#op chapter 1078

[theladyofsorrows]

Vegapunk Among Us part 2

[swordsofsaturn]

wow ok one thing i will comment on. i feel like oda has not actively set the scene of what's about to happen quite like this before

[dbphantom]

i would die on the spot

[mugiwaraluv]

Zoro had never said it but Luffy has and don't blame Kaku 😂

But Luffy isn't good with names he isn't familiar so only features 😅

[everynicorobin]

Vying to take Shaka's place as "Logic"

[mxskeleton33]

Look at my son having the time of his life.

[chromatic-lamina]

one piece spoilers (sanji): chapter 1078 (briefly)

Seeing as it just happened in the anime and was expanded upon, it's still fresh in my mind that Sanji could take hits from Queen that did no damage, or that he could restore himself from them very quickly (see this post from @rkgkaru ). He attributed this to gaining a body like "them", being his brothers, something he didn't want.

screencap: rkgkaru

And seeing as his eyebrow has done the swirly switch-a-roo again (not shown in the anime yet, so not in the frame above), the scene below of Sanji taking a punch from Seraphim Jinbei (S-Snake) and declaring that it's the undying power of love, is understated in some ways, and hides the actual changes and possible intent of what Sanji has gone through and become.

I saw some reviews not seeming to pick up on this. But, as said, I don't think the manga had him quite as invincible as the anime did. And, it is something Sanji would say too.

Also: I think this is totally Rob Lucci winding Luffy up (frame below).

The Usopp joke (Luffy telling Usopp (Kaku) ) to help Zoro before he gets lost is golden too. As is the getting lost theme.

It's a great chapter and there's a lot in there, so I'll let others unpack it, because I've already read some great analyses. But wanted to isolate these two incidences. BTW, how did York get unpetrified? If she's controlling the seraphim, I guess she got a message to S-Snake somehow, and S-Snake unwove her magic.

[fly-chicken]

Dartboard theory: Luffy kills the elder star who was dispatched (or at least that’s what the navy will report)

[pirateborn-a]

girl,

[theladyofsorrows]

This isn't giving me anxiety at all!

[frankencanon]

One Piece Theory Regarding the Vinsmokes' Genetic Modifications — Specifically Their Eyebrows

(Hopefully this hasn't been done already...)

Hypothesis:

Vinsmoke Judge's research into Human Modification involved Devil Fruits. Specifically, he was trying to give his children Devil Fruit abilities without drawbacks such as a weakness to water and Seastone/Kairōseki.

Evidence:

Please take note of the image above. Notice any common denominators...? That's right, you guessed it — swirls! Every single fruit has swirls on it, whether on the body of the fruit itself or on the stem. And you know what else has swirls? The Vinsmoke siblings' eyebrows. In fact, if you look at certain fruits (such as the Gomu, Hana, Awa, Mochi, Bijo, and Ope fruits) you will notice that the stems look literally identical to the siblings' eyebrows. Coincidence? I think not!

Most of the siblings seem to each possess a unique ability that their fellow siblings do not share, almost as if they'd each eaten different Devil Fruits; Reiju has "Poison Pink" (poison fruit?), Ichiji has "Sparking Red" (spark fruit?), and Yonji has "Winch Green" (winch fruit???).

Thanks to Caesar Clown and his SMILE fruits, we know that it's canonically possible for a person to artificially replicate the effects of a Devil Fruit.

Caesar's faulty fruits lacked the distinct swirls present on actual Devil Fruits; Thus, there is likely a connection between the lack of swirls, and the fact that the SMILE fruits are faulty.

[Spoiler Alert for Chapters 698 and 840] Both Judge and Caesar based their scientific experiments on the "Lineage Factor" (referred to as the "blueprint of life itself, present in all living organisms") that was discovered by both Vegapunk and Judge working together — without it, neither the Vinsmokes' genetic modifications nor Caesar's SMILEs would have been possible. In other words, their experiments are intrinsically linked with one another.

