#oda's compelling me to continue

[nesbiter]

Extra art like this is why I am a One Piece manga reader

[1driedpersimmon]

Someone in a JP server told me an early draft of Heavensward between Ishikawa&Oda had Haurchefant in a wheelchair unable to serve as a knight as a permanent consequence of the... "I WILL DO THE RECKLESS THING IN A CHIVALRIC WAY BECAUSE MY IDENTITY IS KNIGHT" (EXPLODES)

Sacrificing his vocation/duty for the WoL and having to figure out what his deal is outside that is so crazy. Under those circumstances he has to interact with his family and navigate that mess himself instead of too late through us, which is a lot more compelling tbh

Yoshida apparently played Dark Souls(!?) and decided to cut off Ishikawa's characters early to add a more grimdark feeling to the game. She didn't have much say & her and Oda were like "continually removing party members doesn't really make the player want to return, we had something else charted out", but the plot point got shuffled

There was a Korean magazine article and an interview with Ishikawa corroborating some of this, but I couldn't make out a lot of it-- what I know already drives me insane. You understand

MANNNNNN…….. if there’s one thing I dislike most is just… killing off characters without properly fleshing them out… or not having enough time to do so… OR JUST DOING IT BECAUSE YOU DONT WANT TO/KNOW WHAT TO DO WITH THEM

[danwhobrowses]

One Piece Chapter 1102 - Initial Thoughts

And we have returned

For more Emotional Devastation!

Bonney's cathartic freedom is still undermined by the reality of hindsight, and before we end the year Oda intends to make sure we leave in sadness and mourning.

One more time, for Kuma

Spoilers for the Chapter, Support the Official Release

A Bonney-themed cover this time, eating hot dogs with some wolves

True to her word Bonney has set to sea to find her father, unleashing the Bonney Pirates onto any leads she can find

Typically, the government string up lies to vilify Bonney by saying she attacked villages of elderly and children

Kuma was indeed there, but to protect her and honor his arrangement he has to leave, surprised she became a pirate

Bonney's annoyed, but she is patient too, she also intends to find Nika as well, something to show off to him when they find him

This happens in parallel to Luffy getting his bounty, right after Arlong Park

Dragon decides to 'conveniently' head to Loguetown

Rare Smoker cameo, I miss that dude

Ace getting to show off in front of Jinbe, his brother did just beat his former subordinate after all

Kuma also seems to admire the irony of Luffy being a pirate given his parentage

Meanwhile, Bonney proves herself to still be a good person; only plunder from bad guys and only help people if they need it

The others also help her look older, giving her lipstick and the piercing so that Kuma would recognize her

Bonney also feels that if she becomes a big enough deal, she'll get her father's attention

Back with Kuma though the Pacifista are ready

It would be surreal to see a clone army of yourself in pods

This is around Enies Lobby time, as they mention that some 'rookies' declared war on the WG

Even Vegapunk didn't know about Dragon having a son, but since Vegapunk is gonna be going through Kuma's memories there's no point hiding it

Kuma has made the similarities between Luffy and Nika known too

Thriller Bark recap this time from Kuma's perspective

That Ursus Shock was still madness, I guess now we know how they all survived it though

And look at all this Nothing Happened about to happen

Even Kuma thinks this amount of pain could take him out, showing just how incredible a feat this was

Then we shift to Sabaody, Kuma's got his summons for the upcoming Paramount War

But Kuma is not at Sabaody for Luffy, he's come to get one last look at Bonney

A guy that size cannot sneak in a public place XD

But he's halted by another incident: the punching of a Celestial Dragon

'Who would dare do that?' I think you know bud

It's always good to see Charloss KO'd

And seeing that Luffy did it to protect a Fishman too compels him to make his move

The division is now shown through Kuma's monologue

A tragic monologue as Kuma apologizes to the Revolutionaries for leaving, how he wishes to put his faith into Bonney and Luffy as a legacy, and how he internally apologizes to Luffy, noting that they are not ready yet

'Don't go there yet, after all, you will someday save the world' - I might need a minute for this

And now the Gorosei are back to their fuckery

Kuma has a self-destruct mechanism!?

Vegapunk is again strongly against such a plan, but Saturn continues to gaslight and try to justify their immeasurable cruelty

Means that Kuma has a ticking bomb in him, could that have any key information to where he's going in present?

Vegapunk wants to try and sneak in a way to maintain some of Kuma's personality in exchange, but Saturn shuts him down quickly

'Any attempts to deceive me will fail' - yeah about that one?

The time has come to erase Bartholomew Kuma though, and despite Vegapunk's objections, Kuma feels at ease for how much he fought for him

We bring in the command for Kuma to protect the Sunny

'I'd like to be a stubborn guardian for their home' man...

With Luffy's poster in hand, Kuma notes how moved and motivated he's become by Luffy, how much like the legend of Nika he's become

He believes he'll be king as well

Kuma removes his memories too, not a full on procedure it's like a copy, but one which'll dissipate on touch

Vegapunk however has devised a way to view it without touching though to study it

Kuma gets to watch his life unfold, wondering how many were harmed or troubled by his actions

Panel by panel Kuma sees his life, his parents, Ivankov, Ginny, Dragon, the fishermen, Bonney, Vegapunk, each time running through that field a little older

Tears stream down Vegapunk's eyes at the precipice of the lever

'Your life hasn't caused anyone harm or trouble, but your death will pain everyone who loves you' - fucking god Oda

And before he goes, as all of Egghead mourn the loss of a true saint, he leaves one last message for Bonney, heard in present when she takes the bubble

'Please wish her a happy 10th birthday'

Bartholomew Kuma did not deserve any of this.

Bartholomew Kuma did not deserve any of this.

BARTHOLOMEW KUMA DID NOT DESERVE A FUCKING DAMN THING OF THIS!

Typical for Oda to end the year on a wave of emotions. But it was a spectacularly heart-wrenching chapter, Kuma once again seen through a new lens which elevates him to a top tier character.

There's not much else to say, nothing else really to intuit except whether present-Kuma knows the bomb is in him, and maybe if Vegapunk managed to keep a small piece of his ego within him to act this way. I think we all just need to have a small cry or something.

We'll have a break now so we'll only see a chapter in January, but we can live with that, we do need to recover.

Bartholomew Kuma did not deserve any of this, but he loved, he sacrificed, and his legacy will live on.

[karl-raccoon-in-a-teacup]

kunikida, oda, mushitaro, and a fella of ur choosing :3

Kunikida!

Sexuality Headcanon: Bi, I'm not sure he knows about the being attracted to men part yet.

Gender Headcanon: Honestly your transmasc headcanon for him is slowly seeping into my own headcanons, so...

A ship I have with said character: I like most Kunikida ships I've seen, but soft spot for the specific flavor of Kunichuu that's popped up in my Agency Chuuya AU. By accident. Did you know they can be so domestic. And they have a dog.

A BROTP I have with said character: Kunikida and Katai's dynamic does indeed warm my heart, and thank god it's canon. But Kunikida and Atsushi are also so iconic...

A NOTP I have with said character: Nothing comes to mind? As I've said I like most Kunikida ships I've seen.

A random headcanon: I think delinquent Kunikida is a fairly popular headcanon, but I do adore it, whether full-on delinquent or just him being a lot more crass/rude in high school. I also think the scheduling is something he did not have when he first met Katai, developing that over the years and being in full force by the time he joined the Agency.

General Opinion over said character: A very solid character all around, and one of the ones I think is the most difficult to morally corrupt. I want to see more of him coming into his role as the Agency's future leader, and just... more of him, honestly.

Oda!

Sexuality Headcanon: He's never thought about it. Very possibly pan though.

Gender Headcanon: He's a guy and he's pretty chill with that, not all that complicated.

A ship I have with said character: Odango... the inherent tragedy of it compels me so...

A BROTP I have with said character: Buraiha Trio, and all the friendships he has in it, and I will never stop thinking about them until the day I do.

A NOTP I have with said character: Od.azai, onesided or otherwise, isn't my cup of tea.

A random headcanon: Unlike what the old accountant claimed, Oda would have been much happier in the information department than out on his usual missions. Maybe in other timelines, he would transfer to there, and live a much more peaceful life- even if he still wouldn't become a writer.

General Opinion over said character: Excellent narrator of the Dark Era and a very well-executed character.

Mushitaro!

Sexuality Headcanon: Gay.

Gender Headcanon: Pretty sure he's just a cis guy but check in later

A ship I have with said character: Mushiango would you like to hear about Mushiango-

A BROTP I have with said character: Off the topic of my head his dynamic with Kyouka is really funny. They should continue to have that goofy ass interactions in the future.

A NOTP I have with said character: Nothing I've seen has been a particular yuck.

A random headcanon: Thanks to this fic by @feralshadowdemon my beloved sibling, his highschool fantasy was to have his first kiss under a sakura tree with the petals falling down.

General Opinion over said character: My little meow meow of a man I love him so much.

Fella of my choosing: YOSANO! Because I miss her and want to talk about her!

Sexuality Headcanon: Aro-ace Yosano is a concept that compels me more and more as time goes on.

Gender Headcanon: She's a very big fan of being a woman.

A ship I have with said character: None, really?

A BROTP I have with said character: Ranpo and her are so... they have such a long history...

A NOTP I have with said character: I'm not a huge fan of Ko.usano, but considering the amount of female characters I understand why it's a thing, so you guys stand strong and have fun out there.

A random headcanon: One of the first things Ranpo and her bonded over all those years ago was their mutual love of sweets. Even now they both like nothing more than to have a good chat over sweets- and neither feel the need censor the gritty details of their cases or operations just because they're enjoying a nice treat.

General Opinion over said character: I love her so much and her character is so compelling and hey, have you ever thought about the parallels between her and Kyouka? Have you? Please?

