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Despite Shiranui's
twisted nature as he uses shark-like demons to feed on his preys, he still shows love towards them in tragic tones when Hyakkimaru kills one of them. These episodes were also noted to show the kind nature of the two leads, most notably Hyakkimaru as he shows more affection towards Dororo and Jukai. [57][58][59] Dororo's continuous dynamic with Hyakkimaru as well as the growth of Hyakkimaru's younger brother, Tahomaru, were also praised as interesting subplots fow how the build up the main story. [52][60][61][62][63] In regards to the series' ending, Manga. Tokyo said he did not look forward to Hyakkimaru's hatred towards Daigo as he still enjoyed deep bond between the leads rather than a possible tragedy. [64] The series' finale felt rushed by Anime News Network for how Dororo's gender issues were not properly explored which is left ambiguous when Hyakkimaru compliments his look upon recovering his sight. Nevertheless, he praised the conclusion between Hyakkimaru's arc in regards to his family as he spares his brother and father, something that works as a result of his growth as a person. [65] Fandom Post had similar commentaries in regards to Hyakkimaru's family and whether or not his mother needed to die in the fire as well as whether or not the continuous wars from the Sengoku will bring more harm the leads' life. [61] In conclusion, the reviewer praised how MAPPA
managed to improve on Tezuka's original manga by changing the characterization of the two leads despite noting issues in the series' production. [61] Popzara enjoyed the series' animation because of how gruesome fights tend to be. [53] Fandom Post noted that while some episodic stories work out, the series suffers fatigue in the second half as the characters
focused stories felt
stronger than the scenario and sometimes felt that Hyakkimaru was too overpowered when fighting demons.
He also notes that the influence of Akira Toriyama (Dragon Ball) shines through in Oda's style of writing with its "huge epic battles punctuated by a lot of humor" and that, in One Piece, he "manages to share a rich tale without getting bogged down by overly complicated plots". [177] Rebecca Silverman of the same site stated that one of the series' strengths is to "blend action, humor, and heavy fare together" and praised the art, but stated that the panels could get too crowded for easy reading. [178] The website activeAnime describes the artwork in One Piece as "wonderfully quirky and full of expression". [179] Mario Vuk from Splash Comics commented that Oda's "pleasantly bright and dynamic" art style suits the story's "funny and exciting" atmosphere. [180] Isaiah Colbert of Kotaku called One Piece a "masterpiece", highlighting Oda's
character writing, world-building and the
balance between "fun and serious subject matter". [181] Dale Bashir of IGN wrote that One Piece is more about the world-building, adventuring, and the meaning of freedom instead of the "usual shonen battling" from series like Dragon Ball and Naruto.
Then there’s the themes, which are not only pathetic, but also, perhaps unintentionally, weird and off-putting. Occasionally, one of the showrunners pretentiously applies a generic observation of human behavior onto some event which is only
broadly relevant. Anyone who’s gone outdoors for three seconds of their fucking life and has interacted with humans for at least one of those seconds could conjure up similar commentary. Most of the time the characters being commented on are forced into the scenario anyway, and that leads into a more subtle issue with the show—and that’s how dishonest it is. The big, prominent theme is supposed to be choosing between friends or money, and the fact each friend was willing to go into crippling debt to
help their friend who just betrayed them should be enough to prove where their loyalties lie. Yet no one ever mentions how this is a misrepresentation of the actual choice being presented, because not being in debt isn’t really the same thing as winning money. These pathetic attempts at theming are rather obvious if you ask me, but the weird and off-putting themes are less so. As discussed, real examinations of friendship don’t matter. But if that’s the case, then what drives conflict? You guessed it—classic teen melodrama. It turns out both girls like God Yuichi, and both of the other guys like one of the girls, so no one will ever trust one another or be truly in the same boat, and it has nothing to do with any wannabe-deep statements about the nature of greed or the social science of monetary corruption and, instead, everything to do with who wants to fuck who. Even when the first arc ends and our group of established “friends” gets replaced by a new shallow cast of characters to populate the following arc, the conflict STILL continues to erupt and revolve around inserting women into men’s relationships to sow the seeds of jealousy and resentment.
