#did i just take like a quarter of every black sails character stuff them into one person and make regan.............. i did didn't i

[ladyherald]

IM DONE !!!!! I DID IT !!!!!!!!

(WHILE DOING HALF OF THE FIGHTS WITH MY DANG DRAWING TABLET BECAUSE MY MOUSE RAN OUT OF BATTERY AND I DID NOT DIE ONCE)

[a-cai-jpg]

it's startlingly easy for the line between reality and fantasy to blur

(hold on tight, don't lose your grip.)

glossary:

S. - novel by Doug Dorst and J.J. Abrams Ship of Theseus - fictional novel by V.M. Straka S. -  character in Ship of Theseus "S" - collective of writers Ekstrom, Durand, Summersby - part of "S" Filomela - editor for V.M. Straka Signe Rabe - daughter to Ekstrom and Durand (contested!) Desjardins - Straka scholar, married to Signe Rabe

For the past few days, I've been reading and re-reading a book titled S.

S. is a novel co-written between Doug Dorst and J.J. Abrams. (I believe Dorst did most of the writing and Abrams came up with the idea.)

I was taken by the novel when I first saw it because of the handwritten notes in the margins and the inserts.

(I don't know if y'all remember those huge, flip books in Costco that would have inserts and pop-ups about dragons and faeries and stuff. I used to spend hours standing in that aisle flipping and perusing through all of them.)

But damn, S. is so much more than margin-notes and fake post cards.

S. is a novel with three different storylines.

When you first take the physical book out of its booksleeve, it's a book titled Ship of Theseus by V.M. Straka, a novel published posthumously by Straka's editor, Filomela, after his untimely death in 1946.

Within this 456-page book, you become privy to the lives of three groups of people. Firstly, there is the protagonist of Ship of Theseus, a amnesiac man simply named S. Then, there are the authors of the margin-notes, Jen and Eric, two students at Pollard State University trying to discover the secret behind the mysterious and elusive author of Ship of Theseus, V.M. Straka. Lastly, there is the story of Straka himself.

(I feel like I can't talk about the book without explaining what I found in the book, so heavy spoiler alert.)

After some extensive note-taking and reading, I've more or less figured out the three storylines. I will allude to two of them, but the following is an in-depth-ish synopsis of Ship of Theseus itself. 

In Ship of Theseus, S. wakes up in an unnamed town known only as The Old Quarter, washed up from shore. He hears voices of those suffering, and he meets a girl who introduces herself as Sola. She is reading a novel titled The Archer's Tales. This is a real book (real, in the sense that it exists in the second level, the Jen and Eric level), written by Sobreiro. In Spanish, it is El Libro de Ese (The Book of S).

S. is kidnapped and wakes up on a ship, which is later revealed to have the name Sobreiro etched on its hull. After a storm, he ends up in a town called B--- and finds himself amidst a worker's rebellion against a factory. He sees a woman who looks similar to Sola, but goes by the name Szalómé, and in his pursuit of her, he realizes that there is a man planning to bomb the factory and kill the workers. He hesitates between warning them and following Sola, and ultimately retraces his steps back to the factory, but he is too late.

He and four crucial persons of the rebellion survive the blast and escape. In the getaway, the four are killed by the Detectives who work for Vévoda, the malicious owner of the factory hiding a dangerous secret. S. jumps off a cliff into the ocean. Somehow, he ends back up on the ship. It looks different, a patchwork of different types of wood, but he knows its the same ship. 

Something interesting to note about the ship is that the sailors have their lips sewn shut. There is a rotation system, where one sailor at a time goes to the orlop, but S. is never allowed to go there.

(i didn't know wtf an orlop is, but apparently, it's the lowest deck of a ship lol)

S. searches for his identity through writing and scrawls his stories into the wooden walls of the ship with a nail. When the ship approaches land again, he is rowed to shore by a crewmember. He follows a guide on the land through a town, El H---, and realizes that decades have passed since he last stepped foot on shore. In El H---, he arrives at a library/museum where the residents are packing up art and literature to protect from an impending invasion by the Agents, who are the evolved version of the Detectives. There, he sees a portrait of a woman who looks like Sola, but is told her name is Samar. He is given a valise and then told to return to the ship. The invasion arrives, but he successfully makes it back to the ship with the help of a person that he believes is Sola.

