I'm gonna get all Scout McCloud on you guys for a minute, but Zach briefly touched upon something on page 7 of the chapter that is actually really, really cool and unfortunately rare for Oda, as great of an author as he is. For those who don't recall, Zach brought up the cool panels that gradually angle diagonally into the corner (beginning a scene transition on the next page).
Now, most people are probably familiar with (or if they haven't ever consciously processed it, at least SEEN) a tried and true scene transition trick in manga, which is taking one large illustration and breaking it into successively smaller panels–each of which is still a part of the same picture--to emphasize a change in our point of view. In fact, Oda does this very thing at both the beginning and end of page 8 and at the beginning of page 9 in this chapter. This by itself, while a neat trick, is hardly new to manga. But what Oda did with it on page 7 is actually much cooler and rather uncharacteristic for a guy as traditional as he is.
Let's take a look at that bottom row of the page. We have a series of long but narrow vertical panels that is tilted at the top so that they gradually lean over diagonally at the left edge of the page. One of the middle panels, unlike the others, is broken in half. As we glance across the row there is a graceful, animation-like flow to Luffy's movements that is more artistic and indulgent than usual; we see his body from several angles as he twists out of control in the downward pull of the current. Eventually we see a long-range panel as he plunges into the depths, and the page ends with one of the aforementioned "multi-panel image" transitions. Or does it?
Observe the drawing of just Luffy's hand, the upper of the two "halved" panels. If this image isn't literally just one drawing continuing down into the corner of the page, it's clearly meant to be interpreted as such: the bubbles are presented in the same size and shape and there are no other details (more drawings of Luffy, other crewmates) that distinguish it as clearly different. Why then, did Oda insert this singular long-range panel beneath it, not only jarring us out of this logical visual flow, but ruining the symmetry of the vertical panel pattern? The answer: he didn't.
Look at the bubbles in every panel of the page. They are all drawn in circular patterns which suggest the presence of the current that is pulling the Straw Hats down. Now if we examine the scene-transition illustration in the corner, it appears that those curling bubbles are actually carrying us counterclockwise...directly into the long-range panel! You see, not only is Oda sending his "camera" down these spiraling waters after Luffy, he's also sequentially sending our eyes in a spiral down into the "depths" of the page. Notice how the thick horizontal block between the two broken panels is so much wider than the narrow margins between all the vertical panels. This is because it's a signal to the brain that the visual flow of panels is being broken in this spot and must continue elsewhere--see the width between the rows in the top and middle of the page. It's signaling the end of the page...IN THE MIDDLE OF THE FUCKING PAGE! How cool is that?!
Now try to think back on the history of One Piece and come up with an example of Oda doing that one before…