Photo by Netflix
Despite being the leading pioneer of TV and movie streaming, Netflix lately has been struggling with keeping its legacy alive. With mediocre headliners such as “The Witcher” (2019) and shows canceled left and right, the streaming giant has been in dire need of a win to maintain its status. The live-action TV adaptation of Eiichiro Oda’s award-winning comic “One Piece,” has been in production for years, with both fans and critics wondering if Netflix’s gamble would pay off. With the dust having settled since its release, it is safe to say that, from the rejoicing of fans and critics, Netflix finally has something worth bragging about.
Set in a fantasy world experiencing a “golden age of piracy,” the narrative follows Monkey D. Luffy (Iñaki Godoy) a starry-eyed young man, as he sets out to find the fabled lost treasure known as the One Piece and inherit the title of “King of the Pirates.” Luffy, armed with the amazing power to stretch his body like rubber, sets out to first gather a ship and his own crew. In doing so, he runs into a colorful cast of characters that join him for the ride: Zorro (Mackenyu), a stoic but swordsman, Nami (Emily Rudd), an expert navigator with sticky fingers, Usop (Jacob Gibson), a tall-tale spinning coward and Sanji (Taz Skylar), a womanizing and agile chef. Together, they unite to pursue their own goals and aspirations while dodging the ever-present threat of rival pirates and the Marines of the World Government.
The trickiest thing about adapting any form of media into another is how much of the original source material can make the cut. This first season serves as an abridged re-telling of the first ninety-five chapters of the manga. While this abridgement of the first arc of the source material does have some flaws, the good news is that Matt Owens and the writing team were able to deliver a solid product.
Out of all the things that could have gone wrong with adapting “One Piece,” the writing presented the biggest possible misstep. Thankfully, the script is spot-on with capturing the tone of the show, making the experience enjoyable and engaging. This is important as other adaptations of Japanese anime and manga, such as the abysmal “Death Note” (2017) and the lukewarm “Cowboy Bebop” (2021) have perpetuated the attitude that it’s close to impossible to make a successful TV or movie adaptation of any popular Japanese IP, or intellectual property.
The pirate narrative presented is less “Black Sails” (2014) and more “Pirates of the Caribbean” (2003), with a little extra theatrical flair on top. This means that, while the ensemble cast of characters ranges from quirky to stoic, it’s never jarring enough that it breaks the suspension of disbelief. This is a fantastical world where people still use black-powder weapons, wooden ships, use snails as telephones and even have superpowers. But while it may seem ridiculous at first to the casual viewer, they quickly become acclimated to how the show presents all of this as fact. The show certainly does have its fair share of darker moments, and as such serves as a reminder that while the story is a swashbuckling adventure, pirates are terrifying when they want to be! These darker moments complement the zanier elements, making for a compelling fantasy adventure.
The ensemble cast’s performances, while worthy of an academy award, are stellar across the board. The main four cast members successfully emulate their source-material counterparts without much of the goofiness that wouldn’t be as conducive to a live-action television show. Two stark examples of this are Monkey D. Luffy (Iñaki Godoy) and Usop (Jacob Gibson). Godoy portrays Luffy’s cheerful and childlike sense of adventure and optimism, but he does so in a way that makes him seem admirable and refreshing in a show with plenty of dark moments instead of coming off as an insufferable brat, as he easily could have. Similarly, Gibson is a standout success in his performance as a character that could also have been ridiculous and silly in this adaptation. Instead, the actor phenomenally portrays a loveable coward that constantly runs his mouth about his alleged heroic deeds, but acts strategically and shrewdly under pressure, allowing his character to punch well above his weight class. Nami, Zoro and Sanji’s characterizations each feel respectable for the first season of a show, with Taz Skylar’s character coming off as a loveable scamp. Ruud and Mackenyu’s performances do feel slightly muted, but not egregious.
Aside from the performances and writing, the mise-en-scène elements of the show are surprisingly brilliant. The fighting choreography, courtesy of Koji Kawamoto and Franz Spilhaus, is remarkable at making every single fight come off as exciting and captivating, feeling like they were lifted right out of the show’s source material. Just as impressive is the gorgeous set design from Richard Bridgland, who certainly deserves some kind of award for his elaborate attention to detail, right down to the real figureheads on the real ships. The costume department did a wonderful job of making each actor look like their source material counterparts, but in a manner conducive to TV. This is especially impressive in the case of Buggy the Clown and Captain Arlong, which, coupled with the acting chops of the two performers, come off as unique and effective.
Leading up to the debut of Netflix’s new show, it was only natural to fear the worst after what happened with Netflix’s last two adaptations of a popular Japanese IP. Despite all these fears, Matt Owens and the team behind “One Piece” have knocked it out of the park. There are some issues with too much of the original plot being cut out as part of the adaptation process, but the show still more than exceeds expectations. If you are in the mood for a great show, Netflix’s “One-Piece” is a blast.
Kelly Baker is an alumnus of West Chester University.