[Spoiler Alert for Chapters 1077-1078] Vinsmoke Judge and Caesar Clown, both previously members of MADS — an illegal scientific research institute headed by Vegapunk himself — have recently joined forces to create their own organization which they have dubbed NEO MADS. Why is this relevant? Because if you consider the previous points of evidence... Caesar Clown has succeeded in creating faulty, mock Devil Fruits that are lacking the swirls characteristic of real Devil Fruits. Vinsmoke Judge has succeeded in creating genetically modified humans with superhuman abilities who possess swirly eyebrows reminiscent of Devil Fruits. Caesar has the fruits, Judge has the swirls... Combine them, and you just might get a fully functional artificial Devil Fruit.

...Okay, that got a bit away from there.

But what I was trying to say is that I believe the swirly eyebrows to be related to Devil Fruits since (1) they both have similar swirls, and (2) because I know that Judge and Caesar have recently teamed up, and the only thing that was missing from Caesar's SMILEs (visually, at least) was the swirls.

Creator of Non-Swirly Fruit + Creator of Swirly Eyebrows = Creation of Swirly Fruit. Yes?

Yes.

Also relevant: [Spoiler Alert for Chapter 1007] Apparently Dr. Vegapunk was able to create a mostly-but-not-totally-successful replica of a Devil Fruit — the Uo Uo no Mi, Model: Seiryu — that was unintentionally eaten by Momonosuke.

He was only able to do this thanks to his knowledge of the Lineage Factor, and access to Kaidou's own.

In other words!

TL;DR:

The creation of artificial Devil Fruits and the genetic modification of the Vinsmoke siblings are intrinsically linked via the Lineage Factor.

Because of this, I believe that Judge's genetic modifications and experiments on his children involved Devil Fruits in some way, shape, or form — and that is why their eyebrows swirl like the stems of Devil Fruits.

[mugiwara-lucy]

As we all know, Chapter 1078 announced that in a day’s time in OP verse time there would be an “infamous Egghead Incident”:

And given that a day has passed since we last saw the Straw Hats fighting the Seraphim and now we see them just chilling and resting coupled with Dadan and Makino’s reactions to the news about Luffy, some people think the incident has already happened and we’ll be going back in time to see what it was:

However….I don’t think so. Saint Saturn has literally spelled it out for us that it hasn’t happened yet:

Given this week is a break week I just thought I’d clear up that little misconception hehe 😅

[mugiwaraluv]

So weird to hear 'Emperor' Luffy now

[basedkikuenjoyer]

Kishotenketsu & You, Part 2

Did I make this entirely for the title rhyme? No, but it was a factor. Because I’m in the refreshing mood, this is worth a post as well. We’re getting back to some anime fun next few days. Got Jojolands, and the OP Academy panels coming up. Kishotenketsu...naturally you can’t have a part 2 without a first so why write the same things twice? If you don’t want a second essay, it’s a four part story structure with mega deep roots in Asian writing. The Act structure, it works for that and Kiku/Yamato share names with their respective parts. Leaving off with the play wrapping up, the Rakugo narrator...that’s arguably leaving with only three out of four parts completed. Which is no problem! The next island serving as the final is just on brand. One Piece just does use this structure like this, but Wano does use its theatrical themes to be a little meta. It’s lowkey very similar in function to a school play as a penultimate saga in a slice-of-life series. Falls under the wonderfully weird umbrella of “pulling an Utena” as well.

So what are we doing today? Looking at how the structure applies to individual Acts of Wano then ruminating on just how well it does to Egghead at this juncture. So for a reminder, try it for yourself and compare: Part 1 is an introduction. Part 2 develops. Part 3 subverts. Part 4 draws out the point through the way 3 ultimately tied back to 1 all along.

Act 1: 

Ki - Curtains open through Hawkins’s tarot game and the Crane Returns a Favor re-enactment. 

Sho - Okobore, Bakura, back to Okobore & up to Oden Castle.

Ten - Kiku & Kin know each other? The Yama or big climax being the samurai leaping forward in time. Different tone because now we’re back to our main plot that was already established.