[theh0rnetnest]

Thank you, Toriyama 🕊

When I was super little, I saw a glimpse of Dragonball when I really young when my cousin and relatives watched some episodes together. I clearly remembered the Goku vs Jackie Chun fight where Goku turns into an Oozaru, and the very first few episodes of Z up to when Raditz kidnaps Gohan. I forgot it existed until 2011 when Dragonball Z Kai aired on Nicktoons. There, I watched the very first episode and was obsessed. Drew a lot of fanart, played the games, things I still do after getting back into it. What really drew me in was the iconic art, the relatable and memorable characters, and the fights that get you on the edge of your seat. In a way, the story felt compelling in its own simplistic ways. To this day, DBZ has always influenced my life one way or another. It inspired a lot of my art and writing (I still use DBZ characters as pose references. Toriyama was a literal master of his works). Without his works, I probably wouldn't have created the characters I have today. I can honestly write a whole ass essay of how much this series means to me.

Sometimes, it blows me away how popular and influential this series is worldwide back in the day and in modern times. The fact that any kid, teen, and adult around the world has watched DBZ at least once or more is crazy to me. It only hits even more knowing that we lost a huge legend who inspired countless of people across the globe, be it mangakas like Oda Eiichiro, voice director Christopher Sabat, and content creators like Lythero and DevilArtemis. It's truly a large wave of emotions reading statements across the globes about Toriyama, especially ones by the people who worked close with him.

Thank you, Akira Toriyama. You were gone too soon, but your ideas and legacy will continue to live on and the positive impact on people is undoubtedly crystal clear through your stories. Rest in peace, you absolute legend. Say hi to King Kai for us! 🕊

[bigmelonblog]

Title: "Setting Sail for Adventure: A Journey through the World of One Piece"

Introduction:

For over two decades, "One Piece" has captured the hearts and imaginations of fans worldwide, making it one of the most iconic and enduring manga and anime series of all time. Created by Eiichiro Oda, this epic tale of pirates, adventure, and dreams has left an indelible mark on the world of entertainment. In this article, we'll explore the vast and vibrant world of "One Piece," delving into its compelling characters, intricate storytelling, and its remarkable legacy.

The Grand Voyage Begins:

"One Piece" follows the adventures of Monkey D. Luffy, a young and ambitious pirate who aims to become the Pirate King by finding the ultimate treasure known as the One Piece. To achieve this dream, he assembles a diverse crew of skilled and memorable individuals, each with their own unique abilities and backgrounds. From the swordsman Roronoa Zoro to the navigator Nami and the chef Sanji, the Straw Hat Pirates are a testament to the power of camaraderie and friendship.

A World of Wonders:

The world of "One Piece" is a vast and imaginative place known as the Grand Line. It's a realm filled with countless islands, each harboring its own distinct culture, geography, and challenges. From the bustling streets of Water 7 to the sky islands of Skypiea and the underwater city of Fish-Man Island, the world-building in "One Piece" is a testament to Oda's creativity and attention to detail.

The Power of Devil Fruits:

One of the most unique aspects of "One Piece" is the presence of Devil Fruits, mysterious fruits that grant those who consume them incredible and often bizarre powers. Luffy himself gains the power to stretch like rubber after eating the Gum-Gum Fruit, while other characters possess abilities ranging from controlling fire to turning invisible. The variety of Devil Fruit powers adds depth and excitement to the battles and encounters throughout the series.

Intriguing Antagonists:

No epic tale is complete without formidable adversaries, and "One Piece" delivers in this regard. The series features a rogues' gallery of memorable villains, from the cunning Captain Buggy to the enigmatic Warlord of the Sea, Crocodile. The ultimate antagonist, the enigmatic Yonko and former Pirate King, Gol D. Roger, continues to be a central figure in the overarching plot.

Themes of Friendship and Dreams:

At its core, "One Piece" is a story about the pursuit of dreams and the power of friendship. Luffy's unwavering commitment to his goal of becoming Pirate King, as well as his willingness to protect and stand by his friends, is an inspirational theme that resonates with fans of all ages. The series teaches that dreams are worth chasing, no matter how impossible they may seem.

A Lasting Legacy:

Beyond its captivating characters and thrilling adventures, "One Piece" has had a profound impact on the world of manga and anime. With a dedicated fanbase, an extensive merchandise line, and numerous adaptations, including an ongoing anime series and feature films, "One Piece" continues to thrive, proving its enduring appeal.

Conclusion:

"One Piece" is not merely a manga and anime series; it's a cultural phenomenon that has left an indelible mark on the world of entertainment. With its vibrant world, compelling characters, and overarching themes of friendship and dreams, "One Piece" invites fans on an epic voyage filled with laughter, tears, and unforgettable moments. As the story continues to unfold, one thing is certain: the legacy of "One Piece" will continue to influence and inspire generations of fans around the globe. So, set sail for adventure and join Luffy and the Straw Hat Pirates on their quest for the ultimate treasure in the world of "One Piece."

Note*

Please follow me if you like the content I'm putting out.

I'm on Instagram @bigmelonshop

Please check out my online store bigmelonshop.com to find these cool One Piece airpod cases and more.

[basedkikuenjoyer]

Going Down to the Crossroads

The cartoon nonsense in this Lucci rematch...beautiful. I personally enjoy the perfectly awakened jaguarman-shaped hole in the wall. But this one, Luffy has his brief moment with Sentomaru that’s very on brand then can’t control himself. It’s pretty blatant by now. You have the power, now the challenge is learning to wield it. Solidified with how he’s yet again drained by the effort. Meanwhile, everything’s coming together. Our landing party on Egghead’s moving into the same place and by the end of this segment we’ll wheel around through some of our side stories floating in the background. All as we juggle the question, should we take on the world’s greatest scientific mind? There’s two big reasons I feel like we’re starting to see this arc turn a corner. Moving from “sho” to “ten,” so to speak.

First, this element of the cover serial. We’ve moved from Germa’s story incidentally showing us what happened with Pudding right as it became relevant into looping Vegapunk in with the Caesar/Judge backstory. This has a lot of potential, and given the setup I’m more inclined to believe we’ll see this less savory side the main story is hinting at. I’d love to see an echo of concepts around Oden’s flashback and play with the Emotionless Journey showing us as readers where Vega’s lying about his version of events. . Can’t forget the beat about being so shameless making the call too.

Moving into 1071 we see some compelling wrinkles. A fun one here, the mystery person opening the dome! I’m still looking at Shaka bein sus, especially with the bickering among Punk Squad before, but that’s more of a hunch. What matters is someone did. Lucci’s never been a favorite but if he wants to be all melodramatic like here I’ll take it. The heavens have abandoned you... It’s a fair point. If the arc’s about to flip and break a different way than it’s showing now these are the right beats. Vega bringing in someone big after we go for the more obvious Sentomaru. 

Hey! Back to the ship! Well darn though, we see the whole deck. Only Zoro snoozing so I guess...where’s Brook? Yohohoho, that might just be a secret we’ll keep for later. You tell me what the hell Kidd and Elbaf could lead to, not much more to go on than seeing it. This is the other major thing that makes me think we’re moving into a new phase though. In hindsight our update on Law felt very much like how we did Wano’s act breaks. Kidd seems the same, with the Revolutionaries and Marine base nearby as more directly connected cutaways. Last but not least though, we see another reckless Monkey as we get back to a part of this I’m very interested in:

Hiya Garp! Alright, I want to continue Mr. Oda’s Wild Ride! Garp’s not screwing around and he’s grabbing newest love Hibari! Hammering in no one here is really doing things the right way. Egghead’s passing a Sabaody-tier powder keg now!

[thepaperclippings]

Anywhere I go, Math follows me

While the thought of enlisting in a Data Journalism class has always thrilled me, the fear of not doing well in the subject has also prevailed over me for two reasons: (1) of all the pesky branches of Mathematics, statistics was the one I hated the most, and (2) I have never learned how to strategically use Excel or Google Sheets.

However, I realized from last Tuesday’s session that Data Journalism in this day and age is becoming a necessary skill set to arrive at more compelling stories and keep up with the continuously evolving technology.

As journalists, we know at the very least how to assess if a story is better told visually using documentaries and photos, or through online and print articles. Similar to this thinking, we have to admit that some stories are indeed better told using data and statistics because these allow us to show trends, patterns, and correlations that could be easily digested and visualized by our readers.

By using data as a takeoff and main component of our journalistic stories, we also get the chance to put actual meaning, value, and relevance to mere numbers. For instance, a data set containing details about road accidents could initially mean nothing to people. However, if we can evaluate the data and make conclusions, say, on the most common causes of these road accidents, it could trigger a change or call of action either from the people or by policymakers.

I also learned that data, as a scientific and objective fragment of information, has the potential to make our stories more credible and a bit protected from external bias.

While the personal narratives, statements, and stories of individual case studies are of course reliable as well, large data enables us journalists to generalize sound conclusions (at least to a certain extent). This makes our stories less of a clump of personal observations, and more of a “proven and tested” thing.

Further, I understand that data journalism is not just about knowing how to read and gather data sets. It is also important to be knowledgeable and persistent about building one’s own set of data.

In our story, in particular, although the ODA-funded projects are narrowed down to one agency, which is the DOTr, we are bracing ourselves for the possibility of having to build our own data set from documents and information coming from separate foreign banks and institutions in case the bureaucracy of the local agency hits us with a deadlock.

Fortunately, the DOTr has already provided us with an Excel File containing a highlighted list of ODA-funded projects under their agency. However, this only specifies and confirms that they are indeed funded by foreign loans and grants. The other details of the projects with regard to their timeline, cause of delay, etc has to be sourced from other data sets or documents.

[mistninja]

one piece!!

