Knowledge is Power.
So, while I'm preparing another long post about one arc and busy rereading manga chapters and rewatching anime episodes, I decided to make a short "thank you post".
In this post, I'll share links to other people who have made significant contributions to the "study" of the Zoro-Robin pairing, to the "study" of Oda's style.
I'll provide one link per post, BUT if you're interested in the Zoro-Robin pairing, if you enjoy reading and learning new things about them — I HIGHLY RECOMMEND reading more than just the one post provided here, but going to the author's blog/page and exploring everything yourself!
You may know some of them.
1. One of my favorite posts ever by @hapifangurl (she said that recently looked at her drafts on Zorobin! 👀👀)
2. Interesting Things about ZoroxRobin and how are they connected by @kathitah
3. Prediction Zoro vs Lucci was back in 2017! The Arc's were a bit off, but still it's happened! by @mattviperme
4. Zoro saving Robin again (Egghead). by @ihartnico (There is a link to theory in this post, check it out!)
5. @zorobinkiss - Years of analysis and thoughts~
6. @robinswhitehat - Years of analysis and thoughts~
7. I'd like to give Joe a special shout-out here. This is a link to his blog, which has OVER 100(!!!) posts about Zoro and Robin.
It's written in Italian, but don't worry, I personally read the ENTIRE thing with Google Translate, and everything is clear and understandable!!!
Here he was known as Josette and in his blog he wrote about the Zoro and Robin couple for years!!!
8. Her hands saved his life. by @innershoesuitcasebiscuit
9. The post where autor links all his Zorobin posts by @wolfbart
10. Body Language by @lunariancupid
*This post may be updated in the future*
Thanks to these people, I started doing something I'd never done before — writing posts (long ones, at that).
Some of the moments and theories described were simply unbelievable and few believed them, but THEY CAME TRUE! So who knows what the future holds?..
I learned SO MUCH from these people's posts, and I will inevitably return to them in the future!
Of course, this list is FAR from complete, and many people have contributed to the story of our pair's analysis.
I'll say it again: if you're interested, go to the authors' pages/blogs! Read their posts!
They're very interesting, and I learned a lot from them!
In conclusion, I apologize if I have left anyone out, and I invite you to share any authors I don't know or haven't mentioned, even if these authors write or have written in different languages. If necessary, I'll read with a translator!
Sharing knowledge makes them stronger because it spreads influence, improves skills through teaching and generates new ideas!
"Voices from the past" cannot be silenced as long as there's a single person alive who can read them.
Knowledge + Power
💜💚
Ya know for the past 3 months, I've been endlessly drawing these Zorobin pics mainly for myself but seeing how so many of you enjoy it too brings me such joy.
I took like 5+ years off art and didn't think my art is great or anything but I am proud of my own improvements and hope I can bring more beauty to this ship.
Even if there are only like 10 of us here, I appreciate all the comments and love !!
In this post, I want to spend a little time reflecting on the finer details.
Specifically, about the significance of a sword (or swords) to a swordsman, and how and why Oda chooses to place them in certain ways throughout his work. I firmly believe that the positioning of the swords is truly important, and the author pays close attention to it!
But let's take it one step at a time.
For Japanese authors, and within Japanese culture as a whole, a swordsman is not just a standard warrior archetype carrying a blade. It is a profoundly sacred image, imbued with a distinct philosophical and spiritual meaning! For the Japanese, swordsmen are characters defined by action, not by endless conversation!
In Japanese tradition, a sword is never seen as a mere tool for killing; rather, it is an extension of the warrior's soul. There is even a well-known concept: "The katana is the soul of the samurai."
Zoro might not be a traditional samurai in the strictest sense, but his character is intricately tied to the samurai way. His personal code is Bushido, and his defining traits are honor, oaths, loyalty, and self-sacrifice.
Consequently, his swords represent his vows, his ambitions, and his entire life.
Chapter 485.
On Thriller Bark, when Zoro offers his own life to Kuma in exchange for Luffy's, he throws his swords down right in front of him.
This act symbolizes not only that he will no longer fight, but that he is willingly surrendering his dreams, his ambitions, and his very life.
Giving up his swords equals giving up his life.
Some people (especially left-handed fans) pay close attention to the fact that Zoro wears his swords on his right hip.
Because of this, they often assume he is either left-handed or an ambidextrous fighter with a left-hand dominance.
Personally, I don't think that's quite the case.
I think Zoro is ambidextrous, but without a dominant hand — he is a "true" or complete ambidextrous.
But again, that's just my take.
However, if Zoro actually turns out to be "left-handed," it will only strengthen my theory!!
Historically, samurai were never allowed to be left-handed.
Every single samurai was strictly trained to fight using only their right hand, and they always wore their katana on their left hip!
This allowed them to draw their weapon rapidly with their right hand.
Additionally, it minimized the risk of their sword bumping into passersby while moving along the left side of the road, which was the traditional left-hand traffic rule in ancient Japan.
Bumping your scabbard against another samurai's scabbard was considered a grave insult and would frequently lead to a duel.
Think back to Oda’s one-shot "MONSTERS" featuring Ryuma — the entire plot kicked off precisely because someone accidentally brushed against Ryuma's sword (Shusui) twice, which he immediately took as a massive insult!
💬 5 🔁 2 ❤️ 15 · Post by @zorobinkiss · 6 images · One-Shot post about One-shot manga.
I wanted to remind you of this wonderful post by @z
Conversely, wearing a sword on the right hip actually did exist in history, and it was a strictly regulated gesture!
If a samurai moved his sword to his right side, it openly signaled that he had no intention of attacking. Instantly drawing a weapon with your right hand from the right hip is physically impossible.
When entering a host's house or attending peaceful gatherings, samurai would often shift their sword to the right or place it to their right while sitting down.
This demonstrated absolute trust toward the hosts and a complete absence of aggressive intent.
Therefore, shifting the sword to the right side served as a crucial visual signal of "safety" in formal and peaceful settings.
In my opinion, Oda flips the traditional "samurai can only be right-handed" concept completely on its head by having Zoro frequently use his left hand for his "Ittoryu" (One-Sword Style) techniques.
I was actually rewatching Marineford recently, so I want to bring up an example while it’s still fresh in my mind.
Whitebeard is a prime example of Oda flipping a classic cultural concept on its head.
Whitebeard's weapon of choice is a Naginata (specifically a Bisento)!
In traditional Japan, the naginata is widely regarded as a "woman's weapon," historically used by women to protect their homes and families.
Meanwhile, everyone in the story refers to Whitebeard as the "Father." As a man of his stature, you’d expect him to wield a sword, yet Oda chose to give him a naginata!
He completely inverted the traditional notion of the "naginata as a female weapon" by handing it to the "Strongest Man in the World"!
Chapter 655.
Based on this example, you can clearly see that Zoro is perfectly comfortable eating with his right hand. This further proves my theory: he is a true ambidextrous with no dominant hand.
Honestly, he probably doesn’t even think twice about it.
If Oda is flipping the "samurai can never be left-handed" concept this way, it is highly likely that he is also flipping another traditional rule on its head — the idea that "swords on the right side mean a peaceful environment, while swords on the left side mean a threatening one."
Chapter 321.
In my opinion, Zoro wears his swords on the right side for a couple of reasons:
First — it’s another instance of flipping the "samurai are strictly right-handed" concept on its head;
Second — it makes it much easier for him to draw Wado Ichimonji and place it in his mouth.
Chapter 324.
Indeed, Zoro always wears and leaves his swords on his right side — even when he is sleeping, dozing off, or pretending to be asleep. This indicates that he is always ready for a fight; to him, the environment is always "threatening."
But... is that always the case?
Chapter 240.
The positioning of Zoro's swords here is by no means accidental.
In the first panel, we can clearly see that the author deliberately drew the hilts, even though he could have easily skipped them due to the layout of the "dialogue bubble".
The swords are placed next to Robin, and to the left of Zoro.
If you pay close attention to the scenes where Zoro and Robin are together, you’ll notice quite often that Zoro places his swords on Robin’s side! And just as frequently, they are placed to his left.
This brings us back to our previous logic from Zoro's perspective:
Swords on the right — "combat readiness," swords on the left — "peaceful environment"!
If Robin is around, it becomes a "peaceful environment"?
In one of their posts, @zorobinkiss pointed out this exact detail, suggesting that Zoro places his swords on Robin's side because he feels completely safe around her.
And really, wouldn't it be much more natural for Zoro (and the author) to just position the swords the way he always does — on his right side? Or is the author intentionally trying to get a keen-eyed reader to notice this change? If so, what’s the purpose?
Let’s think about it.
I believe that through this subtle detail, Oda is showing us that Zoro trusts Robin so deeply that he places the most valuable things he owns — his swords — right beside her.
INSIDE THIS BLOG, YOU WILL ONLY FIND POSTS RELATED TO ONE PIECE THAT PROMOTES ZOROBIN, SUCH AS TEXTS, FAN ARTS, MANGA PICTURES, PRODUCTS AND
It is entirely possible that Zoro would even trust her to use one of his swords in a case of necessity — not only because she possesses more than enough "skill," but also because, once again, he trusts her completely!
Now, let’s move on to the actual examples.
Since Zoro wears or leaves his swords on his right side in over 90% of cases, I am going to focus primarily on the rare examples where he leaves his swords on the left side.
Chapter 260.
The swords are on Zoro's left, positioned between him and Robin.
The atmosphere is completely "peaceful" — Luffy is taking a nap, Robin is casually reading a newspaper, and Zoro is even smiling while chatting with Usopp!
💬 0 🔁 4 ❤️ 26 · Copertina 357: Robin fissa Zoro / Cover 357: Robin fixes Zoro · In un post, Zorobinkiss aveva spiegato il triangolo tra Zo
The cover page of Chapter 357.
The swords are placed on his left because there is "zero threat" around. Even though Sanji is sitting right between Zoro and Robin, the swords are still positioned on Robin’s side. If Sanji wasn't there and they were sitting right next to each other, well... you can guess the rest...
The cover page of Chapter 595.
What I love about this cover is that it’s drawn in motion!
Unfortunately, I lost the link to the post analyzing this cover page, so I’ll be writing this from memory.
(I’ll make sure to add it as soon as I find it!)
We don't know for sure where exactly Zoro was originally sitting, but based on the placement of his swords, we can guess two possibilities:
If the swords were on his left side, it means he was sitting right next to the fridge, placing his blades between himself and Robin.
If the swords were on his right side... it means he was sitting VERY close to Robin...
Personally, I believe Zoro was sitting right next to Robin — and no, not just because I want it!))
Look at the distance between the swords and the fridge Versus the distance between the swords and Robin. There is significantly more space in the second scenario, meaning that’s most likely exactly where Zoro was sitting!
Then, he stood up to grab a bottle of wine from the mini-fridge and pour her a glass!
On the spread, we catch the exact moment where Zoro is now putting the bottle back. He probably grumbled something along the lines of, "Next time, pour it yourself, woman."
He is showing his hidden, subtle care, and she responds to it with a bit of playful flirting!
Robin highlights her femininity in front of the swordsman, blending her gratitude with an alluring gesture! She uses her feminine charm — lifting a strand of her hair, offering a gentle smile, and making an elegant motion with her glass. It’s her own special way of saying, "Thank you, you're very attentive..."
And if the assumption that Zoro was sitting right next to her is correct...
Well, I'll let you guys fill in the blanks!!
💬 1 🔁 23 ❤️ 108 · Chapter 655 · Look what Zoro was doing.
Zoro: (holding one lunch box for himself, grabbing another for Robin)
On the n
Chapter 655.
Also, this is one of my absolute favorite scenes from what I like to call the "Date Arc" xD.
Zoro’s swords are once again on Robin’s side, positioned right between them.
While Luffy is already finishing up his food, Zoro is holding a bento box for Robin with one hand and grabbing his own with the other.
What an incredibly attentive "stern swordsman"!!
And in the very next scene, they are seen eating together.
Notice how he isn’t grumbling "get your own food!" anymore.
You can also tell by the expressions on Zoro and Robin's faces in the first panel that they are both smiling.
(well, obviously, they are on a date).
By positioning the swords this way, Oda kills two birds with one stone — he avoids placing them too physically close to each other so the romance doesn't look overly blatant, yet he simultaneously shows just how deeply Zoro trusts Robin with his swords.
Either way, it’s a pretty romantic scene!
Chapter 662.
Just evaluate the situation here:
They are on a highly dangerous island, riding on the back of an enemy they literally just defeated. Anything could happen at any split second, and yet Zoro is keeping his swords on his left side?…
Right next to Robin?
Does he really feel that incredibly at ease and safe around her?
At the end of the day, it would have been much easier and more logical for the author to simply draw the swords the way he always does — on the right side.
But Oda draws them on the left. Closer to Robin.
This is definitely not an accident. We know this because he drew them that way twice.
By the way, the anime (Episode 588) doesn't even bother correcting this scene — the swords are completely missing from the shot! xd
Chapter 663.
Now look at what happens in the very next chapter.
As they start approaching "someone" (Law), Zoro is suddenly holding his swords the way he always does — on his right side.
By the way, this is an incredibly fascinating detail all on its own.
As @zorobinkiss accurately pointed out, pay close attention to exactly how Robin is sitting and the fact that she turns around over her RIGHT shoulder. Given her sitting position, if she just wanted to glance at the center (or toward Usopp and Brook), wouldn't it have been much easier for her to look over her LEFT shoulder instead?
Or was she intentionally trying to lean closer to Zoro?...
Let's remember that the swords were initially resting right between them.
This implies that Zoro actively shifted his swords over to his right side so they wouldn't get in Robin’s way when she turned to see what was happening! What a beautiful, subtle detail.
That is so incredibly attentive of you, Zoro!
In another panel, the moment Luffy shouts that it's Trafalgar, Robin turns toward Luffy over her LEFT shoulder.
This perfectly proves that looking over her left shoulder would have been the more natural and easier movement for her from the very start. And realistically, it would have been much easier for the author to draw it that way initially, too.
Even the animators clearly realized that looking over her left shoulder made way more physical sense for Robin, lol.
Could it be that the author deliberately chose to include this tiny, beautiful detail on purpose?!
I really hope you guys can make sense of my messy arrows and scribbles on the frames))
💬 0 🔁 5 ❤️ 50 · Nice work, In this cover I notice too the Zoro’shoes are typical Japanese. Maybe this cover was a form of foreshadowing fo
💬 0 🔁 1 ❤️ 19 · Zoro x Robin - tricky moment - cover - 685 · Credit to Zoro kun from OJ :)!!!
Credit to Miss sorrowing !
Credit to mr-de
The Color Spreads of Chapters 676, 685, and 699.
Zoro's swords are once again either right next to Robin or placed on his left side?
…well, either Oda completely forgot which side Zoro ALWAYS keeps his swords on…
Or I don't even know what else to tell you..
Chapter 701.
Do you know what happened the moment Zoro left his swords on his left side in Robin’s absence?
Shusui got stolen!!
And do you remember who stole it? Wicca!
Yep, that's right — the "spy/scout" from the Tontatta Tribe, who just so happens to bear a striking, "coincidental" resemblance to Robin...
I actually broke this down in much more detail in my previous post about the Arc of "Coincidences" (Dressrosa).
The Color Spreads of Chapters 733 and 750.
Here, I want to present a prime example of what a "peaceful environment" looks like.
The Color Spread of Chapter 733 speaks for itself — it’s pure "winter" peace and serenity.
Btw, I absolutely adore winter.
On the other hand, the Chapter 750 Color Spread might initially seem like it’s not a "peaceful environment."
However, I disagree with that.
I’ve included a panel from Chapter 786 to demonstrate that in an actual combat situation, Law's sword is not left in its scabbard.
Take a look: Law is holding his sword in his right hand.
His weapon is a massive Nodachi, so due to its sheer size, Oda drew it slung over his right shoulder — this keeps the hilt under the constant control of his dominant right hand. Simply put, in a "combat" state, Law’s sword is unsheathed, whereas on the Color Spread, the sword remains firmly in its scabbard.
Another major giveaway of a "peaceful environment" is Cavendish holding his rapier in his LEFT hand, despite the fact that he is actually RIGHT-handed. If this were a true "combat" situation, Cavendish would be gripping his sword with his right hand, but instead, he’s using his right hand to hold a rose.
The Color Spread of Chapter 779.
This is also one of my absolute favorite cover pages to "think"!!
So, why are the swords on his right side this time? It’s actually quite simple!
If the swords were resting on his left, it would be physically awkward for Zoro to reach over and grab pizza from Robin and Chopper’s plate. At the same time, it would be just as inconvenient for Robin to grab a drink from Zoro's side!
You probably noticed that there is a bottle of alcohol sitting right next to her, while her coffee cup remains completely untouched. On top of that, the coffee mug is placed to the left of Robin — meaning that in order to actually drink it, she would have to completely shift her entire sitting position!
Instead, she clearly preferred to grab some alcohol from Zoro.
The bottle is positioned directly to her right, making it incredibly easy to grab with the free hand she isn't leaning on in this posture!!
It might initially look like that bottle belongs to Usopp, but take a closer look: he literally just arrived, and both of his hands are completely full!
The Color Spreads of Chapters 802, 851, and 886.
A quick pause with a few moments where Zoro's swords are right where they always are.
The Color Spread of Chapter 941.
I’ve already broken down this cover page before in my Wano post — specifically in Part 3.
So, why does Zoro have his sword on his left side here?
Because if it were on his right, drawing it from its scabbard would mean physically hitting Robin!!!
The Color Spread of Chapter 992.
The swords are not just on Zoro's left side — they are placed at a noticeable distance away from him!
But everything is perfectly fine, since they are resting right next to Robin. 👀
The Color Spreads of Chapters 1031, 1036, 1076, and 1060.
Chapter 1031 — the swords are in their standard position on the right side.
Chapter 1036 — the swords are on the left side, positioned right next to Chopper and Robin. Zoro is holding a bottle(?) in his hands — the atmosphere is completely "peaceful."
Chapter 1076 — the swords are on the left side, his right hand is tucked in his pocket, and Zoro has a total "laid-back, chilling" vibe.
On top of that, looks like the author deliberately decided to place Robin right next to him.
Chapter 1060 — The environment seems peaceful enough, so why on earth is Zoro gripping his sword at all?
Could it be because his family is right behind his back, and he is instinctively protecting them?!
Chapter 1071, ep. 1103.
As I mentioned before, even when Zoro is fast asleep, he is still "on guard" — which is exactly why the standard position for his swords is on his right side.
Chapter 1074.
The swords are placed on his left, and it's not just to make the panel look pretty.
Just look at the current situation.
CP0 is chained up, the Seraphims are under Vegapunk’s control, Luffy is right there next to him… at this exact moment, Zoro has every reason to view the environment as completely "peaceful."
Especially since his "wife" just shut him down a little bit…
Chapter 1133.