The valise is filled with material and notes on how to make various poisons and a stack of 57 photographs of individuals.

The next time he arrives on shore, the crewmembers haul boxes and boxes of cargo from the ship into a warehouse for safekeeping. He climbs a volcano and meets a very old woman who shows him a book of the Ship of Theseus. She tells him to make a decision, and that the question of Sola is always there. He races back to the ship, enters the orlop, and sees a solitary writing desk, ink, reams of paper, and boxes identical to the ones currently being packed into the warehouse. He sits down and begins to write. 

(It's clear that when the sailors go to the orlop, they too, are writing.)

The sailors return and sew his mouth shut. 

S. embarks on his new mission, having made the decision the old woman had presented him. He begins his journey to kill each and every one of the 57 people photographed, who are Agents of Vévoda. With every person killed, a page of a book is tucked into his or her pocket. In Vévoda's retaliation, a similar signature is used. 

In a mission to kill the governor, another one of Vévoda's people, he recognizes the governor as one of the original four who had escaped with him from the rebellion. Not only does he realize he's been betrayed by someone who believed in the cause even before he did, the guides who are with him are killed, and he thinks he sees Sola and his younger self.

After a stint in the Winter City, S. finally meets Sola, who travels with him to the château to kill Vévoda and his guests, who are all powerful statespeople and businesspeople from around the world. During the operation, which is to poison the black wine that Vévoda has created, he realizes that this is not what he wants. He asks himself if it matters what he wants, and makes the decision for the very first time that yes, it matters. So he doesn't kill them.

Instead, he persuades Vévoda's heir to drink the wine, and the young man ends up spilling the intentions of the Vévoda powerhouse, which is to create the opportunities and provide the resources for power-hungry people around the world to have their way, utterly disregarding the powerless. 

At the end, there is a vision where S. and Sola return to the ship and, as they sail, spot another ship that he says is "one of theirs."

Just Ship of Theseus by itself, ignoring the other two storylines, is packed with allegories and metaphors.

The novel itself is difficult to get through and vaguely existential, but I think Straka's message ultimately distills to the notion that the struggle against greed is both overwhelming and relentless. To join in the fight is to lose your identity and free will, but sometimes, it is the decision that you have to make.

S., therefore, is not a singular person, but rather, one link in an ongoing "tradition" starting with perhaps Sobreiro, in the 1600s (I quote "tradition" here because it is the term used in the book). He wakes up with no memory and is pushed into and along this revolution against the growing power of Vévoda, likely like the many people before him and the many after him (the younger S. that appears with Sola). 

(Hence why he has no name, but instead, a placeholder, because this is a story that will be lived many, many times by those who hear and answer to the calls of the suffering.)

(I write about S. in a very passive manner, because he is just that.)

The Ship of Theseus is a thought-experiment exploring whether or not the ship is the same ship if you replace all of its original parts. The answer presented in the novel is a conflicted one. The author argues that the next Vévoda, the heir to the corporation, may or may not be the same as his father. Furthermore, the author writes an S. that deviates from the original plan--who chooses Sola over the tradition. Both Vévoda and S. are placeholders for two ideas--the former being the corrupt and greedy, and the latter being the opposing force. Using the Ship of Theseus as the title implies that each iteration of Vévoda and S is identical, yet the author challenges that notion in the last chapter.

Why would the author do that, you may ask?

BECAUSE the message Dorst and Abrams tries to bring with S. is much more nuanced. 

NOW.

NOW IT'S TIME TO BRING IN THE NEXT LAYER.

WHO IS V.M. STRAKA?

That is the question asked in the foreword written by Filomela, the editor, but also the question Jen and Eric try to answer throughout the book. 

There is one compelling theory that I love very much, which is V.M. Straka is ultimately a figurehead for a movement started by a collective of radical literary scholars who are trying to uncover the corruption and greed of businesses and governments around the world, sometimes with very extreme methods like murder.

This is true. To a certain extent. (The group is known as "S.")