Yeii

1. What originally drew me to it

Really embarrassing but i started it because of a guy i liked kzjwnzjsn

2. What I like most and least about it

The most: the characters and the worldbuilding

The least: odas sexism and his bigotry, specially post time skip

3. A character I want to carry around in a little jar and study like a bug

Buggy

4. A character I couldn't care less about

Akainu, Rebecca

5. The character who gives me the greatest gender envy

Skypiea Zoro

6. A character I'd like to frame and hang on my wall and admire like a work of art

Nami and Robin <3

7. A character who feels like home

Luffy and all the straw hats :)

8. The character with the greatest wasted/unexplored potential

I feel like post time skip Franky has been wasted :/

Also Enel, though im holding out for a possible return

9. The character I'd most enjoy feeding to a pride of ravenous lions

Fishman Island Sanji. Absalom.

10. A ship I would gladly go down with... and then become Davey Jones, so I can continue to captain said ship for eternity

Zolu, Namivivi, Frobin hehe

11. A ship that makes me want to look into the camera like I'm on The Office

Uhm Zosan

12. A ship I'd like to blow to smithereens with canon cannonballs

Robin/Law, Robin/Zoro

13. The non-canon pairing I find the most intriguing

Doflacroc

14. The character/story arc I find the most compelling

Robin and Namis arcs are my favorite parts of One Piece period

15. A character/story arc that bores me to tears

Fishman Island for the most part, Dresrossa at times. Rebecca

16. A scene/moment that makes me really emotional every single time

Nami asking for help, Robin saying she wants to live, Zoro in Thriller Bark, Sanji admitting he wants to go back to the Sunny :') and so many others but i could be here all day

17. The line of dialogue I quote most often

"Please take me to the sea with you!" "People's dreams never end"

18. A plot hole that makes me want to tear my hair out

I dont get why Sugars power works like that its too many powers for one devil fruit

19. Crossovers/AUs that pique my interest

One Piece x Discworld!!! I think they have very similar vibes

20. Fics/fanart I'd love to see

I need more fanart of Gear 5 Luffy and the straw hats reactions to it

[trixree]

As a queer woman I never felt welcome in the Okama, even back at Impel Down. They never felt militant to me despite their role in the Revolutionaries, mostly seeming content with being comedic fodder and sidekicks for cishets.

But I did feel welcome in the Donquixiote Family. Despite their queerness being limited to coding, I always felt as if they had more righteous rage and pride, not being talked down to and existing outside a social norm.

Am I the only one here?

I think the okama tap into a particular Thing about queerness and that Thing is the cishet preoccupation with The Body. Do I think Oda did this intentionally? God no. Do I fault anyone for not connecting to the okama in the same way I did? Absolutely not. What follows is a VERY long rant that no one asked for about why I find the okama particularly compelling as a subversive sort of queer power in the One Piece Universe. If you choose to read more, you continue at your own peril.

For about as long as there has been an effort to police queerness, there's been an effort to define it in "scientific" (= pseudo-scientific) terms. Why? Well, because if something has a pathology, it has a cure. Early attempts to pathologize queerness ranged from "gay men can't whistle" (yes, I'm serious) to "lesbians are left-handed" to very specific (and very racialized!) imaginings of "proper" bodily proportions (see: size of the clitoris, presence/absence of body hair, muscle distribution, etc.) And this compulsion to give a morphology to queerness is still around today! See: discussions of sex differences in the brain, the diagnostic tool of “gender identity disorder”, and The Gay Gene™. If you want to read up on this more, I really recommend Nancy Ordover's American Eugenics

This preoccupation with the Queer Body is in our history, in our medicine, and absolutely in media. Specifically, in One Piece, I think that it’s these sorts of Queer-Body caricatures that Oda relies on with his design of the okama.

There’s long been this belief that queerness was linked to hormone production. In the 1896 work of English eugenecist Havelock Ellis, Ellis suggested that an “abnormal balance in internal secretions” was to blame for the morphological anomalies he observed to be associated with “lesbianism.” (And anyone who knows anything about the brutal history of experimentation on queer folks knows that hormonal experimentation was a particularly grim recurring feature.) Funny how the choice devil-fruit for Emporio Ivankov was the Horu Horu no Mi…

The scene that introduces us to Ivankov’s powers was a very particular evocation of the mythical terrors of hormones. Before our eyes, Ivankov turns a buff, hairy, deep-voiced man’s man into a high-voiced, big boobed, blushing lady. Is it meant to be comical? Most definitely. Does it also tap into a century’s worth of deep societal and medical anxiety about the sorts of people—re: “sexual deviants”—that an “abnormal balance of secretions” creates? I sure think it does. And, more obviously, the character design of the okama draws from this tradition of Queer Anatomy. See, the “hairy men in dresses”, the “animal/beastial” (with my apologies to furries), and the starkly contrasted/clashing binary:

But here’s where I think Oda’s intended caricature of queer bodies backfired for a lot of queer One Piece viewers: he made the “mistake” of making Ivankov a character. Like @talesofmetalandmagic pointed out, a lot of the okama get relegated to a role as comedic fodder. But there’s one thing that I think Oda does really well and that is creating a fully realized world. Many of his gag characters come back as fully-fledged people with backstories, motivations, depth!!!! (Just fucking look at Buggy!!!!) Oda does the same thing with Ivankov by making them the leader of the revolutionary army and a vitally important ally to Luffy during Impel Down/Marineford.

Are there things about the okama that are offensive? Absolutely. And look, I don’t get to dictate what does or does not offend any given queer person, alright? I am not the Queer Tzar. I’m just saying that I think there was something unintentionally clever in having a huge part of the Impel Down arc contingent on queer-trope gag characters—they are unapologetically vital to the story. I mean, just look at Bon-chan, whose heroism was the only reason Luffy made it out of Impel Down.

Say what you will about Oda, but his characters are never really just one thing, and the okama are not just offensive queer caricatures. They’re powerful allies, guardians of key knowledge, and heroes with emotional weight. For me personally, seeing these characters run around as blatant call-backs to the gay nightmares of english eugenecists while having their pronouns Respected by the main character is something like empowerment. Yeah, the okama of the Kamabaka Kingdom have stubbly faces, big red lips, and pink frilly dresses, but they also spent two years kicking Sanji’s ass, and honestly? Fucking get his ass, ladies.

@talesofmetalandmagic says she feels drawn to the righteous rage and pride of the queer-coded Donquixiote Family. I absolutely think there’s some merit to that. Doflamingo is very campy, and the visual of him Gaslight, Gatekeep, Girlbossing his way to the top has its own sort of subversive power to it.

But in my watching experience, the Class aspect of Dofflamingo’s backstory sort of drowned out any subversive queer power he might have had. Not to get this Girlboss Cancelled or anything, but the man was very motivated by the belief in his own inherent superiority and his right to like… have slaves and stuff.

All of this is to say that no one gets to determine how your lived experiences connect you to works of fiction. I was drawn to the subversive potential of the okama because of my own academic and personal interests in imaginings of the queer body. You, my dear, can be drawn to whatever the fuck you want.

[saessenach]

Hi! For the ask thing, top 5 missmungoe's fics and top 5 One Piece villains?

Love your art!

Hi, nonnie!!

I'm afraid it's been a minute since I've been up to date with One Piece, so both questions will be more or less based around @missmungoe and her incredible, swashbuckling Odyssey-retelling (although let's be real, Odysseus could never) honest-to-god multi-verse Shanties 😊

Top 5 OP Villains

1. Blackbeard (love him, love the parallels to Luffy and Shanks, love his ominous intro and the way he's thematically relevant to a T)

2. Akainu (love to hate him, he is terrible, I hope he gets w r e c k e d, and that whoever takes him down has a marvellous time while at it)

3. That one guy from Film Gold bc he was hella compelling and he had style, but I forget his name. He was extra gaudy and that wins points from me

4. Gold Lion Shiki (I think??? From Strong World, because the last few films have been really good - worldbuilding-wise and narratively speaking, and it's been fun to dip my toes back into the story without having to tackle several hundred chapters)

5. TBH I've only rewatched properly up until Arabasta, so the villains I have Opinions on are Arlong, Croc, Captain Kuro and mayyyybe Rob Lucci and his gang, but I have no idea what's happened with them since, if they've gotten their own arcs like Buggy, or whether we're friends with them or not, so I'll leave it at that.

(An honorary mention to the slavemonger Celestial Dragon from the latest chapter of Mnemosyne, because he was awful, incredibly well-written and made me want to hurl my phone against the wall)

(So now onto the fun part)

Top 5 missmungoe fics

1. Heed the Siren's Call and Sailor's Folly (technically cheating as they are separate stories, yes, but when I reread one, I also immediately reread the other, so imo, it's only fair. Siren was a favourite I first read years ago on ff.net while it was being written, and which I happened across again in 2017 on ao3, and it's never been the same!! When I say it's life-changing literature, I mean it, because how many stories can claim to grow up and change right alongside you? I just have a lot of love for it, and I am this 🤏 close to taking a bookbinding class and having my way with it)

2. Penelope (the amount of times I've read and reread this is truly embarrassing, and that number has more digits than I care to admit - but I am a sucker for weddings which tell tradition to f right off, tiny brides giving voice to their anger at the world and bridegrooms smitten straight out of their ugly ass sandals. This is my comfort read.)

