As I was re-watching one piece film z I remembered why Brook is one of the most beautiful Strawhat members:
he’s protecting his captain from the rain, but he’s so tall and the umbrella wouldn’t reach Luffy, so he BENDS DOWN IN ORDER TO COVER HIM.
HE BASICALLY REAFFIRMS HE WOULD DIE FOR LUFFY NO MATTER WHAT BECAUSE HE TRUST LUFFY AND HE WOULD FOLLOW HIM TO THE HELL IF NEEDS BE!
He’s already dead tho… yohoho
And then they just walk off like that, with Brook holding up the umbrella for the future pirate king like nothing, because he’s such a wonderful skeleton and HE CARES FOR HIS CAPTAIN HEALTH, GOSH NO DROP WOULD DARE TOUCH HIS CAPTAIN’S FAIR SKIN FIGHT HIM !!!!
He’s just bones, but HECK SUCH KIND AND RELIABLE BONES HE IS
This week’s chapter is the exact reason why this blog is on hiatus. The longer One Piece has gone on, and the more closely I’ve looked at the series, the more disappointed I’ve gotten.
So many people were thrilled to finally have a character like Pudding in One Piece. A female character who starts out acting like an innocent, helpless damsel in distress but who turned out to be a unscrupulousness and cruel villain? She seemed like a deliberate attempt by Oda to subvert and change the predictable pattern he had fallen into. You know, the one where Dressrosa had 5 different damsels in distress on it, and not a single woman who defeated an important enemy during the entire 100 chapter arc. The pattern where Nami, Vivi, Robin, Hancock, Viola, Baby 5, and Reiju are all female characters who Oda took and went “Look at this dangerous female villain! Lamo jk they’re actually all victims who were either actually good the whole time or who switched sides.”
Not only that, Pudding seemed like a female character who might actually be used to address some of the problems with Sanji’s character and force him to develop and change. Some people were hoping that Pudding would cause Sanji to go from his “All women are innocent and sweet delicate little flowers who need men to protect them” mentality to, you know, seeing women as actual people who deserve to be viewed and treated according to their actions.
However, despite the big, exciting twist of Pudding turning out to be evil, I still couldn’t—wouldn’t—get my hopes up precisely because of Oda’s track record. And sure enough, what do we get?
We get, “That confident and malicious queen of deception? Guess what! She’s actually a sad girl who is insecure about her physical appearance and just needs to be told by a gross man who she hates that she’s beautiful!”
The only reason I’m not disappointed is because I never got my hopes up in the first place. Oda’s handling of the female characters in One Piece ranges from outstanding to depressing to infuriating. But on the whole, Oda has left me distrusting and disillusioned. I’ve long since lost my respect for how Oda writes/treats women. I’m still reading, but so much of the passion I used to have for the series is gone, and I am perpetually on my guard now so that I won’t be hit by the same intense disappointment that I’ve been hit by too many times already.
i think what’s upsetting about the way Oda has handled Pudding’s character is how he continually reinforces this idea that beautiful women can’t be entirely evil, with Monet possibly being the only exception in this whole series. like there must be SOME reason for them to have turned out this way (e.g. Reiju, Baby 5, and arguably a few more others). you can argue that Pudding not being “evil for the sake of evil” adds more depth to her character or whatever, but that’s not the underlying issue here. if Oda can create male villains/antagonists like Blackbeard, Akainu, Vinsmoke Jajji, Spandam, Jack, Diamante, Vergo (AND THE LIST GOES ON…) who don’t have a single redeeming quality about them, why must he always suddenly pull out the ‘tragic’ backstory card when it comes to *beautiful* female villains???
Someone on Reddit noted that here Zoro says “I’ll kick you” instead of “I’ll cut you”, which is what he’d normally say (he says “keru” instead of “kiru”). It’s an easy slip up, but it further proves that Zoro really was worrying about Sanji, as words related to the cook are unconsciously slipping out of his mouth.
I find this super adorable.
1. Jack come in lookin’ like Mad Max meets The Warriors
2. The reboot is hella darker and it’s exquisite like the aged wine that it is
3. An ambiguously human woman might might *might* have birthed the septuplet spawn of a demon
4. Jack fights a villain who looks like he’s from One Piece but talks like he’s from YTAS
5. Aku has a cell phone, and even if he had one before, the fact that he is given this kind of continuity even in this darker climate just –
6. Jack, at some point, became swordless and this is probably a part of what’s contributing to the guilt hallucinations
7. Oh, yeah: JACK IS FUCKING TRIPPING ON THAT GUILT SAUCE, MY POOR DUDE
this moment is literally clawing at my existence, because clarke is so terrifyingly calculating, instinctive and shady here. like yall would think she is being sarcastic, but girl really just wants the world to fucking devour this man in front of her (emerson, the one who tried to kill her mere hours ago but failed).
the way she bends him to her will so easily, by releasing the air from his oxygen tank until the hand reaches 6 (literally limiting his life on earth) is so gripping in a very dark way, because she has the power to get what she wants and needs.
and then there is the moment where emerson is like “ya clarke listen, i will never make it without more time” but she just goes
instead. and that line makes me wanna flip tables so bad, because she doesn’t give two shits about him here lmao. like seriously, this scene haunts me
quite a few people say that clarke has been turned into someone who can come up
with the most cold-hearted plans and be clinical and bloody, but those people who think like that literally miss the point of this scene (and a few others). because this goddamn scene shows that
this is a side of her that has always existed in one way or another.this is who she can be if she wants to. especially when she
is the one who decides to move the fucking pieces.