said by the sea kings a few chapters before.
Also, that sentence didn't use the fart onomatopeie that was present in other dialogue spoken by Kinnemon's butt.
On top of these structural differences, what would be the point of Oda highlighting that only Luffy was able hear that first line while the other Strawhats didn't hear anything? Very weird and unnecessary. Remember that the others only heard anything after that first line, exactly when the fart onomatopeie started to be used (Kinnemon's butt talking).
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What I'm guessing to be the dragon actually talking at the end of chapter 655 used a slightly different type of bubble speech, more similar to the "stop" said by the sea kings a few chapters before.
Also, that sentence didn't use the fart onomatopeie that was present in other dialogue spoken by Kinnemon's butt.
On top of these structural differences, what would be the point of Oda highlighting that only Luffy was able hear that first line while the other Strawhats didn't hear anything? Very weird and unnecessary. Remember that the others only heard anything after that first line, exactly when the fart onomatopeie started to be used (Kinnemon's butt talking).
I thought about that too, but chalked it up to dramatic effect. 2 chapters later Kinemon's butt saying Who Goes There was what sold me on it being him and seems like a perfect end to the joke started with the initial reveal of the dragon. As for Luffy hearing it clearly first, I have no clue why, but it begs the question of why the dragon didn't speak any more? It could go either way, I suppose, but I'm pretty comfortable with my reading.
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Have you read his newest post: https://one-piece.com/special/greg/detail/20200722_1163.html?l=en
Whoa! I’m just seeing this for the first time — I’m surprised that this made it in
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Hi Greg, what's Oda's opinion on the One Piece anime? Some manga readers didn't like the Zoro vs Kamazou fight because of the added effects and animation compared to the manga. Though most fans loved it. Wonder if Oda enjoys the anime adding extra substance to his fights?
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In the manga, it got the oozing flame like effect on Wado Ichimonji and Sandai Kitetsu. The scythe even got buso. As a Zorotard, this is what i've been waiting on for a while.
The anime gave it this big goop like, syrup aura that was overkill. I wish it was more contained to the sword. It doesn't have to be exactly like how Oda did it in the manga.
I'm not gonna dive into the unnecessary flashbacks because it's been going on for a long time and not as bad as what happened to the swords
I did like the aura effect for Luffy and the overall choreography for Zoro vs Killer
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Just watched first 30 seconds of Zoro vs Killer. Does it get less shitty after a while? Cause that was hard to watch. Fights were better directed, drawn and animated in beginning episodes than now, ffs.
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I wonder if Momo's dragon form will have Ameterasu fire. Goes well with folklore.
“When I despair, I remember that all through history the way of truth and love have always won. There have been tyrants and murderers, and for a time, they can seem invincible, but in the end, they always fall. Think of it–always.”
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Can anyone please explain to me how the Acts are supposed to work in Wano? I've heard it's based off a Japanese style of play, and that each part has different lengths and story points
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Can anyone please explain to me how the Acts are supposed to work in Wano? I've heard it's based off a Japanese style of play, and that each part has different lengths and story points
https://en.wikipedia.org/wiki/Kabuki#Play_structure
Nearly every full-length play occupies five acts. The first corresponds to jo, an auspicious and slow opening which introduces the audience to the characters and the plot. The next three acts correspond to ha, speeding events up, culminating almost always in a great moment of drama or tragedy in the third act and possibly a battle in the second or fourth acts. The final act, corresponding to kyu, is almost always short, providing a quick and satisfying conclusion.
We're probably on the tale end of the third act now with sad stuff about to happen, then act 4 will be a year of fighting, and then act five will be the post-arc party and setup for future stuff.
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https://en.wikipedia.org/wiki/Kabuki#Play_structure
Nearly every full-length play occupies five acts. The first corresponds to jo, an auspicious and slow opening which introduces the audience to the characters and the plot. The next three acts correspond to ha, speeding events up, culminating almost always in a great moment of drama or tragedy in the third act and possibly a battle in the second or fourth acts. The final act, corresponding to kyu, is almost always short, providing a quick and satisfying conclusion.
We're probably on the tale end of the third act now with sad stuff about to happen, then act 4 will be a year of fighting, and then act five will be the post-arc party and setup for future stuff.