3. Mnemosyne (is the herculean, show-stopping, incredible slow-burn of my dreams and just - wow, it literally takes Oda's worldbuilding and makes it immeasurably richer and better. If for nothing else, then read it for Hancock and her friendship to Makino, for the INTRICACY given to the Amazons, for the way it breathes life into every single place the cast visits, and ties in over-arching themes from canon with details so fucking brilliant, you just sort of stare dumbly at your screen because of course they should be there. There are so many different POVs, and so many intersecting threads that make up this huge-ass tapestry I am continuously in awe of, because it's not just the HEART-ACHE INDUCING marvel of a love story, it's the Red-Hair crew's shenanigans, and the Straw-Hats' incapacity to stay put, it's Rowan's adventure, it's Hancock and her people getting the quality writing they DESERVE, it's the ASL reunion which made me cry, and a found family which spans oceans and realms of existence and everything in-between)

4. Andromeda Unbound (the SWASHBUCKLING UNDERCOVER EXTRAVAGANZA! The one where everyone and their mother separately shows up to crash Shanks' execution, complete with narrow misses, over-the-top banquets, Leverage heist music and so many good reunions. A big, fat and incredibly Extra(tm) middle-finger to propriety and saintly lawful systems, and just, so much fun to read)

5. Time for the ties lol - I still can't believe the Unspeakable 30 year fic and the subsequent AU in which Shanks crashes Makino's wedding are a thing, but I just love that miniseries a lot. Somewhere on this spot are also Moon and Her Maiden (for being ridiculously atmospheric), Bind me to the Tide (uhh, the coolest and also most painful soulmate AU for them, with Makino being very much against her intended, Shanks dealing with period cramps from Hell and just overall being Very Good for my Heart) and, of course Peony and Silver (ROGER. Shakky sweeping Rayleigh off his feet. ROGER. More over-arching themes, as usual. Have I mentioned, perhaps, ROGER? Just to be safe.)

Oh, and an honourable mention for Charybdis as it single-handedly (😌) dragged me out of the biggest art-block I've ever had, and I've rarely cried this much when reading fic.

Hope these answers are satisfying, nonnie!! Thank you for the lovely compliment, and for giving me an opportunity to gush about one of my favourite series ♡

[enn-tea]

When I was younger, I used to play otome games, which were and continue to be hilarious for their absurdity e.g. getting transported back to the Warring States period and romancing Oda Nobunaga et al. I’d play these with my friends because of the bad storylines, and frankly questionable love interests and we’d spend all our time literally breaking down how bad these stories were, like jfc please actually do something, protagonist. Also in no way feel obligated to read this because this is just...word vomit for my own personal reference haha. Honestly don’t read this. Maybe one day I’ll turn this into some kind of actual essay about the impact on these games on wider culture or something (after I write about why romance in AOT is fine and everyone’s just reading it wrong and actually Isayama is peak romance writer and should write a massive Mills & Boon franchise around uh...some characters). But anyway. 

However, amongst all of these was probably the game with the most generic concept was Wizardess Heart, which was this magic school which the protagonist attended. Over the course of two weeks, she would have to be partnered up with a “buddy” and they would help each other with their magic (they also fell in love over these two weeks LOL and quite honestly her best romantic choice was her roommate, which was never an option :( She was, for a while also the only other female character in the school who actually had a personality).

Anyway, the point is - the setting was clearly a riff on certain franchises, the whole system was super basic...but. These stories had no right to be as good as they were. Or perhaps they had every right. Because from the ones I played, they were...genuinely really interesting. Each storyline was a season, and there were three romanceable characters, who all had their own individual plotlines but...tied into one coherent plot, as either a protagonist or an antagonist, which I still find - kind of revolutionary for an otome game haha (I’m not counting Mystic Messenger bc I actually enjoyed getting to set up a bakery and cult investigation).

But honestly? These were within the universe, believable but also super crazy stories. I only ever played two “seasons” fully, because of the ticket mechanic, but the second one has literally stayed with me in terms of really interesting perspective, and the characters themselves because if the first season was mildly crazy, season two was insane and focused on these three characters: Klaus Goldstein (...no comment lmao, I do hate how he’s the figurehead of the game), Serge Durandal (the best character tbh) and Azusa Kuze (a piece of shit and not in a good way, what are the messages this game is telling us). Each season had a mystery as a premise, and the second one was about mysterious animal deaths occurring around the school.

I don’t think I’ll ever really be able to explain Wizardess Heart comprehensively, but the personal lives of these characters? Was crazy. I loved they all had cameos in each other’s storylines and were so tightly linked. Like you have Klaus who does actually have the least interesting plotline, but a shared tragic backstory with Serge (more on that later, because this is literally peak melodrama lmao). You have Azusa who comes from fantasy Japan in that universe, which has been overrun by nature spirits who are taking over because they think humans are overstepping their boundaries, and Azusa has signed a deal with one of them to bring back his dead brother, and in fact is being manipulated by visions of said brother (and even with that in context, he’s still actual trash for other reasons, and I can’t believe the happy end for his route is to get married and have kids with him EW). 

My favourite character in this however was Serge Durandal who is also a premium shit-stirrer but never super maliciously haha (apparently I have a favourite character archetype I’m a fan of). Even now he’s literally the best character because he’s such a passive aggressive individual to Klaus (who deserves it).  But their shared backstory cracks me up, is kind of sad and ridiculously absurd because they’re both so fixated on the past. I also personally find his storyline interesting from a character progression viewpoint, because he’s the main character’s idol when she starts at the school, but has mysteriously disappeared.

So basically in Klaus’ storyline, he always references this dead friend he’s hung up over (although the “friend” part is debatable maybe haha) and you help him investigate the dead pigeons. Ofc you then find out that polite, charming Azusa is the antagonist of the season and you have to play through the next routes in order to get a better picture of this. But throughout Klaus’ route, this character called Randy March (unfortunate name lmao)  keeps on popping up. He’s funny, doesn’t treat the main character as inconvenience (best friend goals right there) but what’s more interesting is how he’s never in the same room as Klaus; as soon as he hears that he’s approaching, he just...disappears. And this continues for the whole of the story until the end, when they finally meet each other face to face, and Klaus reacts badly. Not quite in an upset way, more shocked - but it’s clear that they have a History. 

So - cue “Randy’s” route. He is the same as he is in Klaus’ route, and still dodges bumping into Klaus, but then - then, they bump into each other far earlier in his route (one thing I do like about these stories is how the main character does actually have some impact on the plot. It all follows the same storyline, with the same conclusion, but they do diverge because the character happens to interact with different characters and some things can’t happen if she isn’t there for it). Leading up to this, Randy has been very cagey about being the main character’s “buddy” and insists he already has one, and he really, really gets awkward when the main character states that she really idolises Serge Durandal (who in this is like, IDK good at animal magic like the main character). 

And then, my god, the reveal. The fact that Randy March is not, in fact, Randy March, but Serge Durandal (which honestly is such a cool name comparatively lol, I named all my other otome protagonists Serge Durandal). And that Randy March, is in fact, the dead friend of Klaus who Serge has been impersonating for literal years. On top of this? Serge was also a best friend of Randy, who was his “buddy” and leading up to Randy’s death, he and Klaus were involved in a rivalry over his friendship (and I’m not joking I do actually think this was some kind of unvoiced love triangle, because both Serge and Klaus genuinely say that they’re attracted to the main character because she reminds them of Randy, they need to get over this before they can actually engage in a romantic relationship with anyone else kthx. Also at some point, Serge actually says he loved Randy in a way that really can’t be construed as entirely platonic, and the main character says it as well, and considering her personality and the way she interprets things, when she says love - she definitely means romantically). 

Klaus holds Serge responsible for Randy’s death, as the two were working on a project together which led directly to it. His first reaction on ever hearing Serge’s name is “the murderer” which continues all the way up until the end of the story when they resolve their character arcs (also incredibly satisfying). 

Apparently the reason behind Serge impersonating his dead friend is because he felt so guilty and so ashamed and willingly accepted the blame that Klaus placed on him, he felt that if he became Randy, it would basically be like letting his friend experience the life he didn’t get to have, and he’s spent years searching for a cure to revive him. This has taken him to Hinomoto, where he’s become friends with Azusa (drawing him into the storyline) and back to the main setting of Gedonelune. Side note, Azusa, I’m not going to even go into your character because you’re such a piece of shit and I only played through your storyline because I felt compelled to get the full picture. 

Ofc, this all links to the main plot - because at this time of year, there’s a whole thing related to a unicorn appearing in the nearby forest. This is a unicorn who has struck a deal with Serge years prior to the main storyline who is Serge’s last hope of reviving Randy, and Azusa finds out about this and wants to bring his brother back etc. and this all culminates in a massive showdown. 

Intense.

Anyway, at the end of this, peace returns etc. and there’s a sequel I haven’t actually played but you know what’s perfect about the ending? Serge ends up staying on as a prefect - the same role as Klaus and they have to share a room. I cannot describe how funny their interactions are for the rest of the story and the other storylines they have to live together.

I’m not entirely sure what the point of this was, apart from an exercise in pinning down precisely what I liked about this story but - it’s certainly one that’s stuck with me through a LOT of otome haha. 

[bimboficationblues]

One Piece!

haven’t heard of it | absolutely never watching | might watch | currently watching | dropped | hated it | meh | a positive okay | liked it | liked it a lot! | loved it | a favorite

so although One Piece is one of my favorite series, my caveat for that is that I specifically adore the manga. I always found the anime frustrating in various ways and since ditching it for the original that opinion has only gotten stronger.

I think it's an interesting example of the medium because in some ways it does have some distinct advantages over the manga. The voice cast is incredibly talented and really suits the characters; the ability to use music really adds color to the series' sense of romantic adventure; the absence of word bubbles allows a greater appreciation of the drawings (there's a "but..." coming); and when the animation hits, it really hits.

However, the anime's slow pacing can make the series feel mind-numbingly boring even when important things are happening, and the animation is often terrible to look at. Eiichiro Oda's style is "cartoony" but it has an expressiveness that often falls flat in the Toei anime. These problems are a direct consequence of the production schedule, and although recent directors have been able to inject more vibrancy and fluidity, the pacing issues (by most accounts) still continue.

