A lot of what’s so uniquely bizarre about ONE PIECE can be summed up, quite succinctly, in the scene where the Yeti Brothers are holding Nami-as-Franky captive. She’s hanging from some ropes, squirming around and questioning how they’re going to molest her because, since she has such a rockin’ body, that’s got to be the only reason they’ve captured her. Of course, the Bros don’t know that she’s a “she” - - all they’re seeing is this big, beefy cyborg dude, don’t forget - - so they wonder why he/she is going on so much about all these perverted things he/she is expecting from them.
One bro says, “He must be a queer. That’s cool.”
The other bro then says, “But people who talk too much aren’t cool.”
I’m fixating on this part because it couples so many strange and adult ideas with so much absurdity; and that strange, adult absurdity kind-of double by virtue of the fact that it isn’t actually lingered on. ONE PIECE shrugs it all off so flippantly because, in the scheme of things, it’s probably the least strange part of the show.
Along those lines, I’m also rather tickled by how there’s been such a pronounced drug subtext in this arc (actually, let’s be real: it’s text, not subtext). Caesar Clown pretty much is the supervillainous pirate version of “Mr. Dealer,” he intentionally got these giant kids hooked on drug-laced candy which they’re now suffering violent withdrawal from, Franky-as-Chopper gets some serious roid rage off a performance enhancer because he can’t pace his hits, and I feel like all the Devil Fruits could fit into some narrative about the consciousness-expanding powers of herbs.
Again, I think it takes a small mind to credit creativity to drug use, but the pharmaceuticals are a lot more noticeable in this fantasia than they are for, say, ALICE IN WONDERLAND. Anybody else noticing this?