Oh, and do you know what else I just noticed?
Where are your swords, Zoro? In this chapter, they were on your right side like always.
Did you actually unbuckle them and place them down to your left? 👀
💬 1 🔁 3 ❤️ 16 · A small collection about Zorobin ... (Part 2 of ?)
Part 1
Last time, we left off at the scene on the altar, but I nee
In this post, @wolfbart also pointed out Zoro's "non-standard" sword positioning.
💬 14 🔁 11 ❤️ 27 · Tumblr · Chapter 1189.
To avoid spoiling the chapter for those who haven’t read it yet, the main post will be below.
.
I was just about to wrap things up, but while I was looking for links to other posts to add here, I discovered this.
Wait, hold on… does this mean that even during their very first meeting, Zoro's swords were already positioned on his left side?
I was really hoping it would be shorter, but it turns out I got a little carried away and ended up re-examining every single (or almost every single) Color Spread since the moment Robin joined the crew...
I’ll do my best to leave links to the posts analyzing the specific Color Spreads featured here. I think I’ll keep updating this post as I add more links.
(If you happen to have any links to posts with Color Spread analyses, feel free to drop them in the comments or send them to my DMs—whichever is more convenient for you!)
Also, I’m sure I’ve missed a few things here and there since I was pulling the manga panels strictly from memory.
If there’s anything else I overlooked, please let me know!
Thank you!
P.S. In light of recent events, we can safely assume that Oda is well-versed in Norse mythology.
And it’s highly likely he knows the legend of Sigurd and Brynhild.
Sigurd famously placed his sword, "Gram", between himself and Brynhild as a testament to his loyalty.
Even after their deaths, his sword was buried right between their bodies as an eternal symbol of loyalty, vows, and love!
So, could it be that Zoro places his swords between himself and Robin in the exact same manner — as a symbol
of eternal loyalty, vows, and love?...
Link to the part 1
Link to the part 2
Link to the part 3
Link to the part 4
Link to the part 5
I want to start this post with a story about the journey of a tight-lipped, perpetually sleepy swordsman.
On his travels, he encounters a sycophantic traveler who follows him around, singing praises of his absolute strength and flawless swordsmanship while offering his services.
Later on, he meets and travels with a girl who looks identical to another girl he met a few days prior — one who had supposedly died. As it turns out, it's actually the exact same girl; her "death" was nothing but a classic fake-out. They even end up sharing a room for the night.
But the plot thickens: she's actually a samurai's daughter who was forced to become an Oiran. Using her position, she managed to seduce the Shogun and gain massive power at court.
Anyway, this is just the plot of a Japanese movie based on the novel "Nemuri Kyoshiro: The Man with No Tomorrow".
…What did you think I was talking about? 😉
Chapters 973-974.
I’ve probably bored you all to death by now talking about the connections between Ushimitsu Kozo, Denjiro/Hiyori, and the Zoro/Robin parallels, but I just have to share this fascinating fact I recently learned.
As it turns out, there is an entire series of Japanese novels about Kyoshiro, along with dozens of adaptations — including various movies, TV shows, specials, stage plays, and even manga.
The very name (or rather, moniker) of the One Piece character "Inemuri Kyoshiro" is a direct reference to "Nemuri Kyoshiro" (Sleepy Kyoshiro), a series of novels about a ronin set in the Edo period.
In Japanese, the name Kyoshiro consists of two parts: "Kyo" and "Shiro". There are different kanji for "Kyo", while "Shiro" usually translates to "fourth son."
In the original novels, Nemuri Kyoshiro's name is written as 狂四郎, which means "Mad Fourth Son/Guy."
However, Oda slightly tweaked the spelling in the manga. He writes Kyoshiro as 狂死郎, replacing the number four (四) with the kanji 死 (shi), which means "death." This changes the meaning of his name entirely to something like "Crazy Dead Youth" or "Dying in Madness."
It’s crazy how a single kanji can completely flip the meaning of a word. This is exactly why we should always take those "Oda said…" posts with a grain of salt. Ideally, you always want to look at the original Japanese quote, because things get lost in translation or misinterpreted so easily.
And well, knowing how much Oda loves dodging questions anyway…
Fun fact: in the novels, Kyoshiro isn't called "Sleepy" because he actually likes to sleep. It’s a nod to his unique fighting style, his specific appearance, and his worldview. He deeply despises society, authority, and laws, which leaves his face frozen in a mask of profound boredom and indifference. His eyes are almost always half-closed and relaxed, making him look as if he’s falling asleep on his feet or viewing the world through a daydream.
Kyoshiro's signature feature is his fictional swordsmanship style, Engetsu Sappo (円月殺法 — "Full Moon Killing Method").
When Kyoshiro enters a battle, he doesn't assume an aggressive stance. Instead, he relaxes, lowers his blade, and begins to slowly and hypnotically trace a perfect circle with the tip of his sword.
This fluid movement, combined with his "sleepy" demeanor, literally catches his opponents off guard and hypnotizes them, plunging the enemy into a split-second trance.
I won't write out all the details here, but you can definitely look it up online if you're interested.
However, it's worth mentioning that when viewed through the lens of Japanese archetypes, Kyoshiro represents the "lonely swordsman who is given a chance to form a connection, but chooses to walk away from it." The woman by his side serves more as a reminder that he still possesses a human side, rather than a romantic love interest.
And this perfectly aligns with my theory that Hiyori was never meant for Zoro.
As @hapifangurl brilliantly put it, Hiyori is more of a plot device — a character meant to help push the main character's storyline forward.
Exactly like Violet back in Dressrosa.
Here is the post I am talking about.
Ep. 976.
In the manga, Oda handles it a bit differently. Kyoshiro is constantly "dozing off" because he spends his nights stealing money under the guise of Ushimitsu Kozo. Meanwhile, everyone else assumes he’s just out "spending his nights with women."
The swordsmanship style, Engetsu Sappo, translates to the "Full Moon Killing Method." This could easily tie into the "moon" motif of the Wano clans, which I broke down in my previous post. On top of that, the anime explicitly shows that Ushimitsu Kozo pulls off his heists specifically during a full moon!
So, as you can see, Oda has once again taken a single historical/literary story and split it across multiple characters. However, I believe he gave Hiyori and Denjiro's storyline a more "romantic undertone" by also weaving in the Legend of Susanoo — where Susanoo saves the woman he loves. I already covered this specific connection in my previous posts.
Chapters 974-975.
After the introduction, I'll go chapter by chapter.
Chapter 974 features one of the most unexpected plot twists — the traitor Kanjuro finally reveals himself.
I don’t know if Oda planned this from the very beginning or not, but the twist is genuinely brilliant. Personally, I think the author definitely planned it. After all, Zou is located on the back of a giant elephant that is constantly moving (as mentioned back in Chapter 802). Without a Vivre Card, finding this island is literally impossible. This naturally raised the question: how on earth did Jack manage to find it?
And here we are, 100+ chapters later, and the reader finally gets the answer.
I want to highlight Kanjuro's family name (Kurozumi) here because it’s the same as Orochi's, which is incredibly interesting, but we’ll get back to that closer to the finale of Wano.
Then Kyoshiro arrives, who is actually Denjiro. This creates a fascinating parallel where the one who seemed like an ally turns out to be an enemy, and the one who seemed like an enemy turns out to be an ally.
Also, notice how Denjiro slices the ship in half. This is the exact same feat we've seen from Zoro and Mihawk, and it’s done purely to emphasize just how powerful Denjiro really is.
Zoro, of course, remembers him.
By the way, in the anime (Episode 978), this entire scene is executed beautifully and looks even better.
Chapter 975.
What follows next is a moment that I think shocked even the Japanese readers…
Did you guys seriously not catch onto this right away?…
I have no words.
Chapter 977.
Jinbe officially joins the crew.
Finally, besides Zoro and Robin, the crew gets another "mature" character.
I’ve gathered a few screenshots from episodes 981 and 982.
Only a fool would say they don’t look good together.
TOEI knows this perfectly well, which is exactly why they give them way more screen time together than the manga does!
Just a lovely visual treat!
One might think TOEI just randomly placed them next to each other during the banquet, but no, Oda did that himself. Granted, it’s practically unnoticeable in the manga because the author decided to slap a "dialogue bubble" right over our favorite pair!
Of course, the fact that they are simply "standing together" doesn't inherently mean anything — it's just a fun little observation in both the manga and the anime.
Chapter 978 / Ep 983.
There are some minor differences between the anime and the manga versions here, you can check them out for yourself.
Now, I want to pause here for a quick second.
Oda most likely created Kin'emon’s devil fruit abilities based on classic Japanese folklore surrounding the mythical shape-shifting Bakeneduki (Tanuki). According to legends, these creatures place a leaf or a small stone on their heads to transform them into clothing, illusions, or money.
Kin'emon uses his power in the exact same manner: he places a stone or a leaf on someone's head to materialize any outfit on them.
Kin'emon is married to Tsurujo (O-Tsuru), and his fruit’s power turns stones or leaves into clothing.
The Foxfire, married to a Crane, possesses the abilities of a Tanuki.
Very interesting…
Chapter 979.
I feel like I spent a pointlessly long time overthinking these scenes.
And honestly?
There's absolutely nothing to overthink here xD.
I’m pretty sure these are just standard gag scenes.
Franky offered Robin a ride on his motorcycle and Robin accepted. Some people immediately took this as something "romantic," but in reality, it's just pure convenience.
Honestly, who would say no to a ride?
Plus, let's not forget that Nami has already ridden with Franky before.
Ep. 984.
In the anime, Robin does not appear particularly upset that Brook arrived before her. While the manga remains the primary source material, the anime version can provide additional context to the situation.
For example, when Sanji offered Robin a ride, she declined for visible reasons. However, considering Sanji’s established "personality", Robin may have preferred to avoid a one-on-one interaction...
The subsequent scene with Jinbe demonstrates how quickly some viewers begin to "ship" characters simply by standing next to each other for the first time. There's no judgment here, as fans are free to interpret the relationship however they wish.
This scene, along with the frame featuring Robin and Jinbe, likely served to highlight Robin’s character design. It is the first instance in the manga where her current outfit is shown in a full-length shot, contrasting with the kimono she wore throughout most of the Wano arc which obscured her character model.
If there were a romantic undertone between Franky and Robin, the inclusion of the scene with Jinbe would be redundant.
Conversely, if a romantic connection with Jinbe was intended, the scene with Franky would seem unnecessary.
Therefore, the interactions appear to be polite and friendly rather than romantic.
What can be concluded from this scene is that Robin respects and feels comfortable around "mature" individuals, as she noted herself. Additionally, in both the manga and the anime, the scene functions to show a silhouette observing them. While unclear in the manga, the anime confirms this is the mask of Yamato, Kaido's child.
After reviewing two different translations and the anime adaptation, it seems these scenes may simply illustrate the crew interacting with one another. Post-timeskip, the protagonists often spend more screen time interacting with arc-specific characters than with each other.
And yet, I still feel like I don't fully get these scenes.
Maybe I'm just overthinking it, or maybe there's simply nothing deeper to understand.
Unfortunately, I couldn't track down the original Japanese raw pages. If any of you happen to have them, please send them my way! Maybe that will help me figure out what the author was trying to convey here (if he was aiming for anything at all).
In any case, if someone still chooses to view these frames with Robin as "romantic," well...
In that case, we can safely say that Usopp has a whole harem!
Funny thing, by the way — I noticed that in different translations, Usopp actually has a completely different facial expression at this moment!
So, what was the actual "gag" of this scene?
It’s that perverts get zero girls! xD
Out of FOUR girls, not a single one chose to ride with Sanji (or Franky)!
Also, in this chapter, we are introduced to King — Kaido’s "right-hand man."
A quick off-topic thought:
Kaido's top commanders are named after playing cards — King, Queen, and Jack — while Doflamingo himself went by the codename "Joker" under Kaido. Doflamingo’s own crew followed this "card suit" theme as well:
Diamante — Diamond in Spanish;
Pica — Spade in Spanish (and Russian);
Trebol — Clover in Spanish;
Corazon — Heart in Spanish (Law was supposed to take his place).
You probably already know this, as it’s not new information.
Next, we see Luffy flying into a rage because the pirates dumped out an entire pot of Oshiruko soup — the very same soup O-Tama loved so much. (And which Queen and Big Mom happen to love too).
On top of that, Oda finally answers an SBS question in this chapter.
Well, what do you think? 5 years have passed, have you finally figured out what One Piece is?
— "Oda said so!!")))
Chapter 980.
Zoro finds Luffy, sees him attacking Kaido's pirates, and scolds him for it.
But the moment Luffy tells him that they dumped out an entire pot of soup, Zoro flies into a rage the same.
A heartless swordsman, huh?
Later, he looks after Luffy when Apoo knocks him out. In this arc, Zoro takes care of his captain and best friend SO much!
And then, they stand to fight shoulder to shoulder.
Chapter 981 features a funny SBS question and answer.
Why is it funny? Because it perfectly showcases just how meticulously attentive to detail the author really is.
Chapters 983-985
Yamato’s mask is a Hannya mask, which I previously broke down in detail in this part (part 4).
Next up is a scene that "certain people" interpret as — lord forgive me — Robin x Jinbe, but it seems they choose not to look past this single moment. In the very next frame, it’s completely obvious that all the "fun" is just a front. Robin is deeply worried about Momonosuke. She always gets incredibly anxious over the safety of any child — a trait we’ll see highlighted in a similar scene later on Elbaf.
Kaido's "son" under the Hannya mask turns out to be a daughter…
— How many times do you want to call Wano the Arc of "Lies"?
— Yes.
In my post about Chapter 1189, I mentioned something along these lines:
Imu wields an axe that belonged to a giant who lost his head, and now Scopper Gaban is standing up against this very axe.
Gaban, in a sense, has also lost his "head" — meaning his Captain.
Kanjuro "draws" headless samurai to fight against the actual samurai who lost their own "head" — meaning Oden.
And Oda, speaking through Izo, points this out directly: "Headless samurai… how symbolic."
Ep 991.
Here, Robin is very Zoro-like!
Although the scene with Robin wasn't in the manga, TOEI decided to make a parallel.
(they clearly know something)
Chapters 985-987.
Kikunojo puts on a traditional battle half-mask.
This time, it’s not a Hannya mask, but an Oni mask. Samurai often used the face of an Oni on their battle half-masks specifically to intimidate their enemies.
Kyoshiro and Kin'emon are the FIRST to strike, attacking simultaneously.
I think I’m going to skip the cover page of Chapter 987.
Honestly, the cover itself is pretty nice, but thanks to the haters of our pair who constantly spam that cropped panel from it, it just leaves a bad taste in my mouth to include it here. There are actually a few interesting details on it, but I just don’t want to, and I won't.
Sorry about that~
Moving forward, there are going to be a lot of "hints" suggesting that Zoro is supposedly the next Oden. Which is actually completely false, especially considering Enma and Oden's Haki emanating from that specific blade.
Naturally, any careless reader or viewer immediately drew the parallels: Zoro is Oden, Hiyori is Toki. I mean, how could they not? Look, Kaido sees Oden in Zoro and feels his Haki!
The only catch is that Kaido sees Oden in literally anyone who is even remotely samurai-like and capable of leaving a scratch on him.
And finally, a hilarious scene with Yamato that I absolutely couldn't leave out.
Luffy: "Yama-o, take care of Momo!"
Yamato: "Me? Ah, right, after all, he is my son!"
xD
Chapters 988-989. Ep 999.
The scene where Franky literally runs over Big Mom’s face.
As you can see, Nami screams "Big Bro!!!" at him.
Wait. Hold on. What do you mean "brother"???
But wait — "Oda said Franky is the father of the crew!!!!!!!"
Well, here is a direct source straight from the manga.
This chapter was released BEFORE SBS Volume 99, where Jinbe allegedly became the "father."
So, did Oda lie?
No. Oda gave a joke answer to a joke question, and if some people actually took that joke seriously, well, that's their problem.
Anyway, Nami literally called Franky "bro," so they are definitely not a couple!
Not exactly! xD
The thing is, in Japanese, Nami uses the word "Aniki." Unlike the polite "Onīsan" used within a family, "Aniki" emphasizes the coolness and authority of the person being addressed. The term carries a respectful yet masculine and informal vibe. It’s frequently used between close male friends, as well as in subcultures like the Yakuza to refer to an older brother-figure or someone higher in rank.
So, Franky x Nami shippers, don’t worry — she didn’t literally call him her "brother"!
Besides, this specific panel — both in the manga and the anime — clearly hints that Nami has feelings for Franky.
I mean, there is more romantic tension shown between Nami and Franky in this single episode than between Nami and Luffy/Sanji/Zoro combined IN THE ENTIRE HISTORY OF ONE PIECE.
Am I right, or am I right?
Then Jinbe asks Robin for help, and of course, she agrees.
Look at that!!!! Oda is casually dropping hints for two future couples at the exact same time!!
Nami x Franky and Robin x Jinbe! Isn’t it completely obvious?!
Okay, enough joking around xd
Next up is the panel where Robin helps Jinbe toss Big Mom far away from the battlefield. This is a very interesting moment, and yet another parallel to Zoro! We will absolutely come back to this a bit later!
Meanwhile, Luffy is climbing higher up to where Queen is stationed. Queen is shocked to see him, and he’s equally shocked when Zoro shows up right after. But what blows his mind even more is the fact that both Luffy and Zoro completely ignore him, acting like he’s not even there!
Personally, I think this is because they don't really view him as a serious threat, but let's not get into that right now.
Zoro, as the secondary main character, wants to head up with Luffy to fight Kaido. However, King, Queen, and the other pirates stand in their way to block them.
Fun observation: whenever Oda wants to make Robin look exceptionally "badass," he always covers one of her eyes — usually the left one! Pure coincidence, right?
Chapter 989. Ep 1000.
And, of course, that one manga panel which I believe was specially timed for Episode 1000 of One Piece.
Our little Zoro-Robin-Chopper family is finally all together.
Chapter 990.
Zoro is the first to charge at the giant, slicing his weapon in half, while Luffy recalls Oars whom they fought back in Thriller Bark (there’s actually a flashback scene for this in the anime).
Due to the panel layout, it seriously looks like Robin is looking right at Zoro!
Oda does this quite often, and you can read a bit more about it here.
Chapter 990-991.
X Drake wants to switch to Luffy's side because his cover has been blown.
Zoro is the first one to lunge at him, fully realizing that this kind of "ally" could be dangerous. Franky and Jinbe notice this as well.
Luffy... is just being classic Luffy! He accepts X Drake's offer in a literal second, which leaves the other three deeply annoyed.
Franky even goes as far as to insult Luffy...
Funny thing, though — in Episode 1002, which adapts this scene, the anime shows Zoro insulting Luffy instead of Franky.
In the manga, however, it is plain as day that the words "Shut up captain!! You moron!!!" actually belong to Franky.