The anime also has the problem of The Tits. I think Oda is partly responsible for this but it's not quite so...egregious in the manga, nor is it coalescing with other forms of ugliness (such as jiggle physics or poor drawings). See this example:

I dunno, I would love to see an equivalent to "Dragon Ball Z Kai" where all the stalling for time is stripped away. (There is actually a fan project called "One Pace" which does exactly this, though I don't know how well, and it can't resolve the other problems.) This is also why I'm kinda willing to give the live action series a fair shake; could be a more tolerable on-boarding experience in some ways.

don’t watch period | drop if not interested within 2-3 episodes | give it a go, could be your thing | 5 star recommendation

I generally do recommend the manga instead and then maybe watching some key moments if you feel like it - I read through 900+ chapters in three weeks and it would have taken me far longer to watch the same number of episodes (and that's roughly about how many there are when you exclude anime filler). So reading it earns you both a better told visual story, and a better time investment.

BUT One Piece is great! It's a fun adventure, it has a good central cast with interesting relationships and histories, an interesting world that unfolds in a really unique way. Its themes of freedom and repression and history and legacy continue to resonate with me. So like, if you absolutely cannot tolerate reading manga or just need something to put on in the background then I think the Funimation dub is pretty solid. Just use a filler guide.

fav characters: my all-time favorite character is Nico Robin (happy belated birthday!). Unfortunately she went underutilized for a long while, but I love her black humor and her passion for history. I also think she understands Luffy better than a lot of the other crew despite their very different attitudes, since both of their lives and familial relationships were destroyed by the government (which I think is also why folks like her relationships with Franky, Jinbei, and Nami, the other crew members whose loved ones were actively or indirectly killed by govt forces). Because her love of truth and capacity to learn and share history brings her into direct conflict with the World Government, I think she also has a brilliant connection to some of the core ideas and themes about freedom and government repression that I find most interesting. The way she develops and learns to rely on others, to love and be loved in kind, is incredibly compelling. Hell, her existence being inherently criminal is both a stark example of how law is used to "unmake" certain people in both our world and the OP world, and was such a good narrative engine that they just did the same plotline again with Luffy's brother in the following saga. Definitely a Character of Transgender Experience.

least fav characters: Garp is a Marine who wanted his grandchildren to grow up and join the Marines, and to achieve this goal he left them to live basically unsupervised with a bunch of bandits, only occasionally showing up to do some Child Abuse to "teach them how to be men." When one of those grandchildren is later condemned to execution for the crime of being born to the previous Pirate King, he does not intervene, resign, or in any way interfere with the proceedings beyond impotently getting in Luffy's way. One of my favorite moments is when he shows up in Luffy and Ace's childhood hometown and gets the shit kicked out of him by the bandit who raised them for being such a jackass.

He is an effective character but I hate him.

fav relationship: in terms of romantic pairings, the one that I have the most respect for is Franky/Robin just because of this moment.

As far as more general relationships I love the bond between Luffy and Zoro.

fav moment: there's so many but like, it's gotta be Usopp/Sogeking setting fire to the World Government flag on Luffy's command, effectively declaring war on the world on behalf of a comrade - right?

headcanons/theories: I'm not really deep in the theorycrafting phase right now, there's so goddamn much material to work with. I *am* of the opinion that Trans Crocodile is real. Maybe when I reread later this year (after Wano ends, if it ever does).

unpopular opinion: my most unpopular opinion is kind of a meta one: One Piece is not a "battle shonen" (dumb term anyway). it really grinds my gears when people treat it like it's DBZ where there were specific quantifications of physical power. Bounties aren't equivalent to power levels because bounties are meant to represent a socio-legal relationship between the World Government and pirate forces. Battles are important, but just as important as all the non-battle things going on; this is not quite as true in something like DBZ, Demon Slayer or Naruto where it's mostly just an escalating series of fights.

how’d you find it: I saw the 4Kids dub on TV when I was like 10 lmao

[canmom]

Animation Night 61: One Piece

So first up... ty everyone who tuned in for Heaven’s Feel last week! That was a blast: the fights were everything I hoped for and the whole chuuni traumagirl story arc was genuinely moving and compelling. Can’t really recommend it as a first Fate necessarily, since it skims over the early parts of the story portrayed already in Unlimited Blade Works, but I reckon those movies deserve all their esteem.

(Also, apologies for lack of Toku Tuesday this week. Plans fell apart and I wasn’t up to running one. We’ll be back next week.)

This week on Animation Night, I’m going to take up a long standing request from my friend Elaine [scattermoon], who is a big fan of a certain very long running manga series called One Piece. (I realise that among my friends that is a rather divisive choice! But hey, let’s give it a shot.)

One Piece began serialisation in Weekly Shōnen Jump in 1997, the creation of a young assistant mangaka called Eiichiro Oda. About the young Oda I can mostly find production info: he joined the company in 1992 on the strength of his manga Wanted!, then developed his drawing skills working under mangakas like Shinobu Kaitani on Suizan Police Gang and Masaya Tokuhiro on Jungle King Tar-chan and Mizu no Tomodachi Kappaman. In 1996 he wrote two piratical one-shot stories called Romance Dawn, the prototype for One Piece; then after three rejections, Jump agreed to run his series One Piece.

And One Piece got big. I don’t know exactly when it became a hit, but it soon became recognised as one of Jump’s “Big Three” series alongside Naruto and Bleach... and then outgrew even them to set the record for best-selling manga, overtaking even industry-defining series like Dragon Ball. Unusually for mangaka, Oda became extremely rich - yet he has continued to work singlemindedly on One Piece, taking almost no breaks outside of a number of health scares.

So what’s the formula that made it so beloved to its many many, fans?

Overall the structure for One Piece is a travel story. The broad-scale framing plot is that our MC, Monkey D. Luffy, and the “Straw Hat Pirates” (麦わらの一味, Mugiwara no Ichimi) who sail with him, are hoping to find a treasure called the “One Piece”, which would make Luffy the “King of the Pirates”. Along the way, they get caught up in the conflicts of a long series of islands, each one relatively self-contained as an arc. In the meantime, the metaplot concerns an unfolding pirate war between the four most powerful pirates (the Four Emperors 四皇 yonkō), opposed to the authority of the World Government.

So if at first glance it may sound like standard shōnen stuff - individuals with different superpowers, contesting to become the strongest. But it’s clearly finding much broader appeal than that. I asked Elaine a bit about this, and she reckoned its main strength is the variety: like many successful, long-running TV series (for example, Star Trek), the premise is so flexible that it allows Oda to explore an enormous variety of affects and registers, all anchored in familiarity with the core cast. Some examples are an underwater arc exploring xenophobia and generational prejudice among fish people, a thriller arc where the characters flee poison clouds in a sinister human experimentation lab, and a political intrigue arc about a rich man attempting to stage a coup in a desert kingdom.

Beyond that, it distinguishes itself mostly in execution: a big part of the appeal is the implication of a vast, fleshed-out world painted across thousands of issues. This is built on a distinctive visual foundation: Oda can design a wildly varied cast and give them all distinctive characterisation. (Even if he is, apparently not nearly so good at designing women... 🙄)

One other small tidbit Elaine gave me was that, contra the shōnen designation and Jump’s usual audience, by far the biggest demographic of One Piece readers is women aged 30-40.

Inevitably a series as big as One Piece would see a high-profile anime adaptation, and that landed in the hands of the venerable Toei Animation, one of the oldest anime companies. They picked up the series in 1999, and it has run in a variety of timeslots - shifting from Wednesday to the prime Saturday Evening slot before narrowly avoiding cancellation to settle in the Sunday Morning slot with other long-running shows like Dragon Ball Super. This is relevant insofar as, well...

Let’s talk a little about anime production! A subject I know a lot more about than the plot of One Piece...

Most anime nowadays are produced according to a model called the Production Committee, originating in high-profile films like Akira. In this system, various capital blocs - toy companies, music companies, broadcasters etc. - pool funds in return for a comparable stake in the profit or loss made by the series, mitigating risks but also reducing the potential for profit. The studio producing the actual animation (the primary contractor) may have a stake in the committee, but often they are only paid a single, fixed fee.

The production committee system has come under a lot of fire lately as one of the barriers in the way of livable wages for animators (e.g. this rather disjointed video by the Animator Dormitory charity): a successful series may not profit the animators at all since the fixed fee is very low and, if the studio’s not on the production committee, they don’t even have the opportunity to give the animators residuals (like in Hollywood) and often face severe budget shortfalls despite often paying sub-poverty piece rates.

Per this video, One Piece is run on a somewhat older sponsorship model with three sponsors making joint decisions: Toei themselves, the manga publisher Shueisha, and the broadcasting network Fuji TV. (I’m not exactly sure how this differs from the more standard production committee, but I guess I just gotta take the guy’s word for it...)

In some ways this is good: One Piece is pretty much guaranteed a large audience share just because of the license so the risk is minimal, and thanks to such productions, Toei is able to pay its animators some of the best monthly salaries in the industry. (The fact that they do is thanks to the union which struggled into existence in the early days of the studio, back when it was Toei Dōga.) But this arrangement comes with some restrictions: the Saturday morning timeslot comes with a very high pace of production of 48 episodes per year, drawing a lot of complaints of extremely slow pacing. Toei are not free to ‘go seasonal’ to spend more time per episode, because the other sponsors are making a tidy profit and see no reason to change for artistic reasons.

The exact history of the anime seems to have gone through a few eras. As Elaine described it, the first 80 episodes (1999-2001) adapt the first major arc of the manga at a reasonal pace; from that point until about 2008, the series interspersed ‘filler’ arcs between manga adaptations. From that point, they adopted a slower-paced model where, rather than write filler, they would adopt only one chapter of the manga per episode. Fans were not especially happy at the slow pace, or a widely perceived drop in animation quality.