So essentially it's a typical One Piece arc structure (or typical story structure, in general), just with curtains rising and closing in the middle to give space for interludes. And Hiyori doing the be-beng thingy :ninja:
With that said, I think it's a good thing we have these interludes where Oda pauses Wano and shows stuff happening around the world. It helps to give a real sense of progression to the arc, as well as allowing the readers to rest a bit from the story. This sort of resets the arc and makes every new act feel fresh. Oda used a similar tactic for the enormous Water 7/Enies Lobby arc, by changing locations to a brand new, totally different place, complete with an intermediate battle/comedy portion in the sea train. I think one of the big problems of Dressrosa was that he did not pull any of these things successfully. He tried to include a variety of places, by having Green Bit be a different island, then having Pica reorganize the layout of the land, essentially creating a new island for the fights to occur. But it wasn't nearly enough and the arc ended up feeling long and dragged out. We're 78 chapters into Wano (84 if we count the Reverie chapters!) and everything still feels fresh and in constant development. In Dressrosa, by the 50th chapter, every person in these forums was already sick of that place.
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So essentially it's a typical One Piece arc structure (or typical story structure, in general), just with curtains rising and closing in the middle to give space for interludes. And Hiyori doing the be-beng thingy :ninja:
With that said, I think it's a good thing we have these interludes where Oda pauses Wano and shows stuff happening around the world. It helps to give a real sense of progression to the arc, as well as allowing the readers to rest a bit from the story. This sort of resets the arc and makes every new act feel fresh. Oda used a similar tactic for the enormous Water 7/Enies Lobby arc, by changing locations to a brand new, totally different place, complete with an intermediate battle/comedy portion in the sea train. I think one of the big problems of Dressrosa was that he did not pull any of these things successfully. He tried to include a variety of places, by having Green Bit be a different island, then having Pica reorganize the layout of the land, essentially creating a new island for the fights to occur. But it wasn't nearly enough and the arc ended up feeling long and dragged out. We're 78 chapters into Wano (84 if we count the Reverie chapters!) and everything still feels fresh and in constant development. In Dressrosa, by the 50th chapter, every person in these forums was already sick of that place.
Never thought about it that way, but it makes perfect sense. I remember the end of Dressrosa giving me a similar feeling to the final arc of Naruto, where you got exhausted and the environment kept looking like rubble. Contrast that to Wano where I've never gotten tired of the island itself, regardless of my interest in the story. Hell, my interest skyrocketed once they reached Onigashima.
Trying to imagine Water 7 as one continuous arc in the same location really hammers in the importance of those breaks. it would've been awful, not matter how good the story is. Guess it shines light on the importance of Long Ring Long Land too.
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So essentially it's a typical One Piece arc structure (or typical story structure, in general), just with curtains rising and closing in the middle to give space for interludes. And Hiyori doing the be-beng thingy :ninja:
With that said, I think it's a good thing we have these interludes where Oda pauses Wano and shows stuff happening around the world. It helps to give a real sense of progression to the arc, as well as allowing the readers to rest a bit from the story. This sort of resets the arc and makes every new act feel fresh. Oda used a similar tactic for the enormous Water 7/Enies Lobby arc, by changing locations to a brand new, totally different place, complete with an intermediate battle/comedy portion in the sea train. I think one of the big problems of Dressrosa was that he did not pull any of these things successfully. He tried to include a variety of places, by having Green Bit be a different island, then having Pica reorganize the layout of the land, essentially creating a new island for the fights to occur. But it wasn't nearly enough and the arc ended up feeling long and dragged out. We're 78 chapters into Wano (84 if we count the Reverie chapters!) and everything still feels fresh and in constant development. In Dressrosa, by the 50th chapter, every person in these forums was already sick of that place.
Thats a really interesting way of looking at it! And I think I fully agree
Do you think Dressrosa could have been improved by splitting it into two more clearly divided parts. For example, having the Crew first Land on Green Bit and stay there longer, with some parts of the plot already.being taken care of afterwards. Or Maybe the arc could have been Split into three parts:First Part : Set stuff up on Dressrosa, mostly featuring the Colosseum plot. Maybe even have one of the Strawhats be turned into a toy like the other Colosseum members
I always felt like Oda wasted an opportunity for awesome Drama here.Second Part: the Crew has to travel to the close by Green Bit, get involved in the Dwarves Mission. Sugar and the Toy House could have been located on Green Bit instead, so in the end, Sugar faints and every doll becomes human agai.