Not that it’s a big deal, just an interesting observation.
Ultimately, Zoro and X Drake end up teaming up against Apoo.
Unlike Jinbe and Franky, Luffy has this innate ability to "sense" people — if someone is fundamentally good, he’ll pick up on it instantly and will do his best to help them out. Why didn't I mention Zoro here? Because as we see shortly after, Zoro can also "sense" people to some extent, though not nearly on the same level as Luffy.
Zoro tells X Drake: "You seem honest, but you're still hiding something."
This is incredibly fascinating because we can easily apply this exact logic to a situation we are all too familiar with — Robin joining the crew and the whole "Zoro doesn't trust Robin" phase.
I firmly believe it was a very similar case back then. Zoro could feel that Robin was being genuinely sincere, but he knew she was harboring a secret. Because of this, he treated her with extreme caution — a caution that completely evaporated the second she was actually in danger (like against Enel or Aokiji).
And once Zoro finally learned the full truth, he literally vowed to save Robin, even if it cost him his own life!
In this very same chapter, Kin'emon uses his fire-cutting technique against Kaido. This is important for future events!
Chapter 992.
Now, this cover page is one I will gladly attach!
What makes this cover so interesting is that Zoro is seen eating ramen from a bowl that features a blue Eastern dragon design.
Back then, some people speculated that this was Oda’s way of "foreshadowing" that Zoro would be the one to "kill Kaido" (which, as we now know, turned out to be false).
And honestly, it’s no surprise — after all, Luffy is the main character, so it was always meant to be his victory.
Next, I’ve included a few Color Spreads from previous chapters that most likely contained a similar type of "foreshadowing."
On the Chapter 929 Color Spread, Zoro is holding a scythe. Later, in Chapter 937, he ends up using a scythe in his fight against Hitokiri Kamazo (Killer).
On the Chapter 937 Color Spread, Zoro is holding a map with the word "Enma" written on it in Kanji. Later, in Chapter 955, he actually receives the sword Enma.
On the Chapter 992 Color Spread, Zoro is eating ramen from a bowl featuring a blue Eastern dragon (Kaido). Later, in Chapter 1010, Zoro becomes only the second person in the world capable of leaving a permanent scar on Kaido.
However, what interests me the most about this cover is the "ZoRobin" aspect.
As mentioned before, Zoro is eating ramen, and we can also spot three empty bowls stacked right behind his swords. It’s highly likely that Robin and Chopper have already finished their ramen. But why are there three empty bowls? Perhaps one of them belonged to either Luffy or Nami.
Zoro, dressed in his signature green outfit, is sitting on a purple cushion. This probably doesn't mean much, other than the fact that Oda is well aware of how well green and purple complement each other.
Now, take a close look at Zoro's swords.
They are placed to his right, right next to Chopper and immediately behind Robin's back!
Note to self: I will most likely publish this post alongside my other post focusing on the "placement of Zoro's swords," so I'll make sure to leave a link to it right here.
💬 0 🔁 0 ❤️ 0 · Post by @kushinauwu · 4 images · «What Do Swords Talk About?»
In this post, I want to spend a little time reflecting on th
Great, I haven't forgotten~
Chapter 993.
Since the author decided to split the panels featuring Zoro, Robin, and Chopper, I decided to fix it and put them side by side myself :)
After all, they are all in the exact same location, witnessing the same exact situation unfold.
In this chapter, Kaido mentions that he even "saw Oden," which proves that he "saw Oden" in characters other than just Zoro!
Also, in this chapter, Kiku loses his arm due to Kaido's attack, which will definitely play a significant role later on.
Chapter 994, Ep. 1006-1007.
As we can see, Oda shows us Robin, Brook, and Chopper, but where on earth is Zoro?
In reality, Zoro is right there with them, but the author decided to give him his own separate panel on another page.
However, the anime clarifies this by showing all four of them standing together in the exact same spot.
Chopper shares his concerns, while Zoro and Robin discuss what needs to be done in this situation.
It's a very telling moment that Robin and Chopper are using a wooden board to fight back. After all, if they were to rely solely on their own physical strength or powers, they would have to touch the infected people and would end up getting infected themselves!
I absolutely love how much Chopper has "grown" — his determination and courage are showcased beautifully on Onigashima!
And honestly, it's no wonder, especially with "parents" like that!!
"Dad," "Mom," and "Grandpa" heard your resolve, Chopper.
A family always protects their child!
Chapter 994, 995, Ep 1008.
Chopper tells Zoro to retrieve the antidote from Apoo.
In the anime, there’s a rather "funny" blunder in Episode 1010 — the animators reused the exact same frame from Episode 1008! They simply removed Zoro from the shot, but they completely forgot (or chose not to) remove Captain Drake.
(I’m pretty sure I actually saw an early version of this episode where they hadn't even managed to "erase" Zoro yet)
Zoro attacks Apoo using his 720-Pound Cannon.
He points out that he needs to reach Kin'emon as quickly as possible to help the samurai in their battle against Kaido, and that he’s just wasting precious time here.
Meanwhile, Queen is looking at the bounty posters, recognizing Zoro as well as "Judge’s son" — Sanji. He notes that their priority should be to take down the "number two" and "number three" of the crew.
While Chopper is analyzing how the virus functions, Robin notices that Chopper has actually caught it himself. The anime handles this specific realization a lot better.
In the meantime, Ulti captures Nami and tells her that in order to survive, all she has to do is say that Luffy will never become the Pirate King.
Usopp thinks to himself that Nami should just lie — after all, it’s just a lie, just words.
And yet Nami says... that Luffy "Will absolutely become the Pirate King"!!!
I just couldn't leave this moment out because it felt incredibly significant to me, though I can't quite put into words why...
I wonder, why was Nami unable to just tell a simple lie?.....
Chapter 996, ep 1010.
In this chapter, we see Law discovering a Poneglyph, followed by a flashback where he reveals his true name and the "D." initial to Robin. Naturally, certain people instantly "figured it all out" — I mean, it's totally obvious that Law is in love with Robin, which is why he only told her his real name!!
Except... well...
Law also told his real name to Doflamingo and Sengoku...
Does that mean he’s in love with them too?
No.
Law will share his name with literally anyone who might know even a single thing about the "D." initial, and Robin is by no means the only one.
I’m absolutely certain that if Brook knew something about the "D." initial, Law would have gladly dropped his real name to him as well.
The only reason Law revealed his name to Robin was because she might actually know something about it, or she could point him in the right direction of where to look, etc.
Once again, some people argue: "But they share the same goal!"
In my opinion, that's not true — or rather, not entirely true.
Law's goal is specifically to uncover the truth behind the "D." initial, while Robin's "goal" is to learn the true history of the world.
What’s the difference? The difference is that Law is actively looking for someone (or something) that can give him answers, and the moment an opportunity presents itself, he will absolutely take it.
Unlike Robin.
Why did I put Robin's "goal" in quotation marks?
Because her true ultimate goal is, in a true samurai fashion, "the Journey."
If the only thing Robin actually cared about was learning the history of the world or uncovering the truth behind the "D." initial, she could have easily found out everything back on Sabaody from Rayleigh!
He explicitly told her that he could reveal it all right then and there!
But she deliberately chose "the Journey" — Robin's main priority is... the Adventure!! And helping Luffy become the Pirate King!
Actually "uncovering the true history" is simply something she will achieve along this "Journey."
It is exactly the same for Zoro!
Zoro did the exact same thing.
A long time ago, he placed the goal of helping Luffy become the Pirate King far above his own personal goal and ambitions of becoming the "World's Strongest Swordsman"!
And now, for him, the most important thing is "the Journey" — getting stronger through their Adventures and helping Luffy become the Pirate King!
Just like Robin!
At the end of the day, both of them have, at some point, sacrificed their own lives, dreams, and personal goals — all for the sake of Luffy and the Crew!
Water 7/Enies Lobby and Thriller Bark.
On a side note, I actually think that Law is going to die. Not because I dislike him — quite the opposite, actually.
I don't want to break down my entire theory on this here to avoid making this post too long, so I'll just sum it up briefly.
The absolute ultimate ability of the Ope Ope no Mi is to grant someone eternal youth/years of life at the cost of the user's own life.
Personally, I view this as a massive "Chekhov's gun" that Oda hung on the wall back in Dressrosa, and it's bound to "fire" during the finale, or closer to the end of the Final Saga.
(for instance, Law might end up sacrificing his own life to save Luffy's).
I hope I've made my train of thought clear here, but if not, feel free to ask for clarification in the comments.
Again, this is just my personal opinion and how I see things playing out.
Moving on.
Big Mom arrives, but she has no intention of fighting here — she only wants to reach the roof. As she is heading up, Kiku’s severed arm falls down from above.
Zoro notices it.
This acts as an immediate trigger.
Seeing Kiku's arm, Zoro instantly realizes that Kaido is absolutely obliterating the Nine Red Scabbards on the roof. If a warrior as strong as Kiku has already lost an arm, it means things up there are going terribly wrong. He can no longer afford to waste a time.
He is utterly enraged that while their friends and allies are upstairs sacrificing their lives and losing limbs, Queen is down here forcing everyone to run in circles after Scratchmen Apoo just for his own twisted amusement!
Zoro also understands that for a warrior, losing an arm is a massive, debilitating setback. Sure, one could bring up Shanks as an counterexample, but Shanks most likely became a less formidable swordsman after losing his arm — or at the very least, Mihawk no longer considered their duels meaningful. After Shanks lost his arm, Mihawk completely lost interest in fighting him! It’s highly possible Mihawk mentioned this to Zoro during their two years of training, but only Oda knows for sure.
However, Zoro’s anger doesn't stem from pity for Kiku — Kiku is a samurai, and samurai don't seek pity.
What infuriates him is the stark, disgusting contrast: while the Scabbards are giving up their limbs and lives on the roof, Kaido’s pirates are turning this war into a literal circus with antidotes below. He sees this as an absolute insult to their great sacrifice!
And for Zoro, honor and sacrifice are VERY IMPORTANT.
Following this realization, Zoro enters a state of "cold fury," blindsides Apoo, and snatches the antidote from him.
Notice that this is not the kind of "blind rage" we saw back when Enel attacked Robin! This time, Zoro acts with a much more calculated, cool head. He wasn't driven mad simply because Kiku lost an arm; he was infuriated by the sheer disrespect of Queen's pathetic "game"!!!
A lot of people seem to completely miss this distinction.
Chapter 997, Ep. 1011.
Zoro hands the antidote over to Chopper, and I honestly love this scene in the anime even more than in the manga!
In the manga, Zoro says something along the lines of "I don't doubt you" or "that's our doctor." But in the anime (at least in the translation I watched), Zoro says: "That's my man!"
It feels so "fatherly"/"brotherly", and it is just SO INCREDIBLY CUTE!!!
Right after, Queen, absolutely infuriated by the loss of the antidote, aims his gun straight at Chopper. Zoro’s reaction is instantaneous.
He doesn't just block the attack — he uses a flying slash to literally shatter the weapon right in Queen’s hand!
Zoro declares that he didn't come here to play Queen's stupid games, but to cut down the strongest being in the world — Kaido!
Zoro literally shook the entire live floor!
He reminded everyone, both enemies and allies alike, that the Straw Hat Pirates didn't come here just to survive Queen’s traps, but to win.
The words "I came here to cut down the strongest in the world!" sounded like a complete manifesto. Zoro openly challenged the most fearsome creature on the planet, finally cementing that his level is now a direct battle with a Yonko.
It’s highly ironic that at this exact moment, Onigashima begins to lift into the air, causing everyone in the room to panic and assume that Zoro just unleashed Conqueror's Haki!
At that point in the story, Zoro's Conqueror's Haki hadn't been officially confirmed yet, so this moment can easily be seen as a brilliant piece of "foreshadowing".
Even Brook blurts out: "What did you do? You’re a terrifying man!"
By the way, right before this, Jinbe also called Robin a "terrifying woman"!
Our favorite pairing truly is terrifying! Terrifyingly amazing, that is!! xD
So, through this fun, comedic misunderstanding, the author subtly hinted to the readers about the swordsman's true latent potential. Oda basically prepared us for the fact that the sheer scale of Zoro’s presence and spirit is already on par with "Strongests"!
And well, we didn't have to wait very long for the official confirmation!
Robin understands Zoro’s character perfectly.
She instantly read his fury and knew that Kiku’s falling arm wounded his sense of justice and warrior honor.
In the anime, you can see a look of deep concern on her face. But it’s not because she thinks Zoro "caused the earthquake" — no.
Robin most likely realizes that he had nothing to do with it. Rather, because she saw O-Kiku’s arm as well, she understands just how incredibly dangerous and unpredictable this entire battle is becoming. She doesn't even bother asking him about the "earthquake" because she already knows it wasn’t him.
I absolutely adore the frame in the anime when she walks up to him!
Just picture the scene:
Zoro has just targeted Queen, he is currently channeling pure fury, and literally everyone in the room believes he just caused an "earthquake."
And yet, Oda subtly highlights that Robin — is the one person who can walk right up to a enraged, bloodlust-radiating Zoro, and he will... instantly calm down!!!
If you think Zoro isn't "that terrifying," just think back to Punk Hazard (Chapter 686). When Zoro lunged forward to protect Nami and Chopper from Monet, Nami genuinely thought Zoro was going to kill her and got so scared that she tried to use Chopper as a shield!!
Not to mention the fact that Zoro literally sliced Monet in half using nothing but sheer terror!
In the anime adaptation, Brook also approaches him, but that never happened in the manga. Even in the anime, Brook only comes over after Robin does.
Robin walks up to Zoro and calmly tells him: "I know, Zoro... I saw it too..." confirming that she completely shares his sentiments and fully understands the root of his anger.
And just like that, the "enraged beast"... immediately calms down!
It is precisely these seemingly "insignificant" moments that truly showcase how deeply these characters understand each other, believe in one another, and what their real relationship is like.
It’s not about the quantity of panels or the number of dialogues.
It’s about their quality!!!
I don't actually ship anyone besides Zoro and Robin, but I want to jump back to the moment with Nami and Ulti for a split second.
Why couldn't Nami just say that Luffy wouldn’t become the Pirate King?
It was a dead-end situation; to survive, she just had to say a single phrase — to lie, at the end of the day. But Nami simply couldn't bring herself to do it...
Perhaps the author wants the readers to answer this question for themselves.
"Why?"
Moving on, Zoro shares his thoughts with Robin: "I wish I could just fly right up there…"
And wishes do come true, because Marco the Phoenix suddenly appears!
He drops a line that goes something like:
"You guys are the main stars here! What are you doing taking center stage down here?"
Ever since Enies Lobby (and probably even earlier), Zoro and Robin have constantly been singled out as a dangerous duo within the crew.
Marco, you definitely know what's up! ;)
And that’s it!
Yes, I’ve hit the 30-image limit.
In moments like this, I always think of Howard Stark’s quote from the MCU: "I am limited by the technology of my time." xD
I’ll admit, this post was much harder for me to put together than the previous ones.
I don't know why, but I just couldn't seem to "piece it all together" for the longest time. But I couldn't keep delaying it forever!))
I’m just glad I managed to get it done somehow.
I hope you guys enjoy it, and in any case, thank you so much!
P.S. Since I'm maxed out on the image limit, there won't be a "bonus section" in this post. So instead of a bonus, I will be dropping a separate follow-up post…
To avoid spoiling the chapter for those who haven’t read it yet, the main post will be below.
I'll start with the beauty — Robin and Chopper were shown in this chapter :3
Robin says she needs Chopper in the Library.
Why?
I can only see two possibilities.
First — someone is injured, and Chopper is needed to treat them.
This option is ruled out, because it's clearly not Saul — he is shown to be healthy.
We also saw Biblo in chapter 1182, and he looked fine.
Chapter 1182.
The second option — Chopper is needed to "translate" what Biblo is trying to say.
After all, this chapter explicitly reminded us that Chopper can "understand" the language of animals.
I still wouldn't rule out the possibility of a "clash" between Robin and Biblo. Because we don't know exactly how he is acting right now or what he wants to say.
Though I admit the likelihood of this outcome is now lower.
I'm very curious about what will happen next, so I'll be waiting for the next chapters.
Upd.
I probably should have started with this, but I forgot…
Chapter Cover.
Nami is scolding Luffy, Zoro, and Sanji, who have been turned into monkeys.
This is one of the most famous moral allegories in Japan (or rather, one that came to Japan and became especially popular there) — "The Three Wise Monkeys."
Luffy — covering his eyes → Mizaru (見ざる) — "see no evil."
Sanji — covering his ears → Kikazaru (聞かざる) — "hear no evil."
Zoro — covering his mouth → Iwazaru (言わざる) — "speak no evil."
Most often, they are understood as "See no evil, hear no evil, speak no evil."
However, the original meaning was a bit deeper:
"Do not let evil into your heart, and do not spread it further."
Luffy — "see no evil." He often ignores social differences, titles, or backgrounds. He judges people by their actions, not by their appearance or status.
Sanji — "hear no evil." This is most likely a pure gag. There is women's underwear hanging on the clothesline, and Nami seems to be yelling something. Sanji is covering his ears as if he doesn't want to listen to her scolding, completely absorbed in his fantasies (the hearts over his head clearly emphasize this).
Zoro — "speak no evil." This is perhaps the most accurate match. Zoro is a man of few words who prefers actions over speech. His famous "Nothing happened" immediately comes to mind.
In other words, Oda didn't just recreate the composition of "The Three Wise Monkeys"; he also cleverly played into the characters' personalities.
Several weapons were used in this chapter.
Imu used the Axe of Xingtian.
Kirringham received the Spear of Longinus.
Sommers received the Sword of "Wrath and Love" — "Gram."
Fragarach is a legendary sword from Irish mythology and a popular magical item in Japanese media. Its name means "The Answerer" or "The Whisperer."
It belonged to the sea god Manannán mac Lir and was later passed down to Lugh, the god of light and the sun.
The blade could pierce any armor, no one could withstand it, and wounds inflicted by it were fatal. It also had the power to force people to speak the truth when held to their throat.
The Japanese scans actually feature the name of this axe.
Imu summons the Axe of Xingtian — "Heaven's Punishment."
In Chinese culture, the Axe of Xingtian (the great Yue axe) is a symbol of eternal resistance, unyielding will, and fury. In ancient China, this type of axe was used not only in battle but also for ritual executions, which highlights the punishing and menacing nature of the character.
Xingtian was a giant and a musician at the court of the Flame Emperor (Yan Di). When Yan Di lost the war to the Yellow Emperor (Huang Di), Xingtian held a grudge. He took a massive axe and shield, and marched alone to storm the heavenly palace.
Huang Di and Xingtian clashed in a brutal battle on Mount Changyang. Being the more experienced warrior, Huang Di caught the giant off guard and cut off his head.