(Yes. I know.)

(Guess what their signature is? A page of a Straka book tucked in the pocket of the corpse.)

But, Straka was also a person.

(This is where Dorst and Abram's novel grows beyond Ship of Theseus.)

In the original Ch. 10 that Straka writes, Sola and three others die, and he returns to sea feeling like he has failed the people he's tried to protect. At the ocean, the point-of-view suddenly shifts, and the reader begins seeing through the lens of an unnamed young man.

The young man boards the ship.

WHAT BEGINS AT THE WATER SHALL END THERE, AND WHAT ENDS THERE SHALL ONCE MORE BEGIN.

See, Ship of Theseus is semi-autobiographical, regardless of how much Eric tries to argue that you can't assume everything a writer writes is about him/herself. Ship of Theseus is Straka's final reckoning with the movement in which he's immersed himself. This is why it’s titled Ship of Theseus.

In Straka's original manuscript, with S. standing in as himself, he writes that he's failed his fellow comrades. He despairs that the next generation will similarly be both humbled and tortured by the fight.

Because this original manuscript is lost after Straka's death, Filomela writes a happier ending, in which S. loses neither Sola nor the fight. S. and Sola continue the "tradition," along with numerous others after them. This is the ending she wishes for them, because she was in love with Straka, but the ending Straka never dared to choose.

Ugh, and that's what's so fucking powerful about S. It is a conversation amongst three S.'s and three Solas. There's the original S. and Sola in the novel, where S.'s preoccupation with the "tradition" ends in Sola's death. There's Straka and Filomela, where Straka's fear of choosing Filomela ends in his own death and a missed opportunity with Filomela. Then, there's Eric and Jen, where they choose each other AND Ship of Theseus.

They choose to continue embarking on this journey to prove who Straka is together, possibly outing the powerful corporation the “S” was fighting against in Straka’s time, and ultimately, reconciling the indecision of S. and the fear of Straka.

Before I leave you, there is one other thing Ship of Theseus discusses that makes my heart skip a beat when I think about it.

S. writes. His crewmembers write. Their writings are protected in a warehouse. They no longer have the ability to speak, but their power comes through the words that they write and leave for the next generation.

(Eric was right to be fixated on the "generation" theme.)

When S. is on the Territory (where he kills the governor), Vévoda's people are blasting mountains carved with images of the Old Village's history for natural resources to build formidable, destructive weapons.

The erasure of indigenous stories for the benefit of the greedy and powerful and the erasure of stories in general is a prominent theme throughout Ship of Theseus.

(similarly, our world is plagued by the same problem, both in the past and today. see: cultural terrorism. but also colonialism and imperialism in general lol.)

However, what is striking is the black stuff that Vévoda is manufacturing. This black stuff is the puddle of grotesque liquid that burns through the flesh at the top of the mountain when S. and his comrades flee from B---, it is the exquisite wine Vévoda saves for his most important guests and markets as his greatest weapon, and it is ink.

His most powerful weapon is ink. What all the rich and powerful want is the power to write the past, present, and future.

After Vévoda's son drinks the wine, he has a choice to make. He can continue on the Vévoda tradition and bring destruction about the world under the guise of creating something greater, or he can rewrite the future. He chooses the latter. (and unfortunately dies.)

BUT.

Straka writes, 

"He passes a barrel on which no mark is visible, as its contents have leaked through a split stave and blackened the wood below....He kneels down and touches a finger to it, and all at once, the mad chorus of voices in his head goes silent. 

Silent.  

Settled. Returned to the earth and settled. Voices and narratives, re-absorbed into the ground on which we walk. And this is the key, he realizes, the thing that makes the purpose of all that work on the ship and in El-H--- and on the Obsidian Island and in Budapest, Edinburgh, Valparaíso, Prague, Cape Town, Valletta, the Winter City, and a thousand others come into focus. All that ink, all that pigment, all that desperate action to preserve that which had been created--it is valuable because story is a fragile and ephemeral thing on its own, a thing that is easily effaced or disappeared or destroyed, and it is worth preserving. And if it can't be preserved, then it should be released and cycled. To write with the black stuff is to create and, at the same time, to resurrect. We write with what those who've come before us wrote.