Third Part: the Strawhats return to Dressrosa, where utter Chaos had broken out now and defeat Doflamingo once and for All.
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Dressrosa was flowing reasonably well in the first half despite so much going on at the same type.
IMO, the biggest flaw of Dressrosa in terms of structure was the soft reset after the birdcage. Honestly, the stage for the climax of the arc was already in place, so there was no need to start over. It was terrible and tiring, and it doesn't help that a lot of the fights were disappointing after that.
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@Zar:
Never thought about it that way, but it makes perfect sense. I remember the end of Dressrosa giving me a similar feeling to the final arc of Naruto, where you got exhausted and the environment kept looking like rubble. Contrast that to Wano where I've never gotten tired of the island itself, regardless of my interest in the story. Hell, my interest skyrocketed once they reached Onigashima.
Trying to imagine Water 7 as one continuous arc in the same location really hammers in the importance of those breaks. it would've been awful, not matter how good the story is. Guess it shines light on the importance of Long Ring Long Land too.
I actually started to see things this way during Dressrosa itself, when trying to make sense of why the arc was feeling 'off'. There were arguably many other problems with the story itself, but to me, the setting and pacing really broke the whole thing. Like you said, after a while everything just started to look like rubble all around. Combined with the enormous amount of fodder filler fighting, scene skipping, and spotlight to so many brand new 'unknown' characters, it all started to feel grinding and tiresome.
Thats a really interesting way of looking at it! And I think I fully agree
Do you think Dressrosa could have been improved by splitting it into two more clearly divided parts. For example, having the Crew first Land on Green Bit and stay there longer, with some parts of the plot already.being taken care of afterwards. Or Maybe the arc could have been Split into three parts:First Part : Set stuff up on Dressrosa, mostly featuring the Colosseum plot. Maybe even have one of the Strawhats be turned into a toy like the other Colosseum members
I always felt like Oda wasted an opportunity for awesome Drama here.Second Part: the Crew has to travel to the close by Green Bit, get involved in the Dwarves Mission. Sugar and the Toy House could have been located on Green Bit instead, so in the end, Sugar faints and every doll becomes human agai.
Third Part: the Strawhats return to Dressrosa, where utter Chaos had broken out now and defeat Doflamingo once and for All.
This is exactly how many people are predicting Wano to go, and I agree with them and with you. I think this structure is working and will work wonders for Wano and could have greatly helped Dressrosa too. It has been commented many times that Oda had indeed planned the two islands as separate arcs but merged them to shorten the story. I totally disagree with that decision, since I don't think the story was shortened at all. In order to do that, he should have cut characters and plotlines. By merging them together, he just made it harder to juggle, while failing to make them shorter. It backfired badly, in my view. You are not the first to suggest having the coliseum as a separate arc, but now that I think about it, it sounds pretty cool. Alas, we got what we got.
Dressrosa was flowing reasonably well in the first half despite so much going on at the same type.
IMO, the biggest flaw of Dressrosa in terms of structure was the soft reset after the birdcage. Honestly, the stage for the climax of the arc was already in place, so there was no need to start over. It was terrible and tiring, and it doesn't help that a lot of the fights were disappointing after that.
True, the earlier part of the arc was actually too fast paced. The big problem then was that instead of keeping that pace and race to the fights, we got an abrupt slowdown just to see people run from place to place and fight fodder here and there. I think Oda tried to have the fighting part be similar to Skypiea's competition (a giant battle royale), but again, it just didn't work. At that point, we were just expecting to go for the bosses, but ended up getting the clock of the arc turned back.
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I think Oda tried to have the fighting part be similar to Skypiea's competition (a giant battle royale), but again, it just didn't work. At that point, we were just expecting to go for the bosses, but ended up getting the clock of the arc turned back.
I think the intention behind the addition of that middle portion was to make the colosseum fighters act like a group, especially together with Luffy to build up the concept of the Grand Fleet, something that Oda didn't manage to do during the tournament.
