Presented as a school of adaptation, the live-action interpretation of anime and manga carries a milder curse compared to efforts to bring video games to life on screen. However, surprisingly, the year 2023 appears poised to stand out positively for both endeavors. In the initial month, HBO unveiled “The Last of Us,” a compelling drama that mirrors the serious, character-focused approach of the 2013 video game within the context of a zombie apocalypse. Garnering enthusiastic reviews, impressive viewership, and numerous Emmy nominations, “The Last of Us” effectively defied a decades-long trend. Following suit a few months later, the “Super Mario Bros.” movie managed to replicate this success at the box office, if not entirely with critics.
Netflix, seemingly intrigued by this trend, is preparing to launch “One Piece,” a series adapted from the enduring manga created by Eiichiro Oda. Similar endeavors have faced challenges, something Netflix is familiar with; beyond notable failures from external studios like “Ghost in the Shell,” starring Scarlett Johansson, and “Dragonball Evolution,” Netflix itself has supported projects from the critically panned “Death Note” to the swiftly shelved “Cowboy Bebop.” With its substantial resources and global reach, Netflix is well-positioned to introduce a cultural phenomenon like “One Piece” to a new and diverse audience. Yet, based on prior experiences, it acknowledges the potential difficulties arising from passionate fans, cautious stakeholders, and the elusive qualities of animation. Nonetheless, the successful trajectory of “The Last of Us” offers a promising example.
To tackle this challenge, Netflix is well-prepared. Eiichiro Oda has openly endorsed the season, which showrunners Matt Owens and Steven Maeda have shaped into eight hour-long episodes drawing from the manga’s initial 100 chapters. Subscribers have access to 15 seasons of the “One Piece” anime for streaming, taking advantage of the fervent excitement generated at the recent Tudum fan event. “One Piece” appears poised to achieve commercial triumph and to appease purists dedicated to faithfulness to the source material. Nevertheless, while this adaptation of “One Piece” functions admirably as both a tribute and an introduction for newcomers, it remains confined by its attempts to meticulously recreate a world originally designed for two dimensions.
“One Piece” is a seafaring fantasy that pits pirate crews, seeking a legendary treasure (referred to as “one piece”), against marines striving to uphold order. A teenager named Monkey D. Luffy (portrayed by Iñaki Godoy) aspires to become the Pirate King. Throughout the season, he acquires a ship and assembles a crew, each member’s individual aspirations. Roronoa Zoro (played by Mackenyu), a swordsman, aims to be the world’s greatest blade fighter; Nami (Emily Rudd), a thief, desires to map the globe; Sanji (Taz Skyler), the chef, seeks a legendary source of unique ingredients; and Usopp (Jacob Romero Gibson), the optimist, strives to impress his crush. Luffy, or Luffy as he’s commonly called, strives to be an atypical pirate who encourages those around him to realize their dreams—even Koby (Morgan Davies), a companion aspiring to join the Marines.
The backdrop for this quest can be aptly described as whimsical. During childhood, Luffy consumes a mystical Gum-Gum Fruit, granting him the unique ability to stretch his body like rubber. In their travels, the Straw Hat Pirates — named after Luffy’s iconic headgear — encounter fishmen, snail phones, and a jester-like clown (Jeff Ward) capable of disassembling his body. Luffy’s signature move involves swiftly retracting his elongated limb, akin to a noodle while exclaiming, “Gum Gum Pistol.” His ship boasts a prominent goat skull on its bow.
Pilot director Marc Jobst, production designer Richard Bridgland, costume designer Diana Cilliers, and a dedicated team orchestrate this visual mayhem into a deliberately dissonant blend of CGI and practical effects. Hand-to-hand combat sequences are meticulously choreographed, while a prologue featuring former Pirate King Gold Roger (Michael Dorman) inciting a treasure-hungry frenzy in a massive crowd awaiting his execution captures the story’s grand scope. At its zenith, “One Piece” resembles a vividly colorful delight, imbued with a youthful exuberance that aligns with its direct coming-of-age narrative. Nonetheless, as much as these endeavors transport the audience, they also underscore the fundamental challenge of translating “One Piece” into live-action, regardless of the financial investment. It’s an awkward fit for human actors to interact with a world originally conceived in two dimensions. Even within the main cast, a stiff yet enthusiastic acting style predominates. Godoy’s charm often shines through, but when he emulates Luffy’s signature pose of cheering and raising his fist, the gesture lingers a tad too long — almost like a still image brought to life. The outcome is eerie and raises a more profound question. If the pinnacle of achievement is an approximation of the original, be it close or distant, what unique essence does this iteration of “One Piece” provide that the original doesn’t?
While “One Piece” reminds us of the mixed track record of past anime adaptations, it also aligns with some of Netflix’s major success stories: “Wednesday,” “The Witcher,” “The Sandman,” “The Umbrella Academy,” and other genre series that build upon existing intellectual property. These shows enjoy immense popularity and are culturally influential, despite their occasional whimsical aspects. They possess a frictionless quality that lends itself to binge-watching, offering undemanding content to the audience while diverging from true novelty. However, novelty wasn’t the primary goal in this case; preservation was the aim, and according to Luffy’s philosophy, all aspirations hold value, as long as we persevere in pursuing them.
All eight episodes of “One Piece” are now available for streaming on Netflix.