Everything rewritten. Part o' the tradition."

We all have the power to write our own stories and the story of the world around us. We all have the power to choose to destroy or create. Destruction is not a necessary precursor to creation.

(I lied, I'm not leaving yet.)

There is very, very important note that Jen writes in the book. She says that for every person who betrays the "S," there is someone who is their ally. This applies to the collective "S" and S., the character.

I think the most irresistible part of S., this larger novel written by Dorst and Abrams, is the "S"--this collective of radical writers (the pen is mightier than the sword!) dedicated to bringing about a just world. 

I--

Oh my god.

Many of the members of "S" are parallels to the characters in Ship of Theseus (and this is the most exciting part with Jen and Eric's research, as they match each real life person with the characters).

There is one person in particular, Durand, for whom my heart sings. After her lover, Ekstrom, passes away (possibly due to Straka's carelessness), she writes and researches relentlessly. Before dying, she is determined to fight for women's voting rights and to untagle the stories of history so they are not forgotten. 

And then there is Filomela, who singlehandedly tries to rewrite the accepted "tradition." She falls in love with a person through the words, never meeting him, but dedicates ten years of her life to waiting for him. She isn't part of the "S," but she's part of the "S" because like how Sola has The Archer's Tales at the beginning of Ship of Theseus, the "tradition" is passed to Filomela, unbeknownst to her. But she fucking kills it.

I mean, she even fakes her own death and manages to live until over 100.

In her parting letter to Eric and Jen, she writes, 

"Please remember, though, not every question must be answered. Matters of the past may be allowed to remain in the past; matters of the present and future may be allowed to go unexplored. The world will not end in any case....I will tell you what matters most (although you must know this already, as you know my story): it is love. When you fall in love, friends, let yourself fall. It is my fondest wish that this note finds you both happy, healthy, and falling."

As Straka's editor, she must know that "falling" is a prominent theme in Ship of Theseus. As privy to part of the "S," she must also know that falling is ultimately how many of the members find their end. And yet, she uses and repeats this word, because falling is terrifying and negative and unwanted, but falling in love shouldn't be feared. 

I like that last line, but I really, really, really like, "...not every question must be answered. Matters of the past may be allowed to remain in the past; matters of the present and future may be allowed to go unexplored."

See, V.M. Straka is a person with flesh and blood, with history, with emotions. 

But he is also something greater than that. He is a collection of writings influenced and contributed to by a number of skilled authors and scholars with a singular vision. He is a fight against the corrupt and evil.

So, when Filomela fell in love with the words written, whom did she fall in love with?

Jen is convinced that she fell in love with the person, Vaclav Straka, who disappeared after a suicide attempt by drowning in 1910 and had his future erased to become V.M. Straka.

But, I think she was in love with the person who embodies a revolutionary spirit. She suspects who Straka is, she must have after so many years working with him, but she's okay with not knowing and loving the ideal in her mind, especially after Straka dies. 

(maybe i'm just projecting)

There's another arc in the storyline that I love very much, which is that of Signe Rabe.

In the "Interlude" chapter, Filomela writes a question to V.M. Straka into the text, asking, "Who is Signe Rabe?"

Jen and Eric ultimately discover Signe Rabe to be the wife of Desjardins, a Straka scholar, but also, the daughter of Durand.

The identity of Signe's father is contested. Some people think it's Straka, others think it is Summersby (another member of the "S"), but I like more answer more.

Signe Rabe is the daughter of Durand and Ekstrom, raised by Summersby and Straka (there's a margin-note where Eric talks to Summersby's lawyer's daughter, who mentions a little girl whose parents were killed and chased around the world by bad people so she's raised by two uncles).

I love that--I love it so much more than Signe being raised by her real father and his friend. 

(that's awful, i know but shh)

Because, the "S" is more than just a collective of radicals--it is a family bound together by their vision for a better world, a greater ideal. And Straka--Vaclav--who was like a son to Ekstrom, who was saved from ending his life by Ekstrom in 1910 to live this extraordinary life, atones for his sins and raises Signe, who forgives him.