These criticisms were apparently answered with a change in direction for the most recent “Wano” arc, which is where One Piece clips started appearing on the radar of sakuga fans - such as this cut by Katsumi Ishizuka which currently stands as the top rated from One Piece on the booru, or this one by webgen star Bahi JD. These have all the hallmarks of modern fight sakuga: heavy Yutapon influence, lots of flashy impact frames, lines dissolving, the camera and characters flying about. You can check out more of this Wano thing here on the booru. (I get the impression something quite similar has happened to the Naruto sequels.)

Meanwhile, on the manga side, Oda has apparently been attempting to condense more events into each chapter of the manga to better suit the pace of the adaptation - alluding to a fight which the animators can then elaborate on. So perhaps the pacing troubles are coming to an end... the manga, in any case, remains astoundingly popular, untouchable by anything in Jump.

Anyway! That is, as best as I understand it, the history of the One Piece TV show. However... we’re not watching that tonight. Instead, Elaine has picked out a handful of One Piece films...

Much like the TV series, the One Piece films have gone through various eras. The earliest films tended to be purely original stories, often diverging significantly from the source material; a second era saw higher-budget, condensed retellings of arcs already covered by the TV series; the third, current era of films consists of side stories overseen (and one time written) by Oda, but not directly part of the main story. Elaine’s given me one film rec from each era to give us a little historical core of the series

From the first era, we have Baron Omatsuri and the Secret Island (2005), which is notably the second film directed by Mamoru Hosoda [previously on Animation Night #15 and #47] after Digimon: The Movie. We can already see some elements of his style, like the kagenashii (unshaded) animation. The film sees the Straw Hat Pirates drawn into a series of trials on an unfamiliar resort island, but inevitably more sinister things are afoot - hinging on a flower that resurrects facsimiles of the dead.

The second era brings us the Fate-worthy title Episode of Chopper Plus: Bloom in the Winter, Miracle Sakura (2008), a retelling of the ‘Drum’ arc focusing on the character Tony Tony Chopper who is a kind of anthro reindeer?? The Straw Hats show up on a winter island, seeking medical treatment, and seem to get drawn into some kind of furry banditry situation where they’re attacked by big rabbits. It sounds wild and I’m very curious to see how that all comes together.

Last, we have One Piece Film: Gold (2016), from the current side-story-oriented era. In this one, the Straw hats find themselves on a kind of giant casino ship, where a conflict over cheating at dice draws them into a battle for control over the whole ship.

So. One Piece! I’ve never really dipped my toe in, just aware it’s a thing people love - but I’m absolutely curious to peer into this whole enormous psychic whirlpool that has been churning at the centre of the manga/anime industry for most of my lifetime. Fingers crossed we’ll find something delightful in here that appeals even to the One Piece skeptic. And time permitting, I’ll also throw in an episode from that Wano arc for the sakubutas among us to roll around in.

Animation Night 61 is intended to start at about 7PM UK time, 1h40m from this post, over at twitch.tv/canmom. In the meantime, I’m going to be challenging myself to animate a flashy punch in about an hour, so drop by Twitch if that sounds fun! See you there, either way~

[ranmanjuu]

hi! can you do a gen z mc who got injured at the protests and have them elaborate on what the protests were about to the oda forces? i got tear gassed at a protest so your writing is actually helping me feel better!

tw : injuries from police br*tality, heavy r*cism

first of all i hope you’re okay!! i’m so sorry for taking so long i hope you’re still here reading this ehhh,,. i personally don’t know much of ‘getting injured in protests’ other than rubber bullets and tear gassing—and for anyone out there protesting (also considering recent things that have happened in my country,,,), please be safe out there!

ᅠᅠ

—nobunaga:

the first encounter you had, he didn’t really notice it. he had a lot of things on his plate, mostly about his assassination attempt, you know, the usual. 

it’s only when he invites you to his tenshu to know more about his most interesting chatelaine. after all, the moment his life was out of danger, the immediate groan out of you raised a brow.

in your defense, going back from a protest then just sent back 500 years in the past did put you in a pissy mood. the injustice was enough bullshit, you didn’t want to deal with this right after.

and,,, your response was probably too snarky for a man in power like him. but that’s what compelled him to bring you to the castle. maybe it was spite, or just dangerous curiosity. no one’s spoken to him in such,,, rude manners before.

being all past the whole, chasing-you-down-just-for-you-to-come-to-my-sickass-castle, the dragged-500-years-into-the-warring-states-period, constant-wars-everywhere, and everything in between, you’ve managed to,, calm down decently, at least. you’re just really confused as to why he called you in. 

through your slippery tounge, you accidentally let it slip that you’re from the future; great job! mission one from sasuke already failed. but—you’ve dug your grave, now you have to lie in it.

upon listening to the rest of your explanation, naturally, nobunaga starts asking questions.

after a series of them, mostly about general stuff like technology, etc., he hits you with a curveball. “what is that?” he asks, observing the small patch of reddened skin.

you’ve been shot by a rubber bullet prior to the time traveling. you wager that they were aiming for the neck—a highly fatal area to hit, even with a rubber bullet, mind you—but you were lucky enough to only be hit near the collar bone. still—to say it’s inexcusable is an understatement.

“huh—?” you follow his eyes, then trail your fingers on the edge as you show more of your injury, “. . .got injured a while back. asshole cops think they can just. . .fuckin’. . .”

your sentence turns too faint for him to hear clearly, he only knows that you feel anger from your tone. all he does is gaze passively as the steam comes out of your, slowly.

“what happened exactly?”

and with that one question, he’s in for quite the story. you start off in the beginning; what triggered it all. the injustice brought by those who are said to protect the people, the same ones that shed blood because they knew they could get away with it. then, the protests done by the ones who wanted justice, equality, something that should just be the norm at this point.

and then, the horrible attacks the cops’ve done to hose who protested,,, the mere thought gets your blood boiling, really. no one poised any kind of harm, it was a peaceful protest—and yet they still hurted, perhaps even killed. and they get away with it.

“. . .and i sure as hell ain’t gonna die to some bullshit system. i’ll keep on going at it until people can stop dying so. . .needlessly like that.”

he pauses after hearing you. his eyes have a vague sense of scrutinize, but certainly not at you. "and you still continue to go, even if it results in injuries for you?”

you look back at him, determination burning like a passion, “as long as less people will die of discrimination; as long as our cause is heard in the end—i’ll sacrifice anything for it. for equality.”

the silence rings for minutes.

but the hand on your shoulder quickly strays your mind back to him. to your surprise, a daring smile, almost a smirk, pulled his lips, “you are braver than many men that i’ve met. fiery and passionate also. i do believe you’ll be quite the addition here.”

and while you raise an eyebrow to that, your heart settles as he ends it with one final thing, “you’ve earned my utmost respect.”

ᅠᅠ

—hideyoshi:

he would have been highly alerted in your presence—had it not been the fact that your eye was bruised and injured. it was fresh, the patch of skin having not turn purple or black yet, but it was enough to signal that it could be a fatal wound.

medics were sent your way by his command, and given the opportunity, he checked in on you frequently. the culprit of the attempted assassination was yet to be found—so he just assumed that you were a poor civilian caught in the crossfire.

you were rather crude to him, but he brushed it all off. you must’ve been some sort of stressed out after just saving his lord, so he gave you space and went to do other things.

it’s when they reconvene under nobunaga’s order did he find out about the decision for your fate.

“my lord, are you sure we should bring them back to azuchi? perhaps they have a place in a town around here.”

“—not really.” hideyoshi’s eyes filled with surprise and concern as a small response came out of you, with eyes looking away from everyone in the tent with lips bitten anxiously and brows stitched together.

so it ended on you going to azuchi along with them. because really, even if you didn’t want to, what were you to do? you had no place in the sengoku, and you’ve forgotten all about your scouts lessons back in middle school to survive in the forest.

and while you insist on working rather than just be royalty basically, hideyoshi is the one who persuades you to at least rest first. with a sigh, you agree.

from then on, you find him visiting you quite often between his breaks. most of the time, asking how you’ve been, making light conversations over tea, and sometimes fussing over the smallest things. it’s a gradual change you’ll get used to—from the failed assassination to the weird, home-y feeling he brings.

it didn’t take long for his curiosity to push him. one day, with the usual cup of tea, the silence passes for quite the moment until he spoke up, “if i may ask, where exactly,,, did you get that?”

he doesn’t quite point to it, but you know what he’s talking about. half your vision is covered now, from ieyasu’s work on trying to make it better. you stare in the cup, swishing the tea around, “. . .my town had, uhhh, ‘problems’.”

he listened intently as you reworded the current real life events. just change the cops to guard, the bullets to blunt sticks(?), etc. the core of it you kept the same, the discrimination, the unruly deaths and wounds of the innocent.

all the while, hideyoshi looks at you with slightly parted lips and eyes that spell a bit of disbelief. such compassion don’t exist in a lot of people—much less a majority of civillians from a town. he thought he’d’ve heard about it, but you did say it was quite the small one, far away.

as you finish your long explanation, your face was scrunched up in a scowl, remembering the scene at the time. the cops came, a highly dangerous situation; but you weren’t leaving just like that. not until you got hit by a bullet did you go back home—and look where you are now.

“—.” hideyoshi calls out your name, snapping you to reality. you dart your attention to him, his face filled with concern, worry—but also slight anger and a distant sense of fondness.

“. . .when nobunaga unites the country, we’ll be sure to aid you. we’ll stop them from hurting anyone else. so until then, please stay with us.”

the sentiment brought warmth to your heart, but you knew the truth. he wouldn’t be able to, the wormhole was a big separation in that. even so, you shook your head, “i don’t,,, uhh, think i can stay for that long.”

his brows stitch together in confusion, “and why is that?”