Ketsu - Luffy isn’t ready to fight Kaido, he jeopardized the plan by not waiting for the right time.

Act 2:

Ki - Curtains open through the first “wheel” of pairing off Straw Hats and local buddies.

Sho - Those wider Wano stories fleshing out. Yasu’s execution will be the climax of this and it’ll wrap up as the story focuses more on Udon.

Ten - The capture of Udon, an unplanned detour. The big twist here would actually be learning Kiku’s little secret at the climax. 

Ketsu - Wrapping up reaping the benefits of all these stories. Enma, the added reinforcements from Udon, etc.

Act 3:

Ki -Curtains open through the flashback. Easy peasy.

Sho - Kanjuro the Traitor and getting in position. Meeting Yamato. Akazaya v. Kaido. All the way up to around when Luffy/Kiku fall.

Ten - Subtle but we do shift from here into the full mainline shonen part of the arc. Wrapping up fights. The Yama is Luffy’s awakening.

Kestu - The short after the battle segment until the curtains close.

Egghead:

Now, Egghead probably won’t be as long as Wano so Act 2 is probably our best comparison. It’s longer than Zou but doesn’t feel like it has enough steam to stretch past a Punk Hazard or a Fishman Island. And obviously it’s hard to do this with a still-unfolding arc. Still, I feel like we see an existing trick. Act 1, Kiku’s introduction is bounded by mirrored chapter titles. [The Crane/Luffytaro] Returns the Favor. Egghead? [Luffy’s/The Genius’s] Dream. I don’t think that perfectly marks ki giving way to sho, but it’s somewhere around there. We’ll get more entrenched in the battle, the cutaway stories mature but they don’t dominate like we see right now. Wherever sho starts, it ends with 1078 as we’ll pull away revealing the traitor. 

Like we said yesterday, what remains to be seen is the nature of this extended break from our main cast. Six chapters is a lot already and I feel like we have at least two more. One more for Sabo’s story and Vivi/Marco’s groups still lack an update. Maybe we could do all that in one? Marco sorta has a precedent for playing us in so yeah I guess you could say...tie off Sabo’s in one while also showing how Vivi got up in the sky with Wapol (Hey, isn’t that thematically a little like starting her adventure like the next step of the crew’s without her?) and then 1086 starts with Marco leading back into Egghead. That’s theoretically all you’d need. But it could go longer, and we stay away for another round of Tales from the New World that spiral into all being shaped by the Incident at Egghead Island.

[everynicorobin]

Flying along

[oktova-blog]

GATE OF HEAVEN. finally i at least get the categories of bach’s music somewhat down. ft. the bwv categories. effects of the categories will be discussed in subsequent headcanons. honestly, i got really lazy at the end, but just this list in general should give at least a general idea of how ridiculously op bach could be. 

if you don’t want to go through all of this, HERE is the list of pieces which are most likely bach*, there’s an appendix to this catalogue that has things that sound like bach but might not be. ( color meanings for the table green partial or complete manuscript (copy) by Bach &/or first edition under Bach's supervision. yellow manuscript (copy) in whole or in part by close relative, i.e. brother (J. Christoph), wife (A. M.), son (W. F. / C. P. E. / J. C. F. / J. Christian) or son-in-law (Altnickol) orange-brown manuscript (copy) by close friend &/or pupil (Kellner, Krebs, Kirnberger, Walther, ...), or distant family member ) *may the odds of keeping your sanity be ever in your favor if you try to get through this, it’s ridicoulously long.

Kantaten (Cantatas), BWV 1–224

a cantata [kanˈtaːta] (literally "sung", past participle feminine singular of the italian verb cantare, "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. johann sebastian bach composed cycles of church cantatas for the occasions of the liturgical year.

Motetten (Motets), BWV 225–231

johann sebastian bach wrote works he called motets, relatively long pieces in german on sacred themes for choir & basso continuo, with instruments playing colla parte, several of them composed for funerals. 