WHAT BEGINS AT THE WATER SHALL END THERE, AND WHAT ENDS THERE SHALL ONCE MORE BEGIN.

UGH.

Ok, I'm done.

-ish.

(My favorite character is Desjardins, who is first described as "too old + senile to take on students" by Eric.

But God, imagine. This man who marries a woman he loves, a woman who dies far too young and leaves him with a secret about who she is. And because he loves her so much, he looks for Filomela for twelve years, possibly decoding everything in Ship of Theseus just like Jen and Eric did, and hands her the final chapter that Straka wrote. 

And he continues to pursue the question of "Who is V.M. Straka?" for the rest of his life, embroiled in this larger conspiracy for the simple reason that he fell in love with Signe Rabe.

And he ultimately dies, falling out of a window in the same hotel Ekstrom, his father-in-law, died in.)

(I HURT.)

( Filomela describes him as a nice, polite man "moving with great sadness.")

(I imagine him to be a wily, tall, young man who falls in love, who becomes sad and serious, who begins to hunch over as the years pass him, who finds someone--Eric--to continue on his work, who is okay with dying after passing his documents to Eric because someone will continue the tradition.)

(Ok, now I'm really done.)

(Thank you for reading. Farewell. Next time I will not write so much.)

daily song rec:  任贤齐 - 天涯 (cover by 任贤齐 & 刘宇宁)

(sometimes i hear liu yuning’s voice and i’m like oh yes this is why girls wore wedding dresses to his concert)

[neverwatchedonepiece]

630-631: "Explore! A Kingdom of Love and Passion - Dressrosa!" and "Full of Enthusiasm! The Corrida Colosseum!"

Zoro in therapy, thinking about all the times Sanji called him “Moss Head.”

Well, episodes 630 and 631 were a great start to the longest arc in OP history so far. 

Oda has done a good job at creating a sense of place and hinting at the unique culture of the island (toys, anyone?) A new, mysterious and intimidating character has appeared. There is an old, local legend about thieving fairies (I am sure there is more to this than meets the eye). Plus the Temptation of Luffy plot is up and running!

Brook Gently Suggests Assaulting Minors Maybe Isn’t the Best Idea

Sunny has laid anchor! The Strawhats have finally set foot on the island! Well, some of them have.

The first scene in episode 630 was where Oda took time to split up the group. He always does it but in the past it hasn’t been organised with such clinical precision. Usually, something awful happens, or a plot point needs investigated, and they are broken up into teams. This time, Law had a master plan.

Luffy wanted to head straight into town. Law was all for that but warned everyone to remain on guard. If they failed to destroy the SMILE factory, it would ruin their plans. Law tore his vivre card in half and handed a piece to Nami. He warned her if anything happened to them, she had to sail straight for Zou. The vivre card would point there.

He then unveiled a hilarious map that looked like it’d been drawn by a kid with some crayons. One of Law’s crewmates designed it. (I hope it’s not his navigator, lmao.) Courtesy of said map, we now have the lie of the land. Doflamingo’s palace is at the centre of Dressrosa. Law guessed the SMILE factory might be nearby. The Caesar Handover Team - consisting of Law, Robin and Usopp - will travel on foot through Dressrosa and cross the Very Long Bridge north to Green Bit. They cannot travel on foot because Law heard it’s impossible to reach Green Bit by water. (Maybe it’s a rocky cliff coastline all the way round?)

As I have watched other shounen anime before, I have a sneaking suspicion it might take them a Very Long Time to cross the Very Long Bridge. (I am also happy to be proven wrong.)

Staying behind on Sunny to ensure news of whatever happens arrives in Zou are: Nami, Brook, Chopper and Momonosuke. Chopper was not exactly happy about not having Sanji around to protect them. This is it, Chopper! It’s your time to shine. Plus, you have Brook there. You forget how badass he can be.

There was a weird little moment when Luffy got into a funny argument with Momonosuke because Momo wouldn’t fly Luffy into Dressrosa. Luffy (and everyone who watched Punk Hazard) recalled that Momo almost flew out of the garbage dump in a sort of trance. But Momo does not remember that happening at all. And even if he did, he would never do such a dreadful thing again!