“. . .i want to go back as soon as i can. and—i only have one chance to do such a thing, and never again.” upon your answer, his eyes widened a bit. no further questions were asked about that, as your own expression said you didn’t want to talk about it.

“but—you could be in danger if you go back.”

“i don’t care.” the tea is cold as you set it down, “. . .i don’t wanna,,, just escape and turn a blind eye to it, i think. it may be safer for me here, but—i still want to help back there. whether or not i’m injured is,,, a means to an end, for me.”

that’s when every suspicion he could’ve had about you dissolved. the determination and righteousness that burned so brightly in your voice was irreplaceable. along with that, was a very deep respect for you. he serves nobunaga because he believed in equality among everyone, and it seems so do you. even if you’re willing to sacrifice yourself—to see a better world where everyone is happy.

a beat passes. two. with a sigh, hideyoshi’s hardened gaze relents back into the strange warmness, hid hand reaching out to ruffle your hair. “well, i don’t think i agree with you diving into potential danger, but just so you know. if you ever need help, you can always reach to us, alright?”

you breath out a chuckle, “. . .of course.”

ᅠᅠ

—mitsuhide:

your whole entire body was sore even before the wormhole sent you back. not to mention, just after that, you had to carry a full-armored man out of a burning building with someone trying to kill said man.

so to say you were disoriented was quite an understatement.

you didn’t even feel it until days have passed. and at this point, you’ve gone under mitsuhide’s tutoring. being sat down for a long time made it painfully obvious that your body was still healing—but you’ve sang this song a million times before. in which the soreness lingered for a while, and then it’d disappear. you can bear with it.

that is, until he started training you in battle.

the tanegashima practice was fine, if a bit triggering by the gunshots. but you saw it the same as archery. however, sparring on the other hand,,,

yeah. the first break you took, you already felt every single part of you reeling. mitsuhide wasn’t ruthless with you, but you figure he wasn’t being soft either.

in truth, prior to arriving in the sengoku period, your body had taken a hit in a protest. you didn’t get caught in the tear-gassing crossfire, or got shot by a rubber bullet. rather, a police car had arrived at the scene and begun to drive forward into the crowd. it didn’t become a car crash site, no deaths occurred to your knowledge (thankfully).

but you were one of the ones in the front row seats, you fell to the ground and took some damage in a number of places. they were more of inconveniences than anything.

still—forcing your body to fight a trained swordsman was not a good idea.

and the fox has an eye for these things, sensing when his enemies are weak. at least it proves to be a disadvantage if you really are dangerous. his eyes linger on you as you rub your sore spots with the occasional groan. 

“the little mouse seems to be wounded.” he says. it’s clear he’s trying to extract some kind of information about the person who just popped out one day, “pray tell, what might be the cause of such?”

“i got, uhhh,” you can’t say car, those don’t exist yet— “knocked down by a horse.” admittedly, a horse is probably more dangerous than a car—but you deal with what you have.

“is that so.” with the smile and narrowed eyes of his, you knew that he didn’t buy it. but to your defense, your state clearly proves it in some way—so he deduced that you weren’t telling the complete truth.

and he welcomes it. it’d be his absolute pleasure to unravel the mystery.

eventually, he does. in promise to keep your secret away from others, you keep his. 

“so, little mouse,” the night has yet to pass, but you wish it did. your stuff was spilled in front of you, all evidence of you coming from the future, “was that cover-up story about the horse a lie?”

it’s a rhetorical question; he knew the answer already. still, you roll your eyes, “of course, we rarely use those in the future. a police car hit a crowd, and i was caught in it.”

promptly realizing he doesn’t know anything, a lengthy explanation ensued.

“oh my. and you said this, ‘car’ drove into a crowd? that’s highly dangerous, is it not?”

“it is!” your calm words slowly dissolve, your hands now waving in gestures, “and guess what, it’s the cops that do it! uhh—guards in old terms, i guess. y’know the people who’re said to supposedly protect us? yeah, hit us with a car.”

mitsuhide isn’t the most curious about the future. but he is a bit confused about the context.

and so you continue, explaining everything. from the start, to where you were, along with what your thoughts are on the whole situation

through all that, he stays silent, not commenting until you were thoroughly finished. you can’t read his expression—so you stare at him, waiting for even a word.

suddenly, he smiles, “well, looks like our little mouse is quite the something, aren’t you?” before you could respond with anything, he pats you on the head with a strange sense of softness, “pureness and ideals like you are rare in this world.”

in truth, he agrees. he’s someone who’s faced discrimination head on from being in the lower class—and he fights for a world that his lord would like to see. even if he’ll remain in the dark, for his stained, dark hands would only corrupt the purity. at least, so he thinks.

you look back with pursed lips and a slight frown, “then i’ll help make it more common. if it results in people being treated as people, i’ll do it.”

you don’t hear it, but he draws in a sharp breath. his eyes are muddled—with what, you don’t know—but you drop the thought as he lifts the hand off of your head with a chuckle, “i will say, i didn’t quite expect this.” 

they say eyes are the window of the soul. while he had his closed most of the time—you managed to peek in a small bit of warmth and fondness in them.

ᅠᅠ

—masamune:

you came to the sengoku period with a sprained ankle. which, in a time where war was rampant, probably wasn’t a good thing to have. especially when you’re being dragged into battle just for the fun of it.

although you admit you made yourself seem tougher than you were (with you being used to injuries like this before, so you’ve grown used to gritting your teeth), you still curse masamune to hell and back. no, you do not care if you’re on a horse or just in camp, your foot hurt like shit either way.

naturally, you wouldn’t take that for long.

thus the next time he planned to take you along (you could already see the glint in his eye), you snapped at him. well—much less ‘snap’ and more of ‘telling him off rather harshly ft. a sprinkle of swearing’.

“listen, assfart, my ankle’s been killing me, and if i’m going by that analogy, you’re practically desecrating it’s corpse and grave. so for the love of god, stop dragging me into battles!”

an expression of surprise went on his face for a moment, before it morphed to his usual grin, “is that so? seems like out kitten likes to run around and ended up hurting themselves.”

“not my fault they shot me in the fuckin’ ankle. . .” you mutter without a second thought under your breath, which he, unfortunately, heard.

“they shot you, lass?”

seeing his ever so slightly widened eye, you pursed your lips, “yeah. nothing too serious.”

even so, you see the way his eyes narrow with a glint—more so of excitement than anything else, “still though lassie, with you being under nobunaga, i doubt they’ll get away with hurtin’ ya.”

“what does that mean?”

fingers comb through your hair in a wild pat, accompanied with a fanged grin, “they won’t be alive for hurtin’ the lord’s precious lucky charm.”

your lips pursed as a frown pulls upon your brows, “i don’t want them to get away solely for me being nobunaga’s ‘lucky charm’.”

“and why is that, kitten?”

his eyes slightly lit up at your hardened and serious aura as you closed your eyes with a sigh. “the same people who hurt me are the same ones who’ve hurt many others, on the basis that they believe they’re above them; over a stupid thing like race. and i won’t be just letting it slide, even if i can’t fight or anything.”

the flame in your eyes are ones that masamune has grown to recognize; the anger and bitterness as you look back on a memory, only to fill up your heart with passion.

“i’ll die if it means that they’ll be punished and everyone is treated the same.”

silence rings past, the wind slowly becomes a solid aura in the air. stunned, he leaves a small chuckle and pats your head,

“the lord made a wonderful decision to bring ya here, lass.”

—ieyasu:

going by his usual self, he didn’t care much when you arrived, other than you were someone nobunaga picked up from his failed assassination. however, him being an expert in things health related, some things didn’t go by with him.

first of all, your eyes were a slight fade of red. at first he figured it was a leftover from honno-ji’s smokes, but as the days tick by, its persistence is now rather worrying. they should’ve faded away by now, so he thought.

and it became more and more painfully obvious, at least to him. the way you rubbed your eyes sometimes, them tearing up at random intervals—and even you squinting at rare occasions that, unless you had an eye problem like mitsunari, shouldn’t be there.

a seed of worry was planted, although he never expressed it. after all, you were being dragged into battle, where dust and more smoke can easily go into your already bugged eyes.

therefore one day, wordlessly, he took you to his workplace. at first, you were confused; ieyasu hasn’t exactly talked to you a lot.

he picks up a small bottle, along with a cup-like lid, “use this, and wash your eyes with it. and by that i mean just tilt it up and blink when it goes into your eyes.”

you just blinked a few times, stunned more than anything. “,,,, why?”

“you think i don’t notice?” he scoffs, “you’ve been rubbing your eyes like crazy, and it’s past the point where your eyes should even be red since the honno-ji incident. either your eyes have been having problems way before, or you’re just dumber and clumsier than i thought.”

“hey! it’s not my fault, for any of the incidents!”

“so there are multiple instances?”

the judgemental look sent your way was something that your stubborn mind won’t back out from, even if it mean having to somewhat explain your situation.

“w, well, there have been several uhm.... arson crimes in my town, i can’t help but be in the vicinity.”

if arson crimes translated to tear gassings, yes, there were many.

“arson crimes? your town is,,, jeez.”

“it’s not the citizens’ fault, look to the fuckin’ guards of our village for that.” the tone had immediately shifted from a kind of flustered banter, to immediate bitter undertones.

immediately, the silence rang on. ieyasu sat there, looking into you as much as he could, with his bare bones knowledge of you. the pieces were there, and it wasn’t hard to put them together. for a moment, he wondered if you were more than the unfortunate one to be pulled into this mess. but if your town was as much a mess as that. . . perhaps it was for the better.

“. . .then you’re planning to stay here, right?” he had his own opinions and thoughts of someone taking advantage of a high-powered lord taking them in, but eh, he thinks, people will do what they have to do to survive—

“not really. assuming nobunaga would even let me go in the first place.”

ieyasu stood there, stunned, “. . .you’re planning to go back to your own town? even from all the danger there?”