Messen, Messensätze, Magnificat (Masses, Mass movements, Magnificat), BWV 232–243

johann sebastian bach's Magnificat is a musical setting of the biblical canticle magnificat. it is scored for five vocal parts (two sopranos, alto, tenor & bass), and a baroque orchestra including trumpets and timpani. it is the first major liturgical composition on a latin text by bach. in 1723, after taking up his post as thomaskantor in leipzig, bach set the text of the magnificat in a twelve movement composition in the key of e-flat major. for a performance at christmas he inserted four hymns (laudes) related to that feast. for the feast of visitation of 1733, bach produced a new version of his latin magnificat, without the christmas hymns: instrumentation of some movements was altered or expanded, & the key changed from e-flat major to d major, for performance reasons of the trumpet parts. after publication of both versions in the 19th century, the second became the standard for performance. it is one of bach's most popular vocal works.

Passionen, Oratorien (Passions, Oratorios), BWV 244–249

in christian music a passion is a setting of the passion of christ. liturgically most passions were intended to be performed as part of church services in the holy week. an oratorio is a large musical composition for orchestra, choir, and soloists. like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, & arias. oratorio is strictly a concert piece. in an oratorio there is generally little or no interaction between the characters, & no props or elaborate costumes. a particularly important difference is in the typical subject matter of the text. the plot of an oratorio often deals with sacred topics, making it appropriate for performance in the church. 

Vierstimmige Choräle (Four-part chorales), BWV 250–438

alternatively named four-part chorales, are lutheran hymn settings that characteristically conform to the following: four-part harmony SATB vocal forces homophonic text treatment. in bach's extant autographs such chorale harmonisations are usually part of a larger vocal work, most typically one of his chorale cantatas, or at least part of a set or collection. apart from the four-part homophonic SATB chorus settings, bach's lutheran hymn harmonisations also appear as: sung chorale fantasias in some of bach's larger vocal works, hymn melodies for which bach composed or improved a thorough bass accompaniment, for instance as included in georg christian schemelli (de)'s musicalisches gesangbuch), harmonisations included in purely instrumental compositions, most typically organ compositions such as chorale preludes or chorale partitas.

Lieder, Arien, Quodlibet (Songs, Arias & Quodlibet), BWV 439–524

most of the songs & arias included in this list are set for voice & continuo. most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme.

Werke für Orgel (Works for organ), BWV 525–771 / Werke für Klavier (Keyboard compositions), BWV 772–994 / Werke für Laute (Lute compositions), BWV 995–1000

the well-tempered clavier, a collection of forty-eight preludes & fugues, was not printed until half a century after bach's death, although it had circulated in manuscript form before that. before the extensive rediscovery of his works in the nineteenth century, bach was known almost exclusively through his music for the keyboard, in particular his highly influential well-tempered clavier, which were regularly assigned as part of musicians' training. composers and performers such as ludwig van beethoven & camille saint-saëns first showed off their skills as child prodigies playing the entire cycle of bach's forty-eight preludes & fugues. 

this is also the section that has the tocatta et fugue that already has been shown in classicaloid.

Kammermusik (Chamber music), BWV 1001–1040 

chamber music is understood as containing: works for solo violin, cello or flute (not including works for solo keyboard instruments or lute), chamber music works for two or more players (where concertos for multiple players, & orchestral suites also fall outside the chamber music designation)

Orchesterwerke (Works for orchestra), BWV 1041–1071, / Concertos (BWV 1041–1065) & Overtures (BWV 1066–1071)Kanons (Canons), BWV 1072–1078

honestly, he wrote a fuckton, this contains concertos, sinfonia & suites. these were originally in separate chapters of the bwv, but i guess they aren’t now. here’s a list of canons, 

Musikalisches Opfer, Kunst der Fuge (Musical Offering, Art of the Fugue), BWV 1079–1080 

list here. i honestly really don’t know how to describe this anymore, but the table is linked up above & youtube is a godsend if you want to hear what the heck any of these works sound like ngl.