Even without his head, the giant refused to die. Through the sheer force of his indescribable fury, he turned his nipples into eyes and his belly button into a mouth.
It's not the prettiest sight, so I won't post a picture…
Becoming a headless monster, he raised his axe and shield once more, furiously swinging them in the air in an eternal dance of war against the heavens themselves.
In Chinese culture, Xingtian is the ultimate symbol of an unyielding will, defiance, and fighting to the bitter end — refusing to bow even to the gods!
It's a highly iconic imagery.
And this lore of Xingtian resonates perfectly with the concept of "Heaven's Punishment."
I also noticed — whether by coincidence or design — that it is Gaban who stands against this axe.
A man who fights with dual axes.
Gaban the one who lost his "head" — his Captain, Gol D. Roger!
Incredibly symbolic, don't you think?
The Spear of Longinus (also known as the Holy Lance) is one of the most famous relics in Christian tradition.
According to Christian lore, when Jesus was crucified on the cross, a Roman soldier named Longinus pierced His side with a spear to ensure that He was dead.
The spear is considered "holy" because it came into contact with the body of Christ. According to one legend, Longinus himself came to believe in Christ after the crucifixion and was later canonized as a saint.
In other words, the very man who pierced Jesus later became a martyr for the Christian faith.
This is a very powerful motif of transformation.
In theology, the strike of the spear is sometimes interpreted as the ultimate confirmation of truth. After it, there is no denying what happened. Therefore, the spear is sometimes associated not just with violence, but with revelation.
Over time, numerous myths have emerged around the spear:
The owner of the spear is supposedly invincible;
it grants the right to rule;
and as long as the ruler possesses the spear, their state will endure.
So Oda really does incorporate Christian themes into his work…
You would think that given Sommers' "biblical motifs" and the fact that his opponent is Zoro, the Spear of Longinus would suit him better, right?
But what if I told you — no!
The sword "Gram" fits much better, and choosing this weapon against Zoro was likely no coincidence!
Sommers wields the Sword of "Wrath and Love," named "Gram" — one of the most famous swords in Norse mythology.
And this is where it gets incredibly interesting!
Gram (Gramr) is the legendary sword of the hero Sigurd. It is the very sword Sigurd used to slay the dragon Fafnir, which is one of the central plots of the Völsunga saga and the Poetic Edda. Before Sigurd, the sword belonged to his father, Sigmund.
The legend of this sword is very similar to the legend of Excalibur, though the tale of Gram is significantly older!
King Völsung held a grand wedding feast in honor of his daughter.
At the height of the festivities, a strange, tall, one-eyed old man wearing a cloak and a hood entered the banqueting hall — the god Odin himself. He silently walked over to the Barnstokk tree, drove a magnificent sword deep into its trunk right up to the hilt, and announced: "He who draws this sword shall have it as a gift, and he shall see for himself that he has never held a better weapon." After that, the old man vanished.
All the noble guests tried to pull the blade out, but to no avail. Only Völsung's youngest son, Sigmund, was able to do it with ease.
For many years, Sigmund defeated his enemies while wielding the legendary sword Gram. However, in his final battle, Odin himself appeared on the battlefield, taking the form of a one-eyed old man with the spear Gungnir.
When Sigmund struck Odin's spear with Gram, the blade shattered in two. Having lost his weapon, Sigmund was mortally wounded. Before dying, he gathered the shards of Gram and passed them to his wife, Hjördis, instructing her to keep them for their unborn son. He prophesied that one day a new, even more powerful sword would be forged from these fragments, and with it, his son would achieve great deeds.
Years later, the blacksmith Regin reforged the shards, restoring Gram. Sigurd — Sigmund's son — became the new owner of the sword, destined to slay the dragon Fafnir and become one of the greatest heroes of Norse mythology.
Zoro uses his "103 Mercies" attack, which once again links us back to the Dragon, Ryuma, and the battle against King on Onigashima.
I actually wrote about this right here.
In chapter 1183, Imu used this exact same sword against the Dragon Loki!
Armed with Gram, Sigurd set out for Gnitaheide (Gnita-heath), the lair of the dragon. The blacksmith Regin was treacherous: he advised Sigurd to simply dig a single pit along the dragon's path, hide inside, and pierce Fafnir when he went to drink water. However, this plan would have doomed the hero to death.
As Sigurd was digging the pit, an unknown old man approached him. He asked what the youth was doing, and after hearing the plan, called it foolish. The old man explained that Fafnir was immense, and once Sigurd pierced his heart, rivers of black, venomous dragon blood would pour from the wound. In a single pit, Sigurd would simply drown and perish.
The old man advised him to dig several interconnected pits and trenches, using the trenches as drains where all the monster's toxic blood would flow away, while staying in the main pit to wait for the strike.
This old man was Odin himself!
In some retellings, Odin also gave Sigurd a second crucial piece of advice:
Right after the victory, Odin advised Sigurd to roast Fafnir's heart for the blacksmith Regin. While cooking, Sigurd accidentally burned his finger, tasted the dragon's blood, and suddenly gained the ability to understand the language of birds. Hearing their conversation, he learned that Regin was planning to kill him to seize Fafnir's treasure. Thanks to this warning, Sigurd preempted the traitor and saved his own life.
Chapters 656/657.
If you remember, back on Punk Hazard, Zoro killed a dragon, and then they ate it!
Why is "Gram" called the Sword of "Wrath and Love"? This is where it gets incredibly interesting!
As it turns out, the sword Gram is deeply tied to one of the most tragic love stories in Norse mythology — the fate of Sigurd and the Valkyrie Brynhild.
Brynhild had been punished by Odin for her disobedience and cast into a magical sleep(!!!). She slumbered within a hall surrounded by a ring of blazing fire, a barrier that only a fearless hero could breach.
Riding his horse Grani, Sigurd managed to pass through the wall of flame. Inside the hall, he found the sleeping Valkyrie clad in enchanted chainmail that seemed fused to her skin. Using the sword Gram, Sigurd sliced through the armor, freeing Brynhild from the spell.
Upon waking, Brynhild instantly recognized him as a great hero. Love sparked between them, and they exchanged vows of eternal fidelity, completely unaware of the tragic end fate had in store for them.
Later, under the influence of a magical potion of forgetfulness, Sigurd forgot Brynhild and married Gudrun. Shortly after, he agreed to help his brother-in-law, Gunnar, win the Valkyrie’s hand. Disguising himself as Gunnar through magic, Sigurd once again crossed the ring of blazing fire and spent three nights alongside Brynhild while she believed him to be her future husband.
However, Sigurd did not compromise his honor. Every night, he placed the unsheathed Gram between himself and Brynhild, signaling that he would not touch her. The sword became a symbol of his duty and his word.
Eventually, the deception was revealed. Overwhelmed by despair, love, and a burning desire for revenge upon realizing she had been tricked, Brynhild’s intense emotions drove her to plot Sigurd's death.
Yet, she could not bear to live without him. Following his murder, Brynhild took her own life and requested that they be buried on the exact same funeral pyre. According to her final wish, the bare blade of Gram was once again placed between their bodies — just as it had divided their bed during those three nights. Thus, Gram became not only the weapon of the ultimate hero, but an eternal symbol of their tragic love, uniting Sigurd and Brynhild even in death.
In the comments, @wolfbart added a brilliant detail!
I love comments like this!
Thank you!
Don't you think Brynhild’s story is incredibly similar to Sleeping Beauty?
Now you see why I found this so fascinating!
You can even see thorn-like spikes on Sommers' sword, just like a briar thicket!
I will never tire of shouting out the amazing posts by @hapifangurl
(and plugging my own reblog just a little bit too~)
Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your
💬 11 🔁 9 ❤️ 21 · Tumblr · @wolfbart @nickgrasl @hapifangurl I really loved reading your comments and, of course, the post itself!
Do you
I find it interesting that the Sword Gram was broken, and Sigmund was defeated by the one-eyed man(Odin). And now Sommers is actually fighting the one-eyed man...
Zoro will be fighting against the Sword of "Wrath and Love."
Which is strange, because Zoro has never fallen into a rage over love…
The Wano Arc is arguably the most deeply rooted in Japanese culture of all the One Piece arcs. Beyond its obvious references to samurai, Kabuki, Shinto, Japanese mythology, and history, the anime adaptation introduced another detail: a series of Eyecatches (the short intermission screens before commercial breaks) styled after traditional Japanese Hanafuda cards.
Some of you may have already read the wonderful post by kathitah on the subject!
Since we often touch on aspects of Japanese culture in our posts, why not try to build upon this excellent work?
Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your
So in this post, we'll take a look at every Hanafuda card recreated in the anime's eyecatches.
We'll try to understand how and why each character received this particular card, and how this might relate to the plot of the Wano Arc itself.
And by the end, we'll put together one particularly beautiful piece of the puzzle.
At first glance, these are simply beautiful illustrations. In reality, however, each one faithfully recreates the composition of a specific Hanafuda card. The artists (or perhaps Oda himself) preserve the characteristic flowers, animals, and decorative elements of the original card, replacing only its central subject with a One Piece character.
It's important to understand that Hanafuda is not a simple system where "a character equals a flower." Each card is already a complete composition whose meaning emerges from the combination of its plant, animal, and decorative motifs. That's why it's far more interesting to examine each card as a whole rather than focusing on a single flower.
Naturally, there's no way to prove — and I have no intention of claiming — that every single detail was deliberately designed as a profound symbolic reference. Even so, these cards add another layer of cultural meaning, allowing us to view the characters through the lens of traditional Japanese aesthetics.
And I think you'll see exactly what I mean.
Robin
Butterflies: Robin uses her Hana Hana no Mi to fly alongside two butterflies.
Card: June — Peony and Butterflies (牡丹に蝶)
This is one of the most elegant Hanafuda cards.
The anime's artists preserve its composition almost entirely: lush peonies, broad leaves, and vivid butterflies surround Robin, whose flower-made wings echo the butterflies around her.
In Japan, the peony is often called the "king of flowers." It symbolizes:
dignity;
nobility;
refined beauty;
maturity;
inner richness.
Unlike the fleeting cherry blossom, the peony is not associated with youth. Instead, it represents beauty that has reached maturity!
For that reason, it appears frequently in classical Japanese painting, decorative arts, and traditional tattooing.
The butterfly carries a wide range of meanings in Japanese culture. It can symbolize:
transformation;
spiritual renewal;
the human soul;
the transition from one state of being to another.
Together, the peony and the butterflies are often understood as a harmonious combination of beauty and inner transformation.
Why does this card suit Robin?
Among the Straw Hats, Robin is perhaps the character who best embodies the calm, contemplative aesthetic of this card.
Her life story closely reflects the symbolism of the butterfly. For years, she lived alone, constantly on the run, until she gradually found a place where she was accepted for who she truly was.
The peony, in turn, emphasizes not outward beauty but Robin's dignity, wisdom, and maturity.
Interestingly, there is almost no sense of action in this composition. Everything about the composition is built around stillness, harmony, and an almost classical sense of beauty!
Zoro
Sake cup: Zoro laughing and drinking sake.
The Sake cup represents the month of September, the same month Chapter 6, titled "The First", was released in 1997.
Card: September — Chrysanthemum and Sake Cup (菊に盃)
This is one of the best-known Hanafuda cards.
The original depicts a large sake cup beside a blooming chrysanthemum. In the One Piece version, the cup is replaced by Zoro himself, calmly drinking sake from a cup against a backdrop of oversized chrysanthemums. The overall composition remains almost identical to the original.
The chrysanthemum holds a unique place in Japanese culture. It is a symbol of:
nobility;
longevity;
dignity;
inner perfection.
The sixteen-petaled chrysanthemum, in particular, became the emblem of the Japanese Imperial House.
An old belief also held that dew collected from its petals could prolong one's life.
The second element of the card is no less significant.
In Japanese culture, a sakazuki is far more than simply a vessel for drinking alcohol. Sharing sake from such a cup traditionally symbolizes:
brotherhood;
trust;
an oath;
unwavering loyalty.
Ceremonies of this kind were practiced by samurai and, later, by the yakuza.
(It's the same ritual Luffy, Ace, and Sabo performed when they became sworn brothers)
The card is also closely associated with Chōyō, the Chrysanthemum Festival, during which people traditionally drank chrysanthemum-infused sake while praying for longevity and protection from misfortune.
Why does this card suit Zoro?
The most obvious reason is Zoro's well-known love of sake.
But that's only part of the picture.
The chrysanthemum reflects the nobility and steadfastness of his character, while the sakazuki echoes one of Zoro's defining qualities: his absolute loyalty to his captain.
Another interesting detail is the presence of his swords in the background. Although they are not part of the original Hanafuda card, they blend naturally into the composition, linking the symbolism of the chrysanthemum with the ideals of bushidō — the way of the warrior, which values beauty and self-sacrifice in equal measure.
Luffy
Boar: Luffy riding on the back of a boar.
The Boar represents the month of July, the same month the series started in 1997.
Card: July — Bush Clover and Boar (萩に猪)
Luffy is depicted riding a giant wild boar among bushes of hagi (bush clover). The composition closely follows the classic July Hanafuda card from the tane ("animal") category.
In Japanese culture, the boar is one of the most recognizable symbols of unstoppable determination. It is associated with:
fearlessness;
relentless drive;
strength of character;
the resolve to keep moving forward without straying from one's chosen path.
There is even a Japanese expression, inoshishi-musha (猪武者), literally "boar warrior." It refers to someone who charges straight ahead without paying any attention to obstacles.
The description suits Luffy remarkably well.
He rarely relies on elaborate plans, has little patience for cunning, and almost always acts directly, guided by his own convictions.
Hagi is one of the Seven Flowers of Autumn celebrated in classical Japanese poetry.
In traditional literature, it symbolizes:
the arrival of autumn;
the beauty of change;
humility;
the ability to remain flexible in the face of life's hardships.
Its slender branches bend easily in the wind, yet they do not break.
For that reason, the pairing of the powerful boar with the delicate hagi creates a striking contrast between raw strength and nature's quiet resilience.
Why does this card suit Luffy?
An interesting detail is that the artists did not simply place Luffy beside the boar — they made him its rider.
The result is the image of someone who does not seek to dominate the force of nature, but instead becomes part of it.
The boar almost feels like an extension of Luffy himself: unstoppable, free, and utterly sincere.
Nami
Bush warbler: Nami sitting on a branch with Zeus.
Card: February — Plum Blossom and Bush Warbler (Ume ni Uguisu)
Nami is sitting among blooming plum blossoms next to Zeus.
The artwork is based on one of the February cards from the Hanafuda deck — "Plum Blossom and Bush Warbler" (Ume ni Uguisu). In the classic version, a Japanese bush warbler (uguisu) sits on a branch of a blooming plum tree. In Japan, this bird is celebrated as one of the very first harbingers of spring.
The anime reimagines this motif: the bird is replaced by Zeus, the living storm cloud and Nami’s companion. This twist preserves the traditional composition while giving it a fresh meaning tied to her weather-controlling abilities.
The plum tree (ume) blooms earlier than the cherry blossom and has long been revered as one of the primary symbols of approaching spring.
Because the tree begins to bloom while it is still cold, it has become a symbol of resilience, hope, and inner strength — the ability to maintain beauty and dignity even after a harsh winter.
Thus, the plum blossom symbolizes:
The beginning of spring
Hope and renewal
Resilience in the face of hardship
Vitality and life force
Noble beauty
The bush warbler (uguisu) is one of the most beloved birds in Japanese poetry. Its first spring song is seen as nature's definitive awakening from winter. Paired with the plum blossom, it forms one of the most recognizable seasonal motifs in Japanese art, symbolizing harmony between humanity and nature, new beginnings, and the anticipation of joyful changes.
Why does this card suit Nami?
Nami’s backstory resonates deeply with the symbolism of the blooming plum. Despite a tragic and heavy past, she maintained her strength of character and started a new life with Luffy's crew. Much like a plum tree blossoming after the winter cold, Nami became a symbol of hope and moving forward.
Replacing the bush warbler with Zeus adds a whole new layer of meaning to the classic card. Instead of a tiny spring bird, Nami is joined by the embodiment of a storm — a power she has mastered.
This creates a striking contrast: delicate plum blossoms right next to a thundercloud. It perfectly reflects Nami’s own personality — her outward lightheartedness and charm coexist with determination, sharp wit, and an immense power that strikes at the perfect moment.
Just like spring weather, she can be both gentle and fierce.
Usopp
Curtain: Usopp passing through a curtain.
Card: March — Cherry Blossom and Curtain (Sakura ni Maku)
Usopp features on the March card, which belongs to the Hikari category.
The traditional festive curtain is kept almost entirely intact, with Usopp himself peeking out from behind it while frogs leap around above him.
The frog is one of the most famous wordplays (puns) in the Japanese language.
The word kaeru (かえる) simultaneously means both:
"Frog"
"To return home"
Because of this, frog figurines are traditionally given to travelers as a charm for a safe return. Additionally, they are believed to help money "return" to its owner's wallet.
The Curtain
On the original card, the curtain is closely tied to the Hanami (cherry blossom viewing) festival. It symbolizes the venue of a celebration, theatricality, and the transition between everyday life and a special, festive space.
Why does this card suit Usopp?
Out of all the Straw Hat crew members, Usopp is the one who embodies a theatrical character the most. He is a storyteller, a fabricator, a performer — a master at turning an ordinary tale into a legendary epic. This makes the curtain motif an unexpectedly perfect fit for him.
As for the frogs, they wonderfully reflect Usopp’s constant, deeply human desire to return home alive and well, despite all the terrifying adventures he faces.
Chopper
Deer: Chopper collecting exfoliated leaves.
Card: October — Maple and Deer (Momiji ni Shika)
In the original Hanafuda card, a majestic deer stands among vibrant red maple leaves. In the One Piece version, Chopper naturally steps into the deer's place. This makes it one of the closest and most faithful adaptations to the original artwork in the entire series!
The autumn maple symbolizes:
maturity;
the passage of time;
the changing stages of life;
and a sense of calm melancholy.
Autumn leaf viewing (momijigari) remains one of Japan's most cherished cultural traditions.
In Japanese culture, the deer carries multiple layers of meaning. It is revered as a sacred animal, a messenger of the gods, and a symbol of both peace and sincerity.
However, there is another rich literary tradition tied to this imagery. In classical Japanese poetry, the autumn cry of a lonely deer is almost always associated with
longing;
solitude;
and wistful memories.
Because of this, the combination of maple leaves and a deer became one of the most iconic autumn motifs in Japanese art.
Why does this card suit Chopper?
On the surface, the answer is obvious: Chopper is a reindeer. But the choice of this card runs much deeper.
Chopper’s childhood was defined by profound isolation. He was rejected by humans and abandoned by his own herd. It wasn't until he met Dr. Hiriluk that his life changed forever. This is why the image of a lonely deer wandering through an autumn forest resonates so powerfully with Chopper's backstory.