“yeah.” you look at him with a slight imbalanced expression, “i don’t have anywhere else to go, other than there, so. . .”

“but why not stay here? it’s safer, you do know that right?”

“of course,” you sigh, “but it’s still my home, all things considered. yeah, there’s a whole lot of corrupt things going on but, they’re still humans, the people i live with. i don’t wanna run away from it, i’d just. . .i’d like to try and help them also.:

ieyasu stays silent as you lean back to the wall, looking out the door with a fond and melancholic gaze, “the,,, guards in my town are doing this just cause of their stupid beliefs and whatever. superiority complex and whatnot. and people are dying because of it, only for things that they can’t control and. . . it’s just so bullshit.”

you turn back to him, with a strong light blaring in your eyes; filled with hope and determination, “wouldn’t you want to go back and help them? even if i get injured, as long as people will be treated the same and won’t face death for something miniscule, i consider it worth it.”

you’ve never seen him surprised at you; at least not in this sense. usually it’d be surprise at some mistake you did, making an offhand crude comment to it but here. . .here it’s partnered with the smallest bit of sparkle. like a hidden respect for you behind his uncaring persona.

you only look as he slowly stands up, his shadow befalling on you. with the same, yet subtle, amount of shine in his eyes as in yours, he sighs softly and takes your hand,

“at least if you’re gonna go into that kind of battlefield, let me teach your ditzy self how to take care of injuries first.”

—mitsunari:

your sudden arrival already aroused questions, as you’d appeared before nobunaga sporting a bloodied cut on your cheek. at the time, they took the assumption that the assassin did it to you.

and although it was fussed for a bit, it was quickly covered up with some cloth fitting for the period. and then, everything went as normal.

taking up job as mitsunari’s personal caretaker wasn’t one you’d reject, because really, how bad could it be? but the man himself kept insisting that you don’t, added that not only were you a special charm of nobunaga’s, you were also injured from the night of honno-ji. he couldn’t do that to you; not after such a stressful night.

and yet you were stubborn as well. with the final decision being up to nobunaga, which you accepted wholeheartedly, of course, you now had the role to take care of mitsunari.

although his. . .clumsy nature was one that you should be worried for, you find it that he often checks up on you, apologizing each time he could’ve potentially hurt you. and each time, you waved it off and assured him that yes, you were fine.

but you can see it in his eyes, the tint of guilt and worry that lingers on before he succumbs to his reading trance. truth is, the injury is just a mild inconvinience of pain, so there really wasn’t much to fuss over.

in his eyes, your degree has gotten much higher than before. whether your wound would’ve affected your job didn’t matter to him; it was the fact that you were hurt in the first place. you shouldn’t have to take care of him when you needed to take care of yourself! or so is what he thinks to himself.

and so he tries to make it up to you. you need reading lessons? he’ll try to squeeze it in his schedule! or maybe it’s time for a break, he’ll tour you around in the bustling city of azuchi. it feels like whenever you need something, he’s always there next to you, and you can’t help but feel charmed by it.

mitsunari isn’t one to notice details about a person if it isn’t in a situation like in battle. but he’s gotten very sharp at seeing the slight reactions and how you’re doing; and here’s what he’s picked up on:

other than the wound on your cheek, your stomach area seems to be bruised or something close to that. you might’ve not told anyone about it, cause he hasn’t heard a peep of that anywhere, not even when he kept asking politely (or bugging, in the man’s eyes) for ieyasu’s information.

so fuck it, he just decides to ask you one day.

“why do you have an injury on your stomach area?”

it was a lesson hour, you didn’t expect him to throw,,,that curveball. maybe more of, what does this character mean? or how do you write this word? but. . .

“uhm—an incident that happened before the whole honno-ji thing.”

“and you never told anyone, even lord ieyasu?”

“n, no, kinda.”

he’s serious than before, and yet there’s something in his eyes that’s very inviting, inviting you to tell your feelings and story, inviting you to a hug of warmth and safety.

and you succumb.

“. . . things have been happening in my town before i came here.” then what was once a lesson sessioin, turned into you explaining what you and the world was going through before coming to the sengoku, with many phrasings replaced of course.

“is that so. . .” he mutters, “i haven’t heard a case like this, although i don’t doubt there aren’t any. . .i should do some reasearches.. .”

“i-it’s fine, really. . .!”

you managed to convince him that it’s fiiine, he shouldn’t read up on it and just focus on his works (since it would render your story false pretty quickly,,).

“but you still haven’t explained how you got the injury.”

“oh yeah. i got kicked down by one of the guards and then i got this as a result.” you pointed at the covered up wound, now probably just a scar, on your cheek. mitsunari goes silent, then a slow and silent hum resonates in him.

you’ve never quite seen the look in his eyes as you did. they were sharper, even if you weren’t situated in a battlefield, and you could see the gears turn in his brain. for what, you’re not quite sure.

“mitsu,,,?”

and with just your voice, his clouded eyes clear up, and he sends his angelic smile your way, “it’s fine now, lady—” his voice rings gently like bells, “you’re now safer. .even if you want to go back there. but i’ll be here by your side to protect you always, so please remember.”

“. . .heh, alright. of course i will.”

[fearsmagazine]

NINE DAYS - Review

DISTRIBUTOR: Sony Pictures Classic

SYNOPSIS:  Will spends his days in a remote outpost watching the live Point of View on TVs of people going about their lives. One subject perishes, leaving a vacancy for a new life on earth. Soon, several candidates — unborn souls — arrive on Will's doorstep to undergo tests determining their fitness. These unborn souls are facing oblivion when they are deemed unsuitable. But Will soon faces his own existential challenge in the form of free-spirited Emma, a candidate who is not like the others, forcing him to turn within and reckon with his own tumultuous past.

REVIEW: NINE DAYS is a film that is steeped in a wonderful film tradition that looks at the human condition in relation to our spiritual/metaphysical beliefs. Edson Oda’s film has many touching moments that bring to mind films like “It's a Wonderful Life,” “Here Comes Mr. Jordan,” "Wings of Desire, “What Dreams May Come,” and “A Dark Song.” It is a mystical, magical film that is as thoughtful as it is an emotional experience.

I love Edson Oda’s story. He does not present a dogma of any one religion. He presents the inhabitants of this spiritual realm as case workers, responsible for overseeing the souls they deem worthy to move on and be born on earth. Unlike the other ethereal inhabitants Will had a life on Earth and after his death was given this position. Even though he has an extremely important job, Will has an overseer, somewhat of a Jiminy Cricket, Kyo. In some ways Kyo plays a devil’s advocate. He doesn't really confront Will, but he poses questions and reflections to offer Will guidance in a non-confrontational way. He is empathic to Will’s current situation due to the nature of how the subject was responsible for died. Will and Kyo have a simple relationship and friendship that bring about some interesting conversations that present thought provoking questions. There is an interesting dynamic that feels like this interchangeable parent/child or teacher/student. Oda presents Will with nine interesting subjects to evaluate. As he eliminates a candidate Will has a compelling way to help them transition, something Kyo points out no one else does. As the process continues Oda does an amazing job of crafting these personalities and Will’s internal conflict to entrance the viewer. The narrative is a quiet storm that builds until the film’s climatic emotional release.

I loved the cast. Everyone delivers a solid performance. They allow the viewer easy access into a fantastical story and connect with the roles they craft. I’m a fan of actor Benedict Wong’s work. He creates another memorable performance that is subtle and yet you feel his inner strength. I was blown away after viewing the film when I looked up actress Zazie Beetz’s credits. I didn’t realize the other films I’ve seen her in and she is nothing short of wonderful here. She creates this candidate that comes across uniquely different from the others. It was a sheer delight to watch. The other actors create these engaging candidates with different emotional profiles for the process they are going through. Winston Duke is outstanding as he creates this tempest in a teapot, a rich complex performance. You feel there is so much more going on under the surface than simply what we witness on screen. In the climax of the film he delivers a powerful performance that gave me goosebumps. It is a memorable ensemble cast.

NINE DAYS features an art direction and production designs that are powerful, yet surprisingly simplistic. I loved the way they framed and shot those elements of this other place. It adds to the fable feel to the film. The real magic is how they execute and shoot Will’s response to the souls that don’t make the cut. They’re simply magical.

Antonio Pinto’s score does a fantastic job of framing the emotional elements of the story as it creates a contemporary storybook feel for the film.

Edson Oda is a master storyteller, as evident in his new film NINE DAYS. The film is a complex integration of story, direction, performances and artistically crafted elements to make this a moving viewing experience. It’s a film that will linger in your psyche for days after viewing as you ponder the questions of life, purpose, and time. It is a film best savored with some friends so you have someone to talk with after viewing. I’m eager to see what Oda’s next film project is.

CAST: Winston Duke, Zazie Beetz, Benedict Wong, David Rysdahl, Arianna Ortiz, With Tony Hale, Bill Skarsgård, Perry Smith, and Geraldine Hughes. CREW: Director/Screenplay - Edson Oda; Producers - Jason Michael Berman, Mette-Marie Kongsved, Matthew Linder, Laura Tunstall, & Datari Turner; Cinematographer- Wyatt Garfield; Score - Antonio Pinto; Editors - Jeff Betancourt & Michael Taylor; Costume Designer - Fernando Rodriguez; Production Designer - Dan Hermansen; Special Effects - Johnny Shepherd; Visual Effects Supervisor - George Loucas. OFFICIAL: www.sonyclassics.com/film/ninedays FACEBOOK: www.facebook.com/NineDaysFilm/ TWITTER: N.A. TRAILER: https://youtu.be/rZUQUsfi4E8 RELEASE DATE: In LA & NY Theaters July 30th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri