As we reach the third episode of Netflix’s One Piece, we can see more ways the adaptation diverges from the original. Now we reach the point where it’s a question of whether these changes are for better, worse, or make no difference as long as the core of the story is intact, so let’s look at how the story stands both on its own and as an adaptation.
1. Usopp
The next character to join the crew (even if Nami and Zoro are still insisting they’re not a crew) is Usopp, who we meet this episode. True to the original, his introduction begins with him spending every day shouting “pirates are coming!” to a village that’s thoroughly tired of it.
Jacob Gibson plays Usopp, and while his take on the character is perhaps the most different from his anime counterpart, it’s a difference that works well in live-action and makes the character more likable. He’s certainly less scrawny than his anime counterpart, and a bit older too (Jacob Gibson is 27, while Usopp was 17 in his anime/manga debut), which makes his daily cries of “the pirates are coming” feel even more childish. But considering he’s about to join a crew on their way to the Grand Line, that’s probably for the best.
While the anime and manga Usopp’s lies come across as brash and make him a braggart, live action Usopp is far more charismatic, giving his tall tales more of a storytelling quality to them. This helps with his interactions with Kaya, making it even more clear how his stories are meant to entertain her and how much he cares for her. (I’m not saying none of that was clear in the original, because it was, but it hits nicely here.) In fact, there’s some generally adorable chemistry between the two, and we can feel how much they care for each other.
Another notable moment comes when Luffy reveals that he knew Yasopp, Usopp’s father. As mentioned last episode, we saw Yasopp’s marksmanship skills at work during Luffy’s flashback, so we as viewers got to meet him too. Usopp, however, never knew his father, so when Luffy tells him that they were friends, you can pick up a tinge of jealousy in Usopp’s reaction. It’s a nice little character beat to hit.
2. Garp and Koby
Now let’s look at something entirely new to the live action series: the continuing adventures of Koby and Helmeppo under Garp’s tutelage. In this episode, we follow Koby as Garp takes him aside to get a measure of his abilities via a game of Go (which I’m assuming they imported from Wano) and encouraging him to be more decisive.
It’s a good character moment for Koby, who’s just starting his growth. But it demonstrates how the skills he had to pick up as Alvida’s cabin boy can still benefit him as a marine, turning his past into a strength.
At the same time, this is starting to set up a rivalry with Helmeppo, who loses his position as senior cadet to Koby (a position he only got thanks to his father, anyways). So the question is: will this drive Helmeppo to improve as well, or will he try to sabotage Koby? Fans of the original know how both grow eventually, but it’ll be interesting to see how they reach that point.
3. Captain Kuro and his Crew
This arc’s villain is Captain Kuro of the Thousand Plans, who was foreshadowed earlier by Captain Morgan. Like the manga and anime, we meet him as he’s posing as Klahadore, Kaya’s butler. Alexander Maniatis does a fine job portraying him as both a butler and his true pirate self, including the all-important mannerism of adjusting his glasses with his palms, which we see come into play when he gets his knife-gloves back.
We get a little more foreshadowing as Zoro recognizes “Klahadore,” but can’t quite place where. Little moments throughout the episode, like Klahadore interrupting Merry and Kaya before they can discuss Kaya’s supposed plans to transfer ownership of the shipyard to Klahadore, also make it clear that he’s not to be trusted until his inevitable betrayal.
Of course, the fact that we see the cooks discuss poisoning Kaya’s soup is already plenty of foreshadowing.
Continued belowBut that brings us to our next point: Buchi and Sham. In the manga and anime, these two are the Nyaban Brothers, members of Kuro’s crew who fight against Zoro. In the Netflix version, they appear far earlier as members of Kaya’s staff, working alongside Kuro/Klahadore. Additionally, Sham is a woman, and the two have a more bickering relationship. And while they do look rather different from their animated counterparts, there are still basic details and designs elements that keep them identifiable.
4. Buggy and Arlong
Speaking of Netflix-only material and early introductions, Buggy has pulled himself together pretty quickly, and is met by Arlong, the fishman pirate and this season’s final boss. This scene sets up Arlong as the biggest fish in the East Blue (pun intended) by showing how pirates like Buggy have to answer to him, and puts Luffy in his crosshairs.
Is this entirely necessary? Plot-wise, Nami’s story arc will take the Straw Hats into conflict with him eventually, so Arlong doesn’t need to know who Luffy is before then. But for the sake of a more self-contained season, setting him up early and adding some gravitas to him makes for a more compelling showdown, and sets up the conflict to come.
Regardless, it’s nice to get more from Buggy, and I especially appreciate his line about how “fans have gotten so toxic.”
5. What They Added and Removed
While we’ve gone over how certain elements were changed, there are others that were either added or removed altogether, usually for the sake of keeping the story arcs contained within two episodes.
One of the biggest changes is how Kuro’s plan and attack play out. While the original had him meeting with his crew for a battle on the shore, this version keeps it contained within Kaya’s manor, which actually gives it more of a horror feel to it. However, this also comes at the cost of removing Jango the hypnotist from the story, which is a bit of a shame.
Speaking of removed characters, it also cuts the “Usopp Pirates,” a trio of kids who joined Usopp in his tall tales and claims of piracy. However, their removal makes sense as it gives us more time to focus on Usopp and Kaya, and with an older-looking Usopp, having a group of children as his only friends would feel a bit weird.
The Netflix show also gives Nami some extra material, including a few nice lines about her disdain for the ultra-wealthy, some costume changes, and a nice scene where she talks with Kaya and the two become closer. It’s good development for both of them, which helps us like Kaya more, learn more about Nami, and build on the concept that not everyone fits into the boxes and archetypes that Nami views so many of them in.
We also get to see the Going Merry earlier, as Luffy sees the ship on the docks and immediately knows it’s meant to be. This sets up his introduction to Usopp, which in turn brings the crew to Kaya’s manor to get them involved in the fights to come. But it also establishes the importance of the ship, and the Going Merry in particular. Speaking of Luffy, he ends up drinking a whole lot of poisoned soup, so we’ll see how that impacts him next episode.
Finally, the episode ends on a major change: Koby meeting Usopp. True to the original, Usopp’s warnings that Klahadore is actually Kuro go ignored and unheeded, since after years of shouting “pirates are coming!” no one believes him. In this case, however, Koby arrives at the episode’s end, and does believe Usopp. Will this bring Garp and the cadets under his command into conflict with the Black Cat Pirates? Let’s see what happens next episode…