At the same time, the autumn maple prevents the card from feeling bleak. Instead, it serves as a reminder that beauty can flourish even in moments of fading and loss. Just like the resilient autumn leaves, Chopper managed to transform the pain of his past into a profound desire to heal others — evolving into a doctor who saves lives rather than mourning what was lost.
Franky
Eight-plank bridge: Franky doing his pose with the Thousand Sunny in the background.
Card: May — Iris and Yatsuhashi Bridge (Ayame ni Yatsuhashi)
Franky stands proudly on the deck of the Thousand Sunny, which cleverly replaces the famous wooden Yatsuhashi bridge — the core element of May's Tanzaku category card. This is easily one of the most inventive adaptations in the entire set: instead of just recreating the original composition, the artists integrated the ship itself into the card's landscape.
In the Japanese language, the word for iris (shōbu) is a homophone for several powerful concepts:
尚武 — "martial spirit"
勝負 — "duel" or "victory and defeat"
Because of this wordplay, the iris became a defining symbol of Boy's Day (now Children's Day), celebrated on May 5th. Furthermore, the long, sharp leaves of the iris closely resemble sword blades. Consequently, the plant has come to symbolize courage, resilience, protection, and martial valor. Since ancient times, the Japanese have believed that iris leaves possess the power to ward off evil spirits and bring good fortune to a household.
The eight-plank Yatsuhashi bridge is legendary, primarily known from The Tales of Ise (Ise Monogatari). In Japanese literature, it has become a profound symbol of journeying, overcoming obstacles, transitioning between life stages, and bridging divided worlds. A bridge connects not just two shores, but the past and the future.
Why does this card suit Franky?
Replacing the bridge with the Thousand Sunny is nothing short of brilliant. While a bridge connects two shores, a ship connects entire nations and oceans.
Franky is the shipwright — the man who literally crafts the vessel that allows his friends to sail forward. In this sense, he becomes a modern reincarnation of the ancient master bridge-builder.
The iris, meanwhile, underscores his strength, determination, and fiercely protective nature. Despite his eccentric and flamboyant personality, Franky consistently uses his genius not for destruction, but for creation and defense.
Jinbe
Chinese phoenix: Jinbe swimming with a school of fish.
Card: December — Paulownia and Phoenix (Kiri ni Hōō)
Jinbe is depicted among giant paulownia leaves, surrounded by a powerful torrent of water and a school of fish. This composition is almost certainly based on December’s highest-value Hikari card in the Hanafuda deck — "Paulownia and Phoenix." In the classical version, the mythical bird Hō-ō (the Japanese phoenix) soars above the paulownia leaves.
In the anime version, Jinbe himself takes the place of this legendary creature.
The paulownia tree is one of the most revered plants in Japan, symbolizing
high dignity;
nobility;
wise governance;
and the prosperity of the state.
For centuries, its crest (Go-Shichi no Kiri) was used by shoguns, and today it remains the official emblem of the Government of Japan.
Within Japanese tradition, the paulownia rank is second only to the imperial chrysanthemum in status.
(a parallel to Jinbe's bounty ranking just after Zoro's!)
The Japanese phoenix (Hō-ō) differs significantly from the Western concept. It is not associated with rising from the ashes. Instead, it symbolizes peace, justice, harmony, and righteous leadership.
According to Sino-Japanese tradition, the phoenix appears only when a land is ruled by a worthy and just leader. Therefore, the imagery of the phoenix is always tied to moral perfection rather than raw, destructive might.
Why does this card suit Jinbe?
At first glance, replacing a fiery bird with a master of water might seem unexpected. But looking deeper, the choice becomes remarkably logical.
Jinbe rarely acts on emotion. He embodies calmness, honor, responsibility, and the unique ability to reconcile people. Even his fighting style is not built on mindless destruction, but on channeling the natural, fluid power of water.
Thus, the phoenix imagery here is symbolic rather than literal. Much like the mythical bird, Jinbe stands as a figure who restores order, delivers justice, and brings harmony wherever he goes.
Yamato
Ono no Michikaze: Yamato walking and reading Oden's Logbook.
Card: November — Willow and Ono no Michikaze (Yanagi ni Ono no Michikaze)
This one is slightly more complex and nuanced.
In the artwork, Yamato joyfully holds up Kozuki Oden's journal high above their head. Shattered wooden beams lie scattered around, while the background is filled with lush green tones that resemble foliage. The creators here likely drew inspiration from one of the most famous legends in Japanese cultural history — the story of the calligrapher Ono no Michikaze.
In the classic Hanafuda deck, November is dedicated to the willow tree (yanagi). The highest-value card of the month belongs to the Hikari category and is known as "Ono no Michikaze."
The card depicts the legendary Heian-period calligrapher, Ono no Michikaze, watching a tiny frog repeatedly trying to jump onto a low-hanging willow branch. After countless failed attempts, the frog finally succeeds. Witnessing the small creature's sheer persistence, Michikaze realizes that one must never give up, motivating him to return to his work and perfect his craft.
This timeless legend has turned the November card into one of the most recognizable symbols of unwavering perseverance, resilience, and overcoming despair in Japanese culture.
What do these images symbolize?
Ono no Michikaze — Perseverance and Loyalty to One's Dream.
The story of Michikaze is not about raw talent, but about strength of character. The core message of the legend is that even the most gifted individual can lose faith in themselves, but true success comes to those who keep moving forward despite failure. Therefore, this card traditionally symbolizes
persistence;
inner strength;
overcoming life's trials;
and staying true to one's chosen path.
This symbolism fits Yamato with astonishing accuracy. For nearly twenty years, they lived imprisoned on Onigashima, yet they never once abandoned their dream of setting sail to the sea. Even while bound by exploding handcuffs, Yamato continued to admire Oden, read his journal, and believe that freedom would one day be theirs.
In Yamato’s hands is Oden's journal — one of the most critical symbols in their entire narrative arc. It is far more than just a book of memories. For Yamato, it became a beacon of hope, a symbol of freedom, a reminder of the world beyond Onigashima, and the very embodiment of the dream they stayed loyal to for so many years. Drawing a parallel to the legend of Michikaze, the journal plays the exact same role as the frog: it prevents the hero from giving up on their goal.
Why does this card suit Yamato?
If this interpretation is correct, the choice of this card is profoundly symbolic. Yamato’s story aligns almost perfectly with the moral of the Ono no Michikaze legend. Both characters endure years of doubt and severe trials, yet they refuse to let circumstances break their spirit or shatter their dreams.
While Michikaze found inspiration in a tiny frog that never stopped trying to reach its branch, Yamato found inspiration in Oden, who showed them what it truly means to be free.
Ultimately, this card is not about physical might; it is about unwavering faith in one’s dream and the rare ability to pursue it no matter what blocks the path.
Momonosuke
Momonosuke, as an adult, stands in front of the Flower Capital.
Since there is no official confirmation, I cannot be 100% certain about this one.
It is highly likely that Momonosuke's eyecatch is inspired by the March Hanafuda suit and the "Cherry Blossom and Curtain" (Sakura ni Maku) card. However, the composition has been significantly redesigned and infused with traditional Kabuki theater symbolism. Given that the symbolism of the "Cherry Blossom and Curtain" fits Momonosuke perfectly, I will lean into this interpretation, even if it remains a theory.
Card: March — Cherry Blossom and Curtain (Sakura ni Maku)
Momonosuke shares the same March card theme as Usopp.
However, the composition is given a completely fresh interpretation! Instead of the classic Hanafuda curtain, a distinct Kabuki theater curtain appears, while the Flower Capital stretches out grandly behind Momonosuke.
As established before, the cherry blossom (sakura) signifies
new beginnings;
renewal;
spring;
and hope.
Yet, in Momonosuke’s case, this symbol takes on a profound political meaning. Spring is not just returning to nature — it is finally arriving for the entire Wano Country.
The Kabuki curtain serves as a meta-reminder of the theatrical acts structuring the entire Wano Arc. Its presence can be interpreted as a symbol marking the grand finale of a decades-long tragic history and the dawn of a bright new act.
Why does this card suit Momonosuke?
Out of the variants for the March card imagery, Momonosuke's version aligns closest to the original spirit of the festival.
Momonosuke steps up to become the ultimate symbol of a brand-new era.
Here, spring represents far more than just blooming flora — it embodies the literal rebirth and resurrection of a whole nation.
Eustass "Captain" Kid
Butterflies: Kid using his Jiki Jiki no Mi to make metal butterflies.
Card: June — Peony and Butterflies (Botan ni Chō)
Just like Robin, Kid features on the June card, "Peony and Butterflies."
However, the artists completely transform the mood of the original composition.
The living butterflies are reimagined as mechanical ones.
Instead of a serene, calm nature setting — metallic scraps and gears swirl through the air, magnetically pulled by the power of his Devil Fruit.
The peony remains a symbol of dignity, power, and high social status. Yet, within Japanese tradition, there is another, deeper layer of meaning. In the art of irezumi (traditional Japanese tattooing), peonies are frequently paired with lions, dragons, or tigers.
Irezumi has historically been closely associated with the Japanese criminal underworld, the mafia (Yakuza) and rebels.
In that context, the peony symbolizes a form of beauty that is entirely unafraid of danger.
Consequently, the flower represents the raw courage of a person willing to risk everything.
While the butterflies on Robin's card signify inner transformation, on Kid's card, they lose all of their original weightlessness.
Their metallic wings turn them into a symbol of power forged from destruction.
Nevertheless, the core concept of metamorphosis remains.
Kid literally constructs brand-new forms out of heaps of scrap metal. Thus, even a mechanized butterfly continues to tell a story of transformation.
Why does this card suit Kid?
The most fascinating element here is the direct contrast with Robin. The creators utilize the exact same Hanafuda card but evoke two completely opposite atmospheres.
For Robin, the peony highlights her inner harmony and grace.
For Kid, it underscores his unstoppable, raging power and his desire to "risk everything"!
This single motif perfectly demonstrates how vastly differently the same traditional symbolism can be interpreted and unleashed.
Trafalgar D. Water Law
Deer: Law watches Bepo fighting.
Card: October — Maple and Deer (Momiji ni Shika)
Just like Chopper, Law features on the October card, "Maple and Deer."
However, instead of a deer, we see Bepo — the loyal navigator of the Heart Pirates. This is one of the delightful and clever ways the artists adapted a traditional Hanafuda motif.
The autumn maple remains a poignant symbol of maturity, deep reflection, the passage of time, and a quiet, bittersweet melancholy. These specific motifs align incredibly well with Law’s character. His entire narrative arc is built around memory, profound loss, and an unwavering desire to fulfill the final wish of Donquixote Rosinante (Corazon).
By replacing the sacred deer with Bepo the polar bear, the visual is completely transformed, yet the animal's symbolic function remains remarkably similar. Bepo becomes the ultimate embodiment of loyalty, friendship, and fierce devotion to his captain.
Just as the deer is inseparable from the traditional autumn landscape, Bepo is an irreplaceable presence right by Law’s side.
Why does this card suit Law?
While Chopper's version of this card focuses on overcoming isolation, Law's version speaks directly to the power of memory. In Japanese poetry, autumn has always been deeply intertwined with reflecting on the past.
Law's past is undeniably tragic, but it is precisely because of that history that he became the man he is today.
This makes the autumn maple an almost poetic and flawless symbol for him — representing a beauty born from endurance and remembrance.
Monkey D. Luffy (Sun God Nika)
Full moon: Luffy, in his Gear 5 form, poses as Nika before a full moon. Kaido, in his Dragon form, covers the bottom right corner.
Card: August — Full Moon and Susuki Grass (Susuki ni Tsuki)
This is one of the most iconic and instantly recognizable Hikari cards in the entire Hanafuda deck.
The original card depicts a massive full moon rising over a hill covered in wild susuki grass (pampas grass). In the One Piece adaptation, the distinct, joyful silhouette of the Sun God Nika appears directly against the glowing lunar disc. Visually, this is easily one of the most stunning and impactful transformations in the entire collection.
In Japanese culture, the full moon is deeply intertwined with the festival of Tsukimi (moon viewing).
It serves as a profound symbol of
enlightenment;
completion;
inner harmony;
and peaceful contemplation.
Making it one of the most sacred images in classical Japanese poetry.
Susuki grass is revered as one of the ultimate harbingers of autumn.
It represents
the passage of time;
tranquility;
and humanity's deep connection to nature.
During Tsukimi celebrations, stalks of pampas grass are traditionally placed alongside offerings to the moon as a protective charm.
Why does this card suit Luffy(Nika)?
At first glance, the setup presents a fascinating paradox:
we are looking at the Sun God, yet he is placed squarely within the moon.
However, Japanese aesthetics do not rely on a rigid, Western dualism that pits the sun against the moon.
Instead, both celestial bodies are perceived as complementary forces within a single, harmonious natural order.
Nika’s stark white silhouette against the full moon strips away the feeling of a brutal brawl, transforming the scene into a moment of mythic revelation.
It transcends a mere victory over Kaido; it marks the literal dawn of a new era.
This is exactly why the August card feels like the definitive, showstopping climax of the entire Hanafuda eyecatch series.
Sanji
Cuckoo: Sanji along a flying cuckoo.
Card: April — Wisteria and Cuckoo (Fuji ni Hototogisu)
Sanji is depicted alongside a bird against a backdrop of long, cascading clusters of blooming wisteria. The composition mirrors April’s Tane (animal) Hanafuda card, which traditionally features a hototogisu (Japanese cuckoo) among wisteria branches.
Interestingly, the bird here resembles a falcon or a hawk rather than a classic cuckoo.
This makes it one of the few cards where the animators allowed themselves to noticeably reimagine the animal's appearance while strictly preserving the core composition.
Wisteria holds a deeply sacred place in Japanese culture, symbolizing
nobility;
refinement;
timeless beauty;
longevity, and patience.
Due to its long, draped clusters of blossoms, wisteria was historically compared to the elegant sleeves of a high-class kimono or the flowing hair of a beautiful woman.
In classical Japanese poetry, it frequently serves as a metaphor for female grace and serene elegance.
Furthermore, wisteria is intrinsically tied to the aristocratic Fujiwara clan, whose family crest featured this very flower, embedding the plant with connotations of high lineage and regal nobility.
The ORIGINAL card features the hototogisu, a bird immensely celebrated in Japanese literature. Its song is universally associated with the arrival of early summer, longing, bittersweet separation, and poetic inspiration.
In classical waka and haiku poetry, the cuckoo often symbolizes
a soul yearning for something distant;
beautiful and unattainable.
Even though the bird in the eyecatch has been visually altered, these rich poetic associations still echo through the card's theme.
Why does this card suit Sanji?
First and foremost, it connects through the wisteria itself.
Sanji’s character is fundamentally built around chivalry, gallantry, and a profound, almost sacred respect for women.
Wisteria, which symbolizes refined femininity in Japanese lore, aligns flawlessly with his inner code.
Moreover, if we interpret the redesigned bird as a falcon, an extra layer of meaning emerges.
In Japanese culture, the falcon represents
nobility;
high status;
sharp foresight;
and fierce determination.
This imagery perfectly captures Sanji’s role as one of the top, most reliable powerhouses of the Straw Hat crew.
The card beautifully harmonizes raw strength with effortless elegance — two traits that define Sanji's essence.
Additionally, there might be one more hidden meaning here, directly tied to the plot of One Piece and specifically the Wano Arc!
But this is my personal theory, and I will share it here a bit later.
Brook
Crane and Sun: Brook playing the violin to a crane.
Card: January — Pine, Crane, and Rising Sun (Matsumoto ni Tsuru)
This is another one of the five ultra-rare Hikari cards — the highest-value tier in the entire Hanafuda deck.
The composition almost completely mirrors the original design: a sturdy pine tree, a brilliant red sun, and a majestic white crane.
Brook seamlessly integrates into this classic landscape, elegantly playing his violin.
The pine tree (matsu) is a timeless symbol of
longevity;
resilience;
constancy;
and unwavering loyalty.
As an evergreen tree, it never loses its vibrant needles even during the harshest winters. Because of this endurance, pine branches are a staple in traditional kadomatsu (New Year's decorations), serving as a powerful charm for a fortunate start to the year.
The crane (tsuru) stands as one of the most sacred auspicious symbols in Japan, representing longevity, peace, profound wisdom, and marital fidelity. According to ancient legends, a crane lives for a thousand years.
This is precisely why the pine and the crane are traditionally depicted together — as a profound blessing for a long, prosperous, and happy life.
Meanwhile, the red solar disc symbolizes the rising sun, the dawn of a new journey, renewal, hope, and Japan itself as the "Land of the Rising Sun."
Why does this card suit Brook?
At first glance, the selection feels beautifully ironic.
Brook is a living skeleton who has long since experienced his own death. Yet, because of this supernatural twist, the symbolism of longevity takes on a whole new, literal dimension. He has truly endured through an incredibly vast stretch of time.
The crane also deeply resonates with Brook’s defining character trait — his absolute, ironclad loyalty to his promise to return to Laboon.
Even after decades of isolation in the dark fog, he continues to honor his word.
Finally, his music infuses the traditional card with a sense of serene peace and inner harmony, transforming a symbol of a long life into a celebration of a life well-lived.
Although each eyecatch is based on a separate Hanafuda card, together they weave into a single, cohesive system of imagery.
The anime's creators didn't simply assign characters based on pretty colors or aesthetic animals — they actively utilized the language of traditional Japanese symbolism, where every plant, bird, and object carries its own profound cultural meaning.
It is especially fascinating to observe how the exact same cards receive completely fresh and unique interpretations depending on the character they represent.
Robin and Kid: Two Sides of the Same Butterflies.
Robin and Kid share the exact same June card, "Peony and Butterflies."
However, the card's symbolism unfolds in two completely opposite directions.
For Robin, the peony remains a symbol of dignity, inner beauty, maturity, and serenity. The butterflies around her underscore her personal transformation — her journey from a lonely, hunted child pursued by the entire world to someone who has finally found a true home and family.
For Kid, those very same butterflies are reimagined as mechanical scrap, and the peony takes on a much harsher, more rugged meaning found in traditional Japanese irezumi tattoos: a beauty that is entirely unafraid of danger, a readiness to go all-in, and a willingness to embrace any risk.
This creates a fascinating parallel: the exact same Hanafuda card tells the story of two completely different paths to achieving inner strength.
Usopp and Momonosuke: Two Sides of the Theater.
If the theory holds true that Momonosuke’s card is indeed "Cherry Blossom and Curtain," then this gives us our second instance of a single card being completely reinterpreted.
Both of their eyecatches are rooted in March's Hanafuda card, "Cherry Blossom and Curtain" (Sakura ni Maku), yet they unfold the motif in vastly different ways.
For Usopp, the focal point becomes the festive curtain (maku). It transforms the entire composition into a theatrical stage, which aligns astonishingly well with Usopp's identity as a storyteller, a fabricator, and a natural-born performer.