Then there was a tiny flashback of a guy with a deep, booming voice reaching out to grab Momonosuke. His only words: “What’s your name?”

I wonder why Momo has a fear of flying? Did this happen to him at Punk Hazard? It can’t have happened in Wano because he wasn’t a dragon then. Who grabbed him? Or who hurt him? Hmmm...

Not sure if it’ll be resolved any time soon because the focus for the rest of 630 and 631 was on the Factory Destroying Team! AKA Luffy, Zoro, Sanji, Franky and Kinemon.

BARCEROMA!

Before the plot marched on, the Narrator appeared to give us a handy-dandy summary of Dressrosa: the Kingdom of Love and Passion. 

@meheartonepiece You were right about the Spanish connections here. More specifically, Acacia Port Town gives me Barcelona vibes. The buildings are definitely Gaudi-inspired. There was a ton of seafood dishes on offer. Acoustic guitarists accompanied flamenco dancers in street performances. Even the warren of streets reminded me of the Gothic Quarter. It’s pretty cool. Oda has taken a bit of time to really build a strong sense of place.

And did I mention there is a sizable population of sentient puppets and toys living alongside humans?

Dressrosa: the Kingdom of Love, Passion and Toys.

I get the feeling Perona would love this place. Then again, the toys here can talk back, so maybe not.

Luffy and Franky Don’t Do Dress Codes

Meanwhile, the Factory Destruction Team had made it to Acacia Port Town. Kinemon had come good with extremely sophisticated disguises. Shades, suits and ‘staches. Classic.

They were initially weirded out by the toy population of Dressrosa (a serious-looking teddybear sat reading a newspaper at a pavement cafe, lmao). But Luffy recovered quickly and was like, “Let’s eat!”

As they dived into a nearby bar, Zoro sensed the approach of another. An old, blind dude with wicked facial scars who wore clacky, traditional wooden shoes (geta?) and walked with the aid of a stick. As soon as I saw this guy I thought, “Yup. Here comes a badass.”

Zoro almost drew his sword, but the guy slowly walked past Zoro, then turned and said, “Excuse me, I heard there is a gambling house around here. Do you know where it is?”

Zoro apologised, said this was his first time on the island but that the guy might try the bar across the street.

Inside, the Destruction Team were waiting for their food order. Foxfire was impatient. He did not like all this waiting around! Franky, who is sensible, reminded him they needed intel before making a move. Sanji noticed all the people were oddly calm for a state whose king just abdicated without warning.

“Maybe these people don’t know yet,” Zoro suggested.

Hmm... not sure about that. Maybe they all know he’s up to something. So far, his people are pretty confidence in Doflamingo’s competence as a ruler.

Then the food arrived, along with a strange little local legend. Since it was mentioned twice by Oda, I’m thinking it’ll be important to take note of it.

Sanji asked why one of the dishes was called “Fairy Pumpkin.” The toy waiter who brought it explained that it comes from the Dressrosa legend of the fairy guardians, who used to watch over Dressrosa for years. No one, however, has seen them in years. But that doesn’t stop them pilfering stuff.

Stealing stuff? That is definitely suspicious. Would not be surprised if a real, non-fairy thief is later unmasked in a Scooby Doo moment.

“Y U STEAL MY SWORD??”

“Would have gotten away with it, too, if it weren’t for you meddlin’ Strawhats!”

Or, you know, there is a chance it *could* be fairies.

Might be an Underpants Gnomes type situation.

Step 1: Steal Stuff Step 2: ??? Step 3: Profit

But I had no time to dwell on the puzzle of the supposed fairy guardians, as the old guy Zoro encountered swanned back into the action and was the centre of a Really Cool Scene.

This. Guy.

While Luffy and co were tucking into their amazing food (seriously, I am hungry just thinking abouit the lovely food you can buy in Dressrosa), there was a commotion at another table.

The Old Dude had found the gambling table and was running an amazing streak of luck. At roulette, every time he placed a bet, his colour would come up. He had guessed right fourteen times in a row.