But that section was not even veru good for that since most of the interactions were rather bland and superficial.
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Doesn't help that Dressrosa didn't do to great highlighting the Fleet outside of Bart and Cavendish who are the only two that really interact with all the Dressrosa Strawhats (besides Franky) all the other fight just were not interesting, like does anyone rememebr Ideo?
Sai is the best one after that but it hampered alot by Baby 5 revelation being way to quick (well Viola sufferes this same issue).
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@monkey d
Didn't Leo have a whole thing with Usopp? -
@monkey d
Didn't Leo have a whole thing with Usopp?What I meant was Bart and Cavendish pretty much got to interact with all the strawhats bar Franky (who no one really saw till pushing the Birdcage as far as the main fleet members).
Bart interacted with all the Strawhats, hell he even palled with Sabo for awhile while Cavendish apologized and promised not to hunt Luffy and Zoro, saved Robin and even had a heart felt moment with Law.
They had moments with our heroes outside of moments looking cool where most of the others outside of Leo just had a moment with one of them outside the Coliseum.
Leo is the only one who had a dynamic with a strawhat but that was only with Usopp before Sugar, Haj jsut lifted Usopp up while inspired he didn't really interact anyone as Zoro only passed by him after he knocked out telling him to sleep tight, I don't think Ideo interacted with anyone and Orlumbus just tossed Zoro.
There just not a strong connection/interactions with the Strawhats outside of Bart, Cavendish and Leo (who many find annoying but I do like the little guy) the rest it don't really have those moments, hell I'm not seeing why Brownbeard couldn't have just come and joined the fleet instead of Orlumbus or Ideo.
Then again i also say/wished we would have had a mini arc before Dressrosa so we could have separated the Strawhats better then what Dressrosa did cause it would help give the fleet members that needed it more time/panels
I like Haj but thats more due to him being connected to the Giants, but this is all my opinon
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Just thought you guys might find this funny.
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What I meant was Bart and Cavendish pretty much got to interact with all the strawhats bar Franky (who no one really saw till pushing the Birdcage as far as the main fleet members).
Bart interacted with all the Strawhats, hell he even palled with Sabo for awhile while Cavendish apologized and promised not to hunt Luffy and Zoro, saved Robin and even had a heart felt moment with Law.
They had moments with our heroes outside of moments looking cool where most of the others outside of Leo just had a moment with one of them outside the Coliseum.
Leo is the only one who had a dynamic with a strawhat but that was only with Usopp before Sugar, Haj jsut lifted Usopp up while inspired he didn't really interact anyone as Zoro only passed by him after he knocked out telling him to sleep tight, I don't think Ideo interacted with anyone and Orlumbus just tossed Zoro.
There just not a strong connection/interactions with the Strawhats outside of Bart, Cavendish and Leo (who many find annoying but I do like the little guy) the rest it don't really have those moments, hell I'm not seeing why Brownbeard couldn't have just come and joined the fleet instead of Orlumbus or Ideo.
Then again i also say/wished we would have had a mini arc before Dressrosa so we could have separated the Strawhats better then what Dressrosa did cause it would help give the fleet members that needed it more time/panels
I like Haj but thats more due to him being connected to the Giants, but this is all my opinon
Yeah, I agree with that. Not only was the other half of the crew gone, the ones that were there didn't get to become cool as much with Orlumbus and Sai. There could've been more with Hajrudin/Usopp because of Usopp's ongoing relationship with Giants. Out of the 7 sons, Ideo might've gotten the worst treatment
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https://en.wikipedia.org/wiki/Kabuki#Play_structure
Nearly every full-length play occupies five acts. The first corresponds to jo, an auspicious and slow opening which introduces the audience to the characters and the plot. The next three acts correspond to ha, speeding events up, culminating almost always in a great moment of drama or tragedy in the third act and possibly a battle in the second or fourth acts. The final act, corresponding to kyu, is almost always short, providing a quick and satisfying conclusion.
We're probably on the tale end of the third act now with sad stuff about to happen, then act 4 will be a year of fighting, and then act five will be the post-arc party and setup for future stuff.
Thank you for the response, this is exactly what I was looking for