Throughout his entire journey, he is constantly putting on personas, weaving impossible epics, and seemingly existing right on the borderline between fiction and reality.
For Momonosuke, the exact same motif strikes a completely different chord. Instead of a traditional festival curtain, we are presented with a formal Kabuki theater curtain (jōshiki-maku), symbolizing the grand finale of Wano Country’s multi-decade tragedy. Here, the cherry blossoms represent far more than just the arrival of spring — they embody the literal resurrection of a nation after twenty brutal years under Orochi and Kaido's tyranny.
Momonosuke stands tall as the rightful Shogun, gracefully drawing open the curtain to a bright new chapter in his country's history.
In this way, the same Hanafuda card is split into two distinct meanings.
For Usopp, it is intimately tied to the art of performance, tales, and the very process of storytelling itself.
For Momonosuke, it represents the sweeping conclusion of a massive "play" and the dawn of a grand new era for Wano.
Chopper and Law: Two Tales of Autumn.
The October card, "Maple and Deer," is yet another motif that makes a dual appearance in the series.
The autumn maple is traditionally intertwined with the passage of time, the weight of memory, and a quiet, introspective melancholy.
For Chopper, the card serves as a poignant reminder of his childhood isolation, his journey of growing up, and his desperate search for a family.
For Law, while the bittersweet autumn atmosphere remains completely intact, the core focus shifts toward Bepo, who steps into the place of the classical deer.
Because of this clever twist, the card evolves: it stops speaking of raw loneliness and begins to tell a story of fierce loyalty, deep friendship, and the irreplaceable people who help you heal from and survive your past.
Ultimately, both characters are doctors, both endured incredibly harrowing childhoods, and both suffered the agonizing loss of their closest father figures.
It is no wonder that this specific, melancholic autumn card became the shared emotional canvas for both of them.
Luffy and Nika: The Hero’s Journey.
It is incredibly fascinating to look at Luffy’s two distinct cards together.
The first is July’s "Bush Clover and Boar" (Hagi ni Inoshishi).
The second is August’s "Full Moon and Susuki Grass" (Susuki ni Tsuki).
On the first card, Luffy is depicted simply as a human — a boy recklessly and unstoppably charging straight ahead.
The wild boar perfectly symbolizes his raw courage, straightforward nature, and unyielding willpower.
On the second card, however, he transcends humanity and becomes a living legend.
The massive, glowing full moon transforms his silhouette into a mythic icon, elevating him far beyond the boundaries of an ordinary shonen hero.
Ultimately, if the first card captures Luffy’s true character and personality, the second card defines his profound place in the history of the world.
The Famous Combination.
Together, the cards of Luffy, Kid, and Law form one of the most famous winning combinations in Hanafuda.
In fact, if you’ve watched Naruto, you already know the name of this combination without even realizing it — Ino, Shikamaru, and Choji.
Boar, Deer, Butterfly — Ino-Shika-Chō (猪鹿蝶).
Just as these three captains are tied together in the plot of the Wano Arc, their corresponding Hanafuda cards are intrinsically linked by this legendary winning hand in the game!
Sanji and Brook: The "Bridges" Between Robin and Zoro.
If you read Zorobin analysis blogs (including my own), you have probably noticed that the cards featuring Sanji and Brook subtly contain core symbols belonging to Zoro and Robin.
On Sanji’s card, we see a falcon and wisteria. The falcon is explicitly Robin’s official animal, while wisteria is Zoro’s official flower (additionally, wisteria blossoms are deeply associated with Robin’s signature purple color).
We see the exact same pattern on Brook’s card: the crane is Robin’s official animal, while the pine is a tree intrinsically linked to Zoro’s signature green color in Japan.
This means that both central symbols on Sanji’s card simultaneously reference Robin and Zoro. And fascinatingly, these are the exact two characters who become uniquely vital to his narrative arc during the Wano Country saga!
During his clash with Black Maria, Sanji famously throws away his stubborn pride and cries out to Robin for help. This scene serves as a turning point for the growth of both characters.
Later, Sanji fights shoulder-to-shoulder with Zoro, and he trusts Zoro — and only Zoro — enough to make him promise to kill him if he completely loses his human emotions after awakening his Germa 66 modifications.
Thus, Sanji’s card acts as a visual bridge, uniting the official emblems of the two crewmates with whom his Wano storyline is most deeply intertwined.
A remarkably similar, mirroring pattern can be observed on Brook’s card!
Throughout the Wano Arc, Brook acts as Robin's primary shadow and protector.
He helps her infiltrate Orochi’s castle, fights right alongside her on Onigashima, supports her in battle, and remains faithfully by her side while she recovers from the exhausting victory over Black Maria.
His path crosses with Zoro's in a completely different, yet equally narrative-heavy way.
It is Brook who first discovers Zoro wandering in the Ringo region and delivers the news about Tonoyasu's (Yasuie) scheduled execution — a devastating event that becomes a massive driving force for Zoro's emotional arc in Wano.
Ultimately, while Sanji’s card visually unifies the official symbols of the two people most central to his Wano storyline, Brook’s card relies on classical Japanese motifs to honor the two characters he spent the most time supporting through this Arc.
I forgot to mention this, so thank you to @hapifangurl for reminding me and pointing it out in the comments!
I'll leave the comment right here.
And finally, what we are all here for.
Do they match?
Robin and Zoro: Two Visions of Nobility
When you examine the Hanafuda cards through the lens of traditional Japanese symbolism, one of the most mesmerizing parallels emerges when comparing Robin and Zoro’s eyecatches.
Although their cards belong to completely different months, they share a remarkably similar artistic language. They mirror each other across multiple dimensions — through their floral motifs, the deeper meanings of their secondary elements, and their core conceptual themes.
Robin was assigned June's card, "Peony and Butterflies" (Botan ni Chō).
Zoro was given September's card, "Chrysanthemum and Sakazuki" (Kiku ni Sakazuki).
Both the peony and the chrysanthemum stand among the most sacred and revered flora in Japanese art. For centuries, their imagery has graced elegant kimonos, folding screens, fine lacquerware, porcelain, and traditional irezumi tattoos.
Fascinatingly, these two blossoms belong to the exact same elite tier of "noble flowers" (shikunshi equivalents/nobility flowers), intrinsically associated with unparalleled beauty, ultimate dignity, and high societal standing.
The Peony symbolizes:
Nobility and regal grace;
Prosperity;
Mature, refined beauty;
Honor;
Good fortune.
The Chrysanthemum symbolizes:
Nobility and imperial dignity;
Unyielding resilience;
Longevity;
Unwavering loyalty to one's principles;
High, revered status.
Both cards seem to speak of the exact same inner quality, yet they express it through completely different artistic imagery.
The secondary symbols on their cards make this parallel even more captivating.
For Robin, it is butterflies; for Zoro, it is the sakazuki (ceremonial sake cup).
On her card, Robin is not merely posing next to the butterflies — she is soaring right alongside them, using wings crafted by the power of her Hana Hana no Mi. Through this, Robin becomes an active, living part of the classical "peony and butterflies" motif. This act of flight underscores the core theme of her card: liberation after an grueling journey and a profound inner transformation.
On Zoro's card, he is drinking from a sakazuki. Since the cup is the defining element of the artwork, Zoro similarly integrates into the classic "chrysanthemum and sake cup" motif.
In Japanese art, butterflies are frequent symbols of:
Love;
A happy marriage;
Transformation and metamorphosis;
Feminine beauty.
Meanwhile, the ceremonial sake cup (sakazuki) is deeply associated with:
Wedding ceremonies (the san-san-kudo ritual);
Sacred unions;
Oaths and vows of loyalty;
Shared celebrations.
If the butterfly symbolizes absolute freedom, then the sakazuki represents voluntarily accepted commitment and devotion.
One card tells the story of a person who has finally found their long-sought freedom.
The other speaks of a person who has consciously and wholeheartedly dedicated themselves to their chosen path.
The visual compositions of these two cards also feel like extensions of one another.
Robin is depicted in fluid motion. She soars gracefully above the ground alongside the butterflies, infusing her entire scene with a profound sense of weightlessness, air, and absolute freedom.
Zoro, by stark contrast, is firmly anchored to the earth. He sits in serene stillness among the chrysanthemums, cradling his sake cup, giving his composition a powerful sense of stability and balance.
This creates a beautiful, poetic contrast.
Robin embodies fluid motion, while Zoro embodies grounding stability. Robin ascends upward into the sky, while Zoro remains an unyielding, immovable force.
Yet, these qualities do not clash.
Instead, they demonstrate two entirely different paths leading to the exact same inner harmony.
The most captivating realization is that both cards focus not on the characters' raw physical might, but on the profound depth of their character.
The peony speaks of a nobility achieved through inner growth, deep wisdom, and the rare ability to preserve one's core identity despite weathering unimaginable trials.
The chrysanthemum, meanwhile, speaks of a nobility manifested through strict duty, ironclad self-control, and unwavering loyalty to one's chosen path.
Together, they form a remarkably cohesive composition.
This is precisely why these two cards resonate so masterfully when placed side by side.
They act as two different facets of a single, shared ideal deeply rooted in Japanese aesthetics: an innate inner nobility that reveals itself not through loud words, but through silent actions, enduring patience, and staying entirely true to oneself.
The cards of Zoro and Robin connect with the earth-shattering events of Onigashima in an incredibly profound and thrilling way!
During her brutal clash with Black Maria, Robin unleashes her terrifying demonic form for the very first time — Demonio Fleur.
Her transformation beautifully mirrors the symbolic journey of a butterfly, shedding its cocoon to finally spread its wings. And on the Hanafuda card itself, this imagery is literally brought to life: Robin soars gracefully alongside the butterflies using wings manifested by her Devil Fruit, effectively weaving herself into the classical Japanese motif of "Peony and Butterflies."
Zoro, on the other hand, reaches monumental peaks during the Wano Arc by openly confirming his Conqueror's Haki for the first time and and receives the blade Enma. In this exact context, assigning him the chrysanthemum — the ultimate Imperial Flower of Japan — feels especially fitting, given his awakening of Conqueror's Haki.
The second core element of his card is the sakazuki, the traditional sake cup. As established before, in Japanese culture, sharing sake from a sakazuki signifies an unbreakable vow, ultimate trust, brotherhood, and welcoming someone into your family. Remember Zoro's words against King — "I will not lose! I made a vow to my captain and my best friend!"
It also evokes the idea of Kinchou (金打) — the sacred, unbreakable samurai oath. Just as Zoro once performed Kinchou back in Enies Lobby by subtly clicking his katana to swear an eternal oath to save and protect Robin, the sakazuki on his Wano card reinforces this exact samurai code.
Ultimately, while Robin's card screams of hard-won freedom and magnificent metamorphosis, Zoro's card stands as a monument to absolute loyalty to his chosen path, his sacred oaths, and the family(crew) he has sworn his life to protect.
When you look at all four of these cards simultaneously, a truly interesting composition begins to take shape.
The eyecatches of Robin and Zoro stand as the two pillars, the structural centers of this narrative. Both are built entirely on the foundational motifs of classical Japanese art, and both speak volumes about inner nobility — yet they approach this ideal from two completely different vantage points.
Robin reflects nobility through magnificent metamorphosis, hard-won freedom, and effortless flight.
Zoro reflects nobility through unyielding resilience, absolute duty, and ironclad loyalty.
Meanwhile, the cards featuring Sanji and Brook step in as literal bridges seamlessly connecting them.
On Sanji’s card, both primary symbols — the falcon and the wisteria— directly mirror the official character motifs assigned to Robin and Zoro.
On Brook’s card, the crane once again points to Robin, while the timeless pine evokes a classical Japanese symbolism that naturally resonates with Zoro's essence.
As a result, these four eyecatches cease to feel like independent, separate illustrations. Instead, they merge into a single, cohesive, and deeply symbolic ecosystem where traditional Hanafuda motifs are unexpectedly yet flawlessly woven into the characters' inner growth and their profound dynamics during the Wano Arc.
Ultimately, this is where the most breathtaking aspect of the entire Wano eyecatch series truly lies: they don’t just invite us to decipher isolated symbols, but rather allow us to witness the beautifully hidden threads that bind these characters together.
And this is precisely what makes Zoro and Robin as a pairing so incredibly beautiful! It isn’t just about a "pretty aesthetic" or visual chemistry; it is a a connection that can be read through rooted in a profound network of cultural, literary, mythological, historical, and philosophical connections.
This post could be expanded further, but I think it's already quite long.
Of course, as always, I could have made a mistake somewhere or misinterpreted a detail.
If you happen to notice anything, please don't hesitate to correct me in the comments!
Also, I apologize for any repetitive phrasing throughout this post, but as the old saying goes — Repetitio est mater studiorum!
Well, this post turned out to be quite long, but it is what it is.
Thank you!
bonus
If anyone thought that was "nonsense," well…
Oda has already used Hanafuda cards in the manga~
SBS vol. 87 I mentioned this in the post
@toomuchpineapples Happy Birthday!~
I really wish I could be more creative, but all I can manage right now are doodles, and I’ve been working on a Zorobin piece for what feels like an eternity—it’s been sitting in my WIPs for over a year.
I’m really stressed out right now between oral exams, written exams, and hospital shifts.
And there are still 6 weeks until my vacation.
Honestly, how do other people do it?
Please tell me your secrets!
But hey, I like the hair and how I managed to capture Robin’s nose profile.
I don’t have much to show for my artistic efforts—just a few scraps—but I’m trying to focus on the positive.
Originally, I planned to write about this later, in the final post (or posts) about Wano.
But life and Oda always make their own adjustments.
you know what I mean
Here, I want to share my thoughts on what exactly Oda is doing with our couple — Zoro and Robin.
To show some examples and try to figure out the author's style (yet again).
Image by @robinswhitehat
link here
Chapter 909 of the One Piece manga (titled "Seppuku") was officially released on July 2, 2018, and marked the beginning of the "Wano Saga."
Chapter 1058 ("New Emperors") was released on August 29, 2022, as the first chapter of the "Egghead" arc.
The first chapter to fully kick off the Elbaf arc (Chapter 1126) came out in September 2024, and the Elbaf arc is still ongoing.
This is just to give you the general context.
During this entire time, Zoro and Robin have had very little interaction or communication. This is quite unusual, considering that the author used to have no issue showing them in "contact."
What could be the reason behind this?
Personally, I believe this is directly related to the fact that the author will eventually confirm the canonicity of this couple.
You might say it makes no sense — how can the author make them a couple without even showing them together?
Let me explain.
This brings us to a specific writing technique that Oda uses all the time!
The "Spring" Effect.
The "Spring" Effect is not a strict academic term, but it is often used to describe a narrative structure where tension is gradually compressed and then suddenly released. Just like a real spring: the harder you compress it, the more powerful the snapback.
How the Spring Effect works.
Usually, it is built like this:
Characters face obstacles.
Tension keeps rising.
Options become fewer and fewer.
It feels like there is no way out.
Then, a sharp turning point occurs — either emotional or plot-driven.
It is precisely because of this long "compression" that the climax feels so incredibly powerful.
This principle is used in almost every type of storytelling — in action, mysteries, psychological thrillers, romances, tragedies, and comedies.
And, of course, in anime and manga.
And One Piece combines them all!
Below, I will provide examples for each type of storytelling.
In action:
A classic example
The hero loses almost every battle.
He gets injured.
He loses his allies.
We start doubting if he can even win.
Only after maximum pressure does the final showdown happen.
If the hero easily defeats everyone right from the start, the "spring" barely compresses — making the finale feel much weaker.
An example from Wano: we see Luffy losing to Kaido time and time again. Even though we know it's a shonen and Luffy will win, we don't know how, so the "spring" keeps compressing each time.
In mysteries:
The "spring" is the accumulation of riddles.
Every new clue only complicates the case further.
Then, the detective says:
"Now I get it."
And all the pieces fall into place.
One Piece isn't exactly a "mystery" series, but its world-building relies heavily on putting together a "jigsaw puzzle."
Some "pictures" only come together after many years!
A perfect example is Brook and Laboon.
In Chapter 103, we learned that Laboon was left behind by "some pirate crew." In Chapter 486, we discovered it was Brook's very own crew. In Chapter 506, we found out that Crocus (the one taking care of Laboon) became a doctor on Gol D. Roger's ship specifically to look for Brook's crew with them!
"Now it all makes sense!" — The puzzle came together 403 chapters later!!!
(Chapter 103 / Chapter 486 / Chapter 506)
In tragedies:
The "spring" exists here too, but it "uncoils" differently.
Tension keeps rising…
We hope everything will end well…
And at the very last second, disaster strikes.
The result isn't joy, but a massive emotional blow!
Perfect examples are Sabaody and Marineford.
The tension builds with the arrival of the Admiral / the tension surrounding Ace's execution keeps growing.
Rayleigh arrives to save the crew — victory! / Ace is freed — victory!
And then — Disaster.
(Chapter 511, Chapters 571-572)
In comedy:
Here, the "spring" is often built on anticipation.
A character tries their absolute best to look serious.
Everyone around them is acting weird.
Tension keeps rising…
And suddenly, something completely ridiculous and absurd happens.
This is also a variation of the spring "uncoiling."
An example is when Oden comes to kill Orochi. Everyone around starts acting strange. The tension builds. And then, we are shown Oden dancing half-naked in the street.
(Chapter 969)
In psychological stories:
Sometimes, the "spring" is almost entirely internal.
A character stays quiet.
They endure.
They hide their feelings.
They pretend everything is fine.
And one day, an emotional outburst happens.
Sound familiar?
An example is Water 7/Enies Lobby.
Robin hides her true feelings and motives throughout the entire arc, and then the "emotional outburst" occurs.
The emotional impact of this scene comes not just from the line itself, but because it was preceded by a long "compression of the spring."
(chapter 398)
and...
In romance stories:
This is one of the most popular tropes.
Two characters cross paths.
They can't confess their feelings.
Misunderstandings arise.
Rivals appear.
Circumstances get in the way.
The reader can literally feel this tension. And only after a long time does a confession and/or a kiss finally happen.
That's why the scene feels so emotionally powerful.
If characters confess to each other five minutes after meeting, there is usually no emotional "payoff."
You probably thought of Zoro and Robin, didn't you?
But let me give you a different example — Rayleigh and Shakky.
They crossed paths at the beginning of the flashback, couldn't confess to each other, "rivals" appeared in the form of Roger (and basically every other man), and Shakky gets kidnapped — circumstances. After some time, almost at the end of the flashback, a "confession" happens.
If we didn't already know they were a couple, we would have felt that exact same "tension."
(Chapter 1156-1157/Chapter 1161)
Now, let's talk about why this technique actually works.
It is all about anticipation.
The human brain is constantly trying to predict what will happen next. As long as a conflict remains unresolved, it creates a state of tense anticipation. The longer and more convincingly the author maintains this tension, the more powerful the resolution feels — whether it’s a victory, a confession of love, the solving of a mystery, or a tragedy.