Of course, some dodgy characters entered the scene. I knew as soon as I saw them that they existed to have their asses kicked by this guy. A shambling bunch of hype fodders.

They challenged Old Dude to a game and basically cheated him out of the win every single time. If Old Dude guessed white, they’d lie and say it was black. Because Old Dude couldn’t see. So it was alright to cheat him, right?

As Old Dude placed all his chips on a final mega wager, the Fodders were about to cheat. Then a familiar voice piped up, “It’s white.”

Exposed as cheaters, the Fodders snapped, “It’s black, idiot!”

Luffy, monching away on his squid ink spaghetti, repeated himself. “It’s white. Old man, you win!”

Old Dude thanked Luffy for his kindness. Luffy was like, “No bother. I just said what I saw. But why are you even bother with these losers? You look strong.”

When the Fodders attacked, Old Dude tripped one easily. Then a fantastic beatdown commenced.

“It’s no good. Young man, could you stand aside for a moment? I’m going to send these people to hell.”

Ohhhhh, man. 

It was beautiful.

I’m still not entirely sure what actually happened, but Old Dude appeared to slash up the Fodders. Except he didn’t. There wasn’t a mark on them. But as he walked, a mysterious pressure forced them downwards, with such intensity it cracked the floor and they plummeted into a huge hole.

Zoro wondered if Old Dude was a Devil Fruit eater.

I’m wondering if that alone was the power of his haki.

At any rate, Old Dude made a swift exit, handed the maitre-d’ a card to where he could send the repair bills (nice guy). He seems to be Mega Famous, as the maitre-d’ recognised his name instantly. Sanji spotted it too. “Is this guy Extraordinarily Infamous, or something?”

Alas, his name was not revealed. But I have a suspicion Old Dude has seen through Luffy’s disguise, as he said it wouldn’t be a good idea to let slip his identity, “For the sake of both of us.”

Is he friends with Rayleigh, or something? Maybe a pirate? I actually have no idea. Maybe he’s just looking into events on Dressrosa and will be a temporary arc ally (like Vivi in Alabasta).

The Temptation of Luffy

Again, I did not have time to dwell on the mystery of Old Dude, as the Fairies had been hard at work during the chaos of the fight.

Everyone in the place had been robbed blind. Their reactions were quite strange. “Oh, well. If the Fairies did it, we’ll just have to forget about all your valuable stuff.” 

Are you serious? I’d be charging straight after them!

And Zoro agreed with me because Shusui had been taken. Luckily, he spotted it tied to a sack that was halfway out the window. Of course, Zoro took off. Kinemon ran after him, “RETURN THE PRECIOUS NATIONAL TREASURE OF WANO KINGDOM!” and Sanji tore after both of them because they DIDN’T HAVE TIME TO LET ZORO WANDER (lmao).

Within minutes, Kinemon lost Zoro and Sanji but was being watched from a dark alleyway by a guy with a gold, spiky helmet.

Luffy was inches away from joining the chaos, but Franky held him back. He had an idea. I’m not sure if it turned out to be the best one, or not, but it certainly moved the plot along (thanks, Franky!)

Luffy and Franky grabbed one of the Fodders and dragged him down another dark alleyway for an... informational interview.

“You’re working under Doflamingo, yeah?” Franky demanded.

“So what? You think you can mess with the Young Master on Dressrosa and get away with it?”

Franky punched the wall above him with just enough force for the guy’s life to flash before his eyes (probably).

He spilled what he knew. He remembered going after a few Samurai but had no knowledge of SMILE. He’d never even heard of it. Franky and Luffy guessed this guy was such a Fodder he wasn’t high-ranked enough to be in the know. So the next step was finding a few who did occupy such high office.

It turned out the Corrida Colosseum (where Diamante is the local hero) was having a special event. All the high-rankers, the great and the good would be there. Doflamingo had offered up a special prize. Everyone wanted it.

I knew even before the Colosseum commentator revealed it that the prize was Ace’s fruit.

This is cool.

Doflamingo is laying the bait, knowing Luffy won’t be able to resist.

And Law isn’t there to guard Luffy against temptation. 

He’s going straight for that apple in paradise, isn’t he?

We all know that look. That is not a good look.