However, it is crucial not to "overstretch the spring." If the author delays the resolution for too long without actually progressing the story, the reader might get fatigued, and the effect will weaken.
That is exactly why good stories don’t just drag out the wait; they gradually raise the stakes. Every new event makes the conflict deeper and more meaningful, until the climax becomes absolutely inevitable.
There is also a separate technique that can be called the "stretched spring."
The formula looks something like this:
The First Encounter.
Characters meet or cross paths. Something important triggers between them: interest, a promise, a conflict, mutual respect, or a symbolic connection.
The Separation.
Their paths diverge. Sometimes for chapters, sometimes for years.
Parallel Development.
Each lives their own life, changes, grows stronger or more mature. However, the memory of one another (or the theme of their connection) resurfaces from time to time.
The Reunion.
This is exactly where the spring "uncoils." The longer and more meaningful the wait was — the more powerful the effect.
It is crucial that the tension is maintained not simply by the lack of encounters, but by the fact that the reader is actively anticipating this reunion.
For instance, if characters meet in Chapter 1, and then for 300 chapters they have absolutely no connection to the point where the reader forgets they even exist — that is not a spring. That is just a long hiatus.
BUT if the author periodically reminds us of their bond — through flashbacks, parallels, symbols, subtle nods, a shared goal, or a sense of unfinished business — then the tension keeps "compressing."
This technique is a massive favorite in epic storytelling. Sometimes, the first encounter takes up only a few pages, while the second one happens hundreds of chapters or several seasons later. It is precisely because so much time has passed between them that the reunion itself gains far greater emotional weight.
This resonates perfectly with the Zoro and Robin dynamic.
Many believe that after the early arcs, a significant dynamic was built between them, after which Oda heavily cut down on their direct interactions for a long time. If we assume this is a deliberate creative choice, such a "pause" could act as the "compression of the spring": the longer the sense of unfinished business remains, the more powerful the impact could be if the story eventually brings the characters together again at an emotionally critical moment.
This is exactly why the "spring" effect is less about the distance in time and more about the reader's continuous anticipation. If the anticipation fades, the spring "loses its tension," and the future reunion will no longer leave much of an impression. If the anticipation remains, the spring stays compressed.
This is exactly what Oda is doing. It would seem that since Zoro and Robin are on the same crew, they should be together often, but that is not the case.
Their separation is a deliberate — hand-crafted choice by the author.
There are tons of examples.
If Oda had confirmed Zoro and Robin's relationship during the pre-timeskip arcs, let's be honest — it wouldn’t have caused any real impact, other than a simple "Well, that was obvious."
Then, Oda separates our couple for the timeskip, and we are all eagerly waiting for their reunion at Sabaody, and… it doesn't happen???
No, it actually does happen, but off-screen!
These posts cover that part in more detail.
💬 4 🔁 7 ❤️ 29 · After two years the straw hats finally reunited in Sabaody. Please look upon the pages below from chapter #602.
If you've
💬 0 🔁 2 ❤️ 27 · Robin e Zoro: una spiegazione sul loro rapporto (Robin and Zoro : an explanation about their relationship) · In passato (v
Every single character is shown, except for Zoro (only his legs) and Robin.
Zoro is walking to meet Robin after 2 years.
But that didn't really satisfy us, did it? The "spring" is still compressed!
Then, the author separates Zoro and Robin yet again on Fishman Island, and we start wondering: "Maybe something is wrong between them?" or "Did the author change his mind?"
And suddenly, an incredible "outburst" happens.
(Chapter 639)
Then, he lets them interact for most of the "Punk Hazard" arc — or as I like to call it, the "Date" Arc.
But after that, he separates them again in Dressrosa.
Notice how whenever Zoro and Robin are "separated," Oda very often portrays their actions in a "mirror" or similar way.
For example, in Dressrosa itself.
💬 40 🔁 14 ❤️ 50 · The Arc of "Coincidence".
Dressrosa is a land of love and passion.
The country's prototype is Spain.
Here I will try to
Or take Wano as an example.
Oda didn't show them interacting directly, but what did he do instead?
He gave the most recognizable Japanese cultural archetypes (Ronin/Samurai and Geisha) exclusively to Zoro and Robin.
Constant "bridges" through other characters and "anchors" for one another.
Enma is a whole separate type of "connection."
The bond between Zoro and Robin through the "Hell theme" — the "King of Hell" and the "Demonio Fleur" (basically, the "Queen of Hell").
Those who miss these details might think, "Well, the author ignored this ship again." But right after Wano, Oda slightly "uncoils the spring" — emphasizing once more that he hasn't changed his mind or forgotten.
And in doing so, he rewards the "loyal" reader.
As you can see, Oda has no problem showing them together.
And he understands perfectly well how incredibly well-matched they are.
after all, he created them for each other
What could it be?
So the reason lies elsewhere.
Perhaps it is that exact same "Spring" Effect.
But it's also worth noting that Zoro and Robin are the "second lead" characters.
Zoro is the second male lead after Luffy.
Robin is the second female lead after Nami.
They can't always be together because each of them needs to drive the plot forward in one way or another.
That is why they are often paired with "supporting characters" to achieve specific plot goals.
Take Onigashima, for example. While Zoro and Luffy, as the main male leads, were driving the core plot together, Robin spent most of her time with Jinbe, and later with Brook, to push her own storyline forward. By the way, it's exactly the same way Nami spent most of her time with Usopp and Tama.
The exact same thing is happening right now on Elbaf.
Initially, Luffy, Zoro, and Nami were moving the plot forward with Loki's storyline. Then Nami headed back to the feast, while Luffy and Zoro pushed further. Eventually, they split up, and everyone started driving their own separate storylines.
The exact same goes for Robin.
Her task was to introduce the storyline involving "The Harley"(chapter 1138) and to the reader. Which of the relatively supporting characters should be paired with her to help with this? It couldn't be Zoro or Luffy — they are the main leads, and they have a massive role to play.
That's why Oda gives her Chopper, who acts as a listener, and Franky, who visually introduces the reader to "Harley."
Because the main leads have the most prominent roles while supporting characters act as helpers, it creates the illusion that the barely talk to each other.
Let me tell you even more: I found out that Luffy and Franky didn't interact for almost 25 VOLUMES straight. From Volume 73 to Volume 97.
Specifically, from Dressrosa — when Franky said he could eat Ace's fruit if Luffy wanted him to — all the way to the beginning of Onigashima.
That is 6.5 real-life years of manga!!!
If we follow the logic of "they don't talk, so nothing is there," then Franky left the Straw Hats ages ago, considering he doesn't even talk to his Captain!
Here is your homework xD:
Try to remember how much Nami actually interacted with Luffy during Wano? On the other hand, Nami interacted with Usopp a ton.
And let me remind you that Usopp and Kaya haven't spoken to each other for almost 28 real-life years, spanning over 1100+ chapters.
Do you really think Oda forgot about that pairing?
Zoro and Robin interact with each other in one way or another in every single arc — sometimes less (Wano, Egghead), sometimes more (Punk Hazard), but without fail, in every single one.
In the Elbaf arc, we haven't seen any direct interaction between them yet.
I believe it has to happen.
What kind of interaction? Well, there is a theory…
💬 11 🔁 9 ❤️ 17 · Tumblr · @wolfbart @nickgrasl @hapifangurl I really loved reading your comments and, of course, the post itself!
Do you
And one last thing.
Let me give you an example of how Oda tries "not to overstretch the spring."
The Whole Cake Island arc lasted for 2 real-life years.
An arc where Zoro and Robin are completely absent.
That is, if we don't count Katakuri, who is practically a "Zorobin" character — in the sense that he seems to combine elements of both Zoro and Robin.
It's as if Oda is subtly reminding the reader about this ship, using Sanji's own memories!
(Chapter 843/Chapter 856)
Wano.
A wife calming her husband down when he gives in to his emotions right before a major battle.
My dear, TOEI, even dragged out this scene, showing how slowly Robin approaches him. It's as if she is the only one who can actually get close to Zoro.
And I'm so grateful to them for that!
(Chapter 997/Ep. 1011)
Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your
Another example.
A husband listens only to his wife.
(chapter 1074)
Oda gives us "just a little," but never enough for us to forget — he constantly reminds us of this couple in one way or another.
This is how he keeps the tension of the "Spring" alive/
In this post, @hapifangurl mentioned that "Zoro and Robin's relationship is like that of ants" — slow-burning, yet steadily moving forward.
Combine that with the "Spring" Effect, and what you get is one of the most well-developed and beautiful ships in manga and anime history.
That is what we will get.
I could go on for much longer, but I think that’s enough for today.
As I mentioned before, these thoughts were just inside my head, so I had to quickly throw them all together in this post over the course of a few hours.
I might have forgotten something xD
This is my opinion.
Share your thoughts/opinions in the comments!
Thank you~
By the way, while I was looking for Zorobinkiss's post, I stumbled upon a reblog of Joe's post with a very interesting cover!))))
If you ever need a ton of Zorobin content, just head over to @zorobinkiss, type the hashtag, and scroll down xd.
There is SO much stuff there.
link to repost
the flashbacks were good and all but it really slows the story in my honest opinion.
finally, read this ch and now we are getting somewhere. zoro v sommer is here. plus another round of luffy v imu.
it's quite wholesome that zoro never doubt sanji here. they fight a lot of times like all siblings do but at the end of the day he respects him even though he would never admit it out loud.
zorobin sighting: am i tripping or is robin really close to this fight location? like the map indicator made it seem the way to the school library is just near the right side. 👀
@wolfbart @nickgrasl @hapifangurl I really loved reading your comments and, of course, the post itself!
Do you know what I was just thinking about? About ZoRobin, of course xD
Sommers's surname, Shepherd, directly links Sommers to his supposed Gorosei relative, Saint Shepherd Ju Peter (Jupiter).
In astronomy, there is a concept known as 'shepherd moons.' These are small moons that use their gravitational forces to hold together the particles of rings around giant planets (including Saturn, Uranus, and Jupiter). Since the Gorosei embody planets, the surname emphasizes that the Shepherd family literally 'guards' and 'balances' the system around Jupiter.
However, there is also a religious subtext.
In Christianity, the biblical Saint Peter is considered the shepherd of human souls, whom Jesus commanded to 'feed my sheep.'
Gorosei Ju Peter is the 'Warrior God of Agriculture,' this pastoral and agrarian theme fits perfectly into his family's lore.
Sommers' Devil Fruit — the Iba Iba no Mi (Thorn-Thorn Fruit) — has a deep connection to Christian religious symbolism. It highly looks like Oda deliberately combined the character's name ('Shepherd') and his ability into a single biblical concept!
In Christian tradition, the crown of thorns is the ultimate symbol of suffering, redemption, and martyrdom. Before the crucifixion, Roman soldiers wove a crown of thorns and placed it on Jesus' head to mock him and cause him pain.
While Sommers holds the title of 'Saint,' his power is a sadistic perversion of the Christian ideal. Instead of taking on suffering for others, he uses the Iba Iba no Mi to make everyone around him suffer.
The fruit's thorns, which are compared to iron, draw a clear parallel to the Ordeal of Iron, which was ruled by the Skypiea priest Ohm!
The official survival rate of this ordeal is 0%, yet Zoro passed it!
The strongest religious reference lies in the unique property of his fruit, which was shown in the Elbaf arc. When Sommers envelops his victims in thorns (such as the kidnapped children), the more the people around love that victim, the harder the thorns wound them when they try to save them.
In Christianity, God is love, and compassion for one's neighbor is the highest virtue.
Sommers' ability literally punishes people for love and compassion, turning a sacred human feeling into a weapon and a source of physical pain.
Furthermore, in my post about Egghead, I wrote that Robin represents the bird which, according to Eastern Orthodox (and Christian) tradition, legend says tried to pull the thorns out of the crucified Christ's crown of thorns, or sang to him to ease his suffering!!
Just remember, who was tied to a cross upon their very first appearance?
Who took upon themselves all of Luffy's pain and suffering on Thriller Bark?
Let me also give you the full quote from my post:
I'd also like to give an example from the author's note (Oda) for Volume 111 – Adventures on Elbaf. He draws "a bird that ended up crucified in order to protect someone". And it reminds him of Zoro… This volume ends with chapter 1133 - where Robin meets Saul… It was also at Enies Lobby that Zoro "began" to follow Asura's path — the path of pain and suffering. Robin is the one who will ease this "path."
Very romantic, Oda!
@hapifangurl I also want to bring up your amazing post!!
Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your
Sommers' power, when used in combination with Killingham's ability, might be a reference to the fairy tale 'Sleeping Beauty.'
As both @hapifangurl and @zorobinkiss correctly pointed out regarding the German word 'märchen,' which means 'Fable' (Elbaf), the German (Deutsch) name for 'Sleeping Beauty' is 'Dornröschen,' which translates to 'Little Briar Rose'!!
In the English version, Sleeping Beauty’s name is Briar Rose, and in the Japanese version, it is Ibarahime (茨姫), meaning 'Princess of Thorns' or 'Thorn Princess.
In the fairy tale, the sleeping princess's castle becomes overgrown with an impenetrable forest of sharp thorns. Any prince who attempted to break through to rescue her would get entangled in the branches and die a painful death. In the exact same way, Sommers' Devil Fruit mutilates and wounds anyone who tries to come close and save the captives!
And I remembered a post by Sandman (a guy who seems to know a lot), in which he asks:
'Do you guys think ZoRobin ship will be canon?🥺'
(Link to this post on X)
Since Rayleigh and Shakky became a couple right after the clash with Sommers, this feels like the perfect moment to wrap up this parallel between Rayleigh x Shakky and Zoro x Robin!!
The stage is set!
Considering all of this… Could it be that Oda is actually cooking something?! 👀
Robin is the only girl on Elbaf (not counting the children) who was captured not by Gunco's 'arrows,' but by Sommers' thorns. Sanji burned the thorns away but looks like that's where his role with Robin ends.
And now, Zoro is going to fight the offender directly.
Yes, Mr. Prince freed Robin, but I don't think she needs a prince. I think she needs a king.
Link to the part 1
Link to the part 2
Link to the part 3
Link to the part 4
Link to the part 6
At first, I thought about skipping Oden's flashback, but now that I'm on this path — Alea iacta est.
And I think, for the bigger picture, it's necessary to skim through the flashback one way or another, because some people believe that Zoro is "Oden", and Hiyori is "Toki", which (spoiler) isn't so.
Chapter 960.
In Part 3, I touched upon Oda’s foreshadowing — specifically, Oden cooking oden soup over a funeral pyre. Right at the very beginning of the flashback, Oda drops this massive omen. But since it's just the start of the flashback, the reader has no way of knowing it's actually major foreshadowing for Oden's eventual fate.
Oden shares striking similarities with Mont Blanc Noland — yes, the exact same Noland we first learned about back in Skypiea.
Both serve as the main protagonists of historical flashback arcs, and both ultimately face execution by greedy, power-hungry rulers who tarnish their legacy with lies and misinformation.
Also, in my previous post, I briefly mentioned the connection between Oden, Denjiro, and the Legend of Susanoo. Oda practically copied the archetype and key elements of the Susanoo myth to build Oden’s story:
Susanoo possessed a wild, unruly nature, committing reckless acts just to boast, destroying everything around him. Eventually, his sister, the sun goddess Amaterasu, lost her patience, and the gods banished Susanoo from the high heavens down to the earthly realm (the Izumo region).Similarly, in his youth,
Oden was an uncontrollable delinquent, starting massive brawls, kidnapping women, and causing chaos in the capital. His father, Shogun Sukiyaki, couldn't bear the shame and banished Oden from the Flower Capital, exiling him to the lawless and dangerous region of Kuri.
Once on Earth, Susanoo transformed into a true hero. He encountered weeping elders whose daughters were being devoured by a terrifying eight-headed serpent; he took pity on them and stood up to protect the people.
Oden arrived in Kuri when it was overridden by bandits and chaos. He single-handedly defeated the most dangerous criminal, Ashura Doji, tamed the region, built homes and farms, and brought peace to the people, fully redeeming himself for his reckless youth.
The legendary weapon Susanoo used to slay the serpent was a divine sword named Ame no Habakiri (天羽々斬, literally "Heaven's Feather-Cutter" or "Slayer of the Sky Serpent").
One of Oden's two signature swords, which he inherited from his father, is named exactly that — Ame no Habakiri.
In the manga, it is explicitly referred to as the blade "capable of slicing through the heavens themselves."
(more details on Ame no Habakiri in this post)
Susanoo’s most famous exploit is his victory over the legendary eight-headed serpent, Yamata no Orochi.
In the story of Wano, Oden’s ultimate enemy and the oppressor of his country is none other than Kurozumi Orochi, who ate the Mythical Zoan Snake-Snake Fruit, Model: Yamata no Orochi.
In that same previous post, I also brought up the connection between Oden, Denjiro, and Ishikawa Goemon — the Japanese "Robin Hood." There, I explained how Goemon's and Oden's executions are completely identical.
But there is another detail that Oda played around with: in Japan, following Goemon’s execution, large iron bathtubs heated from below came to be known as "Goemon-buro" (Goemon baths).
Oda pulled off the exact same historical wordplay, but adapted it to his favorite theme — food. Instead of a bath, Oden was literally "boiled alive" just like the oden soup he is named after.
If you are still skeptical about the parallels between Zoro/Robin and the Greek myth of Hades and Persephone (or the Roman Pluto and Proserpina), Oden is the perfect proof that Oda frequently draws heavy inspiration from Greco-Roman mythology.
Oden is One Piece’s Heracles (Hercules). Look:
Both possessed monstrous, god-like strength since infancy.
Both were infamous for their numerous love affairs and scandals with women.
Both were rejected and disowned by a family member (Heracles was hated by Hera; Oden was disowned by his father, Kozuki Sukiyaki).
Both were famous sailors (Heracles was part of the Argonauts; Oden sailed the seas with the Whitebeard and Roger Pirates).
Both had fathers who ruled over their respective realms (Heracles' father was Zeus, the King of Olympus; Oden’s father was the Shogun of Wano and head of the Kozuki clan).
Heracles was banished and sent to tend cattle on Mount Cithaeron, where he slew the fearsome Cithaeronian lion and protected the local herders.
Similarly, Oden was exiled to Kuri — a lawless "hell on earth." There, he defeated the strongest bandit, Ashura Doji, tamed the outlaws, cleared the wild forests, built farms, and became the Daimyo, transforming a wasteland into a paradise.
Furthermore, several of Oden's iconic actions are explicitly based on the Twelve Labors of Heracles:
Oden’s victory over the giant Mountain God is a direct nod to Heracles' Fourth Labor — capturing the Erymanthian Boar.
Oden’s attempt to help the citizens of the Flower Capital during a severe drought by diverting a river toward the city is based on the Fifth Labor — cleansing the Augean Stables in a single day by rerouting two rivers. However, unlike Heracles, Oden’s attempt ended in a massive flood and disaster…
Oda clearly knows his Greco-Roman mythology inside out. :)
Oden’s attack — Tougen Shirataki (桃源白滝) — is a classic Oda wordplay:
Shirataki is a type of Japanese konjac noodle, which literally translates to "White Waterfall." Crucially, it is one of the most essential and popular ingredients in oden soup!
Tougen (桃源) refers to the "Peach Blossom Spring" (Tougenkyo), the Eastern equivalent of a utopia, an earthly paradise, or Shangri-La. This concept stems from Tao Yuanming's classic Chinese poem, where a fisherman accidentally discovers a hidden village behind a cave near a waterfall and blossoming peach trees. In this paradise, people lived in absolute harmony, untouched by world wars and suffering.
Even the "Mountain God Incident" is a blend of two distinct inspirations:
Visually and narratively, the Mountain God is heavily based on Lord Okkoto from Hayao Miyazaki’s "Princess Mononoke". Oda borrowed not only the colossal size and snow-white fur of the boar but also his blinding fury triggered by the loss/theft of his kin (his cub, in One Piece’s case).
The Legend of Prince Yamato Takeru: In Shinto myth, the prince traveled to Mount Ibuki to defeat a malicious local deity. On his way, he encountered a massive white boar the size of an ox. The prince mistakenly dismissed it as a mere messenger of the god, but it was actually the enraged Mountain God himself, who struck the hero down with a deadly blizzard.
In One Piece, however, Oda flips the myth — Oden successfully cleaves the Mountain God in half, unlike Yamato Takeru.
Since we are dissecting Oden's lore, we have to look at his family name: Kozuki (光月). Phonetically, it is incredibly close to Kojiki (古事記).
The Kojiki is the oldest surviving Japanese chronicle. It is the definitive source for Japanese mythology, early history, and the divine origin of the Imperial line.
The name itself breaks down into:
古 (ko) — ancient;
事 (ji) — events / matters;
記 (ki) — records / chronicle.
Literally, it means "Records of Ancient Matters." Pretty much everything we consider classic Japanese mythology — the tales of Amaterasu, Susanoo, Ame no Habakiri, Yamata no Orochi, the Imperial Regalia, and Yamata Takeru — is known to us today precisely because of this book.
It is highly likely that Oda chose the name Kozuki to deliberately echo Kojiki for his Japanese audience, instantly linking the clan to the ultimate keepers of ancient history.
Look at how beautifully this symbolic parallel aligns:
Kojiki: Records ancient history | Kozuki: Carves the True History onto the Poneglyphs.
Kojiki: Preserves the memory of the past | Kozuki: Protects the memory of the past at all costs.
Kojiki: The ultimate source of Japan's myths | Kozuki: The ultimate source of the Void Century and the True History of the One Piece world.
The Kojiki is a book that saved Japan's history from being forgotten.
The Kozuki are the creators of the Poneglyphs — the indestructible stone "chronicles" meant to save the entire world's history from being erased by the World Government.
Chapter 963 / Chapter 1133.
If you ever thought that Kikunojo and Nico Robin looked strikingly similar… well, you weren't imagining things.
On the left — Kikunojo. On the right — Nico Robin.
Chapter 964.
This chapter introduces us to Amatsuki Toki (天月トキ).
Her family name, Amatsuki, is written with the Kanji:
天 (ama) — heaven / sky
月 (tsuki) — moon
Literally, it translates to "Heavenly Moon". This is a highly unusual combination. In actual Japanese history, there is no famous clan named Amatsuki, meaning Oda likely crafted this surname entirely on his own.
The Kanji 天 (ama) could evokes associations with the concept of Amatsukami (天津神) — the "heavenly deities" of Shinto mythology. These are the gods who dwell in the High Heavenly Plain (Takamagahara), as opposed to the Kunitsukami (earthly deities). Even though the phonetic spelling isn't an exact match, the "celestial/heavenly" nuance is impossible to ignore.
In stark contrast, her given name, Toki (トキ), is written in Katakana.
To a Japanese speaker, hearing the word toki could brings to mind the Kanji 時 (toki), which means "time". This is a narrative choice, directly aligning with her ability to travel forward through time using the Toki Toki no Mi (Time-Time Fruit).
The Moon plays a big role in the lore of Wano. Originally, the country was governed by six major clans, each ruling a different region:
Kozuki («Light Moon»);
Shimotsuki («Frost Moon»);
Uzuki («Fourth-Month Moon»);
Fugetsu («Wind Moon»);
Amatsuki («Heavenly Moon»)
And finally, Kurozumi («Black Charcoal») — notably the only clan without the "Moon" in their name.
In traditional Japanese culture, the moon symbolizes the passage of time, the changing of seasons, eternity, memory, and hope. Every single one of these themes is deeply interwoven with Toki’s character arc.
But there is another fascinating, obscure detail: Toki (トキ) is also the modern Japanese name for the crested ibis. It is a strikingly beautiful white bird that represents rarity, rebirth, and hope. Whether Oda intended this double meaning or not, it is a poetic coincidence.
Chapter 964 / Chapter 273.
I don't know why, but for some reason Toki's phrase reminded me of Robin's phrase in Skypiea…
Oda clearly has a obsession with the number 26…
Some people firmly believe that Zoro is a direct parallel to Oden (or vice versa). After all, Oden met and saved Toki when she was 26 years old, and Zoro met and saved Hiyori when she was exactly 26 years old. On top of that, Zoro now wields Enma — Oden’s legendary sword—and just like Oden, he leaves a permanent scar on Kaido.
The similarities are definitely there. Oden was also the Commander of Whitebeard’s Second Division, which visually fits the "number two" theme.
But when people force the Zoro-Oden parallel, they completely forget about Silvers Rayleigh. And honestly? That’s where could Oda’s clever misdirection lies.
The difference between Zoro, Rayleigh, and Oden isn’t just their personalities — it’s their fundamental positions within a crew:
Oden was a division commander for Whitebeard before joining Roger, but he was never Whitebeard's or Roger's second-in-command. He was a guest, a brother, a powerhouse — but not the Right Hand.
Rayleigh is the second in crew and the Pirate King's right-hand man.
Zoro is the second in crew and right-hand man of the future Pirate King.
Rayleigh is the "Dark King" (Meio). Zoro is the "King of Hell" (En-o). The thematic connection between their titles is glaringly obvious.
Let's not forget the physical and behavioral traits they share — the exact same eye scar, the similar muscular build, the shared love for alcohol, and their calm, anchoring presence when their captains go wild.
If anyone actually inherits Oden’s personality, it’s Yamato! Yamato embodies Oden’s chaotic spirit, his obsession with freedom, and his dream to see the dawn of the world. Because of this, it’s highly possible Yamato will join the Straw Hats right before Laugh Tale — mirroring exactly how Oden joined Roger’s crew for the final stretch of his journey.
Or maybe not.
Chapters 965-966.
Chapter 965 — this is where Oda drops the real visual parallel between Zoro and Rayleigh.
Rayleigh’s outfit here is almost identical to Zoro’s post-timeskip attire. The only difference? Rayleigh’s shirt is explicitly purple 👀.
It makes you wonder: does the Dark King share the exact same aesthetic preference as the future King of Hell? After all, Zoro's advanced conqueror's Haki and King of Hell techniques are consistently wrapped in deep purple flames and aura.
Moving on to Oden, his attack Gan Modoki brings us back to Oda's signature culinary wordplay.
Ganmodoki (がんもどき) is a traditional Japanese fried tofu fritter made with vegetables and egg whites. Crucially, it is a staple, mandatory ingredient in a traditional winter oden soup. Oda committed to this bit completely: literally every single one of Oden's named attacks—including Tougen Shirataki and Shimi Daikon — is named after an oden ingredient.
Oda gave the technique a dark double meaning through Kanji. Written as 銃擬鬼, the first character means "firearm/bullet" (sounding like the English word Gun), while the remaining characters mean "in the likeness of a demon/ogre" (Modoki).
In the very same chapter, we witness Gol D. Roger unleash an attack called "Divine Departure". In the original Japanese, this technique is called Kamusari (神避).
This was the absolute first time this attack was shown in the manga, and it is no coincidence that Roger used it specifically against Kozuki Oden.
The word Kamusari is an archaic, classical Japanese literary term found directly in — you guessed it — the Kojiki, the ancient chronicle I mentioned earlier!
In Shinto mythology, gods (kami) are immortal and cannot "die" in the conventional human sense. When a major deity passes away or leaves the mortal realm (like when the mother goddess Izanami perished after giving birth to the fire god), this divine departure is referred to as kamusaru or kamusari. Essentially, the mythological translation of the move is "The Death of a God" or "Divine Passing."
"Kamusari" is a term from the "Kojiki" - Roger uses "Kamusari" against Kozuki..
Btw, this is the exact same legendary technique that Shanks later used to obliterate Eustass Kid in a single blow.
Chapter 966 / Chapter 301.
In Chapter 966, right after Oden joins Roger, they set sail for Skypiea. Yes, the exact same Skypiea that some "fans" love to dismiss as "filler" or an arc that "doesn't matter anymore."
It is here that Oda reveals the moment the Pirate King left his message in the ancient Poneglyph script — the very text Robin discovered and read all the way back in Chapter 301.
Chapter 301 was released on December 1, 2003.
Chapter 966 was released on December 23, 2019.
Oda held onto this secret and closed the narrative loop after SIXTEEN YEARS.
301 is, by the way, the very chapter where Zoro "wanted to leave Robin in Skypiea," but for some reason he looked happy when he saw her…
Chapter 966/ Chapter 967/ Chapter 233 / Ep 967.
Seeing Rayleigh holding baby Momonosuke is, first of all, incredibly wholesome! But his comment about it "bringing back memories" carries narrative weight.
Back then, Roger also mentioned that it had been ages since he last held a baby. After all these years, the fandom finally connected the dots: they were almost certainly talking about Shanks, who ended up on their ship as an infant right after the God Valley incident!
In the manga this is not the case, but in the anime there is a direct parallel between Roger and Luffy.
When Toki falls ill, she strictly commands Oden not to give up on his grand dream. She is the ultimate definition of a strong woman standing by a strong man.
Incidentally, Oden leaves Toki in Wano, and throughout this entire flashback, we never see Shakky. So keeping the two lovers apart is classic for Oda.
The name of the ruler of the Minks (or whoever he is) is Genghis Baan, he is a ram mink - this is also a reference to Japanese cuisine.
Jingisukan (ジンギスカン) is a Japanese mutton dish which is said to be named after Genghis Khan.
It's also worth mentioning that Roger's crew arrives on Water 7 and Oden talks to Franky.
Franky tells Oden that he was abandoned by the pirates. This is also a funny moment, and not without reason, since in SBS 113, Oda, in his own style, answered an interesting question about Franky and Queen.
SBS vol 113.
It's also worth mentioning that the factory overseer Franky kissed in Dressrosa is named Kyuin(or Kuween), which sounds a lot like Queen, don't you agree? Oda's foreshadowing? Franky x Kyuin ?
I don't know.
And I don't know for sure whether Queen is Frankye's father, and I'm not going to speculate on that here, but if you're interested, you can look for similarities between the two characters, and I think you'll be surprised…
Chapter 967.
This might be exactly what will happen to our Straw Hat crew when they find One Piece!)
Chapter 968.
In Chapter 968, we hear the Sea Kings speaking of the birth of two sovereigns. Given the timeline, they are almost certainly referring to Luffy and Shirahoshi (who is 16 years old in the current story).
Roger comments on the future Luffy, dropping line that birthed a thousand theories: "We were too early."
We will leave the heavy lore theorizing to the theorists.
Panel where Rayleigh is reading the newspaper for the entire crew.
We don’t know if this was his permanent duty, but again a collective image - a swordsman, the right hand of the Pirate King, a scar on his eye, connected to "Hell", reads a newspaper, wears purple clothes with floral patterns.
Oden then recalls Roger saying something to Rayleigh, something that even made Rayleigh cry (this is more clearly seen in the anime, episode 969).
The manga also emphasizes once again that Rayleigh was called the "Dark King."
(A reminder before Zoro is made the King of Hell?)
Oden returned to Wano and of course Toki missed him, as he missed her.
Chapter 969.
The title of Chapter 969, "Fool of a Lord," is a direct, nod to a Japanese comedy show that aired as a series of wildly popular television specials from 1986 all the way to 2020.
This show, starring the comedian Ken Shimura, birthed the archetype of Bakatono (literally translates to "The Foolish Lord" or "The Idiot Prince"). The character is an Edo-period ruler recognizable by his stark white-painted face, caricalturishly painted red lips, thick black eyebrows, and a ridiculously high, vertical topknot topknot on his head.
In the show, Bakatono is an infantile, lazy, and deeply eccentric ruler of a castle. Instead of actually governing his domain, he spends his days slacking off, chasing castle maids, overeating, playing absurd pranks, and getting into ridiculous arguments with his retainers. The show was built entirely on classic Japanese slapstick: characters constantly getting hit over the head with paper fans, doused in water, or smashed in the face with pies.
Oden was the hope of the people of Wano, but he turned into a Fool Lord and a laughingstock for the entire country.
Kurozumi Semimaru is a Biwa player and the previous user of the Bari Bari no Mi (the Barrier-Barrier Fruit currently owned by Bartolomeo).
"Biwa players" (more historically known as Biwa-hoshi, 琵琶法師) were blind, wandering monk-musicians in medieval Japan. They traveled across the country, performing epic ballads to the accompaniment of the biwa — a traditional Japanese four- or five-stringed lute.
In medieval Japan (particularly during the Kamakura and Edo periods), strict checkpoints and barriers called sekisho (関所) were established between provinces. Because of the government's tight control, it was incredibly difficult for ordinary people to legally cross regional borders.
However, an exception was made for the biwa-hoshi. The government issued special travel passes to these blind musicians, allowing them to freely pass through any state checkpoints and barriers. Thanks to this privilege, they could travel across the entire country completely unhindered, carrying and spreading news from province to province.
Kurozumi Higurashi — higurashi (ひぐらし) carries a few meanings. The most common one is the evening cicada (Tanna japonensis), which is famous for its distinct, melancholic singing at sunset.
However, the second meaning of higurashi in historical Japan is more telling. The term was used to describe certain itinerant performers: wandering singers, storytellers, reciters, and performers of Buddhist or other religious narratives.
A wandering storyteller is the ultimate symbolic blueprint for Higurashi. Using the Mane Mane no Mi (the Clone-Clone Fruit currently owned by Bon Clay), she constantly changes her face, spreads manipulative ideas, pulls everyone's strings with her words, and literally "acts out roles" to orchestrate the downfall of Wano.
Chapter 970.
The Arc of "Lies" in all its glory…
In the original Japanese, Oden’s ultimate attack is called Tōgen Totsuka (桃源十拳).
Tōgen (桃源): As mentioned before, this refers to the "Peach Blossom Spring" — the Eastern concept of a utopia, paradise, and an ideal world.
Totsuka (十拳): Literally translates to "ten fists." However, in Japanese mythology, Totsuka is the historical abbreviation for Totsuka no Tsurugi (十拳剣), which means "a sword spanning ten tsuka in length" (tsuka being the hilt of a sword used as a unit of measurement).
The Totsuka no Tsurugi is the name of the legendary divine sword used by the god Susanoo to slay the eight-headed serpent, Yamata no Orochi. Crucially, Ame no Habakiri and Totsuka no Tsurugi are actually different names for the exact same mythical blade.
And as we know, Ame no Habakiri is one of Oden's two personal swords.
A very beautiful interpretation could be that the name of the technique reflects Oden's dream:
Tōgen — an ideal, free, open country (a utopia).
Totsuka — the divine sword capable of slaying the monster threatening that peace.
Chapters 971-972.
The "lie" is exposed, revealing the true reason why Oden chose to act as the "Fool of a Lord."
Orochi breaks his promise yet again — who could have possibly guessed…
And there is that key phrase of Oden's, which I mentioned earlier: "I am Oden… and I was born to boil!!!"
It is also intresting to note that traditional oden soup takes exactly one hour to boil. This is the exact amount of time Kaido challenged Oden to endure in the boiling oil, and it is exactly how long he held out.
Furthermore, Oden’s birthday, February 22nd, is celebrated in Japan as National Oden Day. To add to this, Chapter 972 — the very chapter where Oden is executed — was released on that exact same day, February 22nd.
Chapter 973 / Chapter 950.
Following Oden’s execution and the time-travel of the retainers into the future, Denjiro went into hiding, unleashing his absolute raw fury and grief inside… the Enma Shrine!
This is the exact same isolated shrine deep in the forest where Hiyori later took shelter while Zoro fought off the Orochi Oniwabanshu ninjas pursuing them.
Which may once again hint at the connection between Hiyori and Denjiro, which I described in the previous part (the third).
And also the Zoro-Robin-Denjiro-Hiyori connection.
So, the flashback is over, but I still have some things.
I know this post isn't exactly "Zorobin," but I hope it was at least interesting..
However, we can still learn something from this flashback.
Oda prefers to keep couples apart?
Most of Oden adventure — Toki was off-screen.
Shakky and Rayleigh met at the beginning and end of the flashback in the Elbaf arc.
Kin'emon and Tsurujo haven't seen each other for a huge number of chapters.
And so on.
And at this point, you might quite rightfully ask: “So, why exactly did you choose this title for the post?”
Chapter 961.
Oda said (or is credited with saying) that "One Piece is shonen and it's not about romance."
Well, it looks like the author who doesn't want "love/romance in shonen" is most likely being held captive and forced to do it!
Love in shonen can be presented in different ways - funny and serious, cheerful and sad, "loud" and "quiet".
However, there is one thing that does not change - the hero always becomes enraged when his beloved is in danger.
Like, for example, Kin'emon flew into a rage when the Mountain God "ate" Tsurujo.
Chapter 968.
Or how Oden became furious when he learned that Toki had been attacked and wounded in his absence.
Or Rayleigh's rage towards Sommers when Rayleigh came to save Shakky (Chapter 1161).
Or...
Other than "captivity," I can't explain why our "non-fan" of drawing romance draws it…
Chapter 218 of One Piece, where Robin joins the crew, was released on February 18, 2002. Chapter 965 was released on December 16, 2019, and Chapter 1156 was released on August 3, 2025.
As you can see, the difference between these dates is huge.
But some things don't change…
And I couldn't shake the feeling that it was like something.
A ship, a lonely goof-swordsman making a face, a girl smiling at him one-on-one… I feel like I've already seen something like this before…
Chapter 965 / Chapter 218 / Chapter 1156.
Allow me to paraphrase a dialogue from Harry Potter:
— Oda, do you draw romance the exact same way? After all this time?
— Always.
💚💜
