Good Place

In this post, I'll share links to other people who have made significant contributions to the "study" of the Zoro-Robin pairing, to the "study" of Oda's style. I'll provide one link per post, BUT if you're interested in the Zoro-Robin pairing, if you enjoy reading and learning new things about them — I HIGHLY RECOMMEND reading more than just the one post provided here, but going to the author's blog/page and exploring everything yourself! You may know some of them. 1. One of my favorite posts ever by @hapifangurl (she said that recently looked at her drafts on Zorobin! 👀👀) 2. Interesting Things about ZoroxRobin and how are they connected by @kathitah 3. Prediction Zoro vs Lucci was back in 2017! The Arc's were a bit off, but still it's happened! by @mattviperme 4. Zoro saving Robin again (Egghead). by @ihartnico (There is a link to theory in this post, check it out!) 5. @zorobinkiss - Years of analysis and thoughts~ 6. @robinswhitehat - Years of analysis and thoughts~ 7. I'd like to give Joe a special shout-out here. This is a link to his blog, which has OVER 100(!!!) posts about Zoro and Robin. It's written in Italian, but don't worry, I personally read the ENTIRE thing with Google Translate, and everything is clear and understandable!!! Here he was known as Josette and in his blog he wrote about the Zoro and Robin couple for years!!! 8. Her hands saved his life. by @innershoesuitcasebiscuit 9. The post where autor links all his Zorobin posts by @wolfbart 10. Body Language by @lunariancupid *This post may be updated in the future*

Thanks to these people, I started doing something I'd never done before — writing posts (long ones, at that). Some of the moments and theories described were simply unbelievable and few believed them, but THEY CAME TRUE! So who knows what the future holds?.. I learned SO MUCH from these people's posts, and I will inevitably return to them in the future! Of course, this list is FAR from complete, and many people have contributed to the story of our pair's analysis. I'll say it again: if you're interested, go to the authors' pages/blogs! Read their posts! They're very interesting, and I learned a lot from them!

In conclusion, I apologize if I have left anyone out, and I invite you to share any authors I don't know or haven't mentioned, even if these authors write or have written in different languages. If necessary, I'll read with a translator! Sharing knowledge makes them stronger because it spreads influence, improves skills through teaching and generates new ideas! "Voices from the past" cannot be silenced as long as there's a single person alive who can read them. Knowledge + Power 💜💚

So many thoughts to share

Just need to get them together…

Originally, I planned to write about this later, in the final post (or posts) about Wano. But life and Oda always make their own adjustments. you know what I mean

Here, I want to share my thoughts on what exactly Oda is doing with our couple — Zoro and Robin. To show some examples and try to figure out the author's style (yet again).

Image by @robinswhitehat link here

Chapter 909 of the One Piece manga (titled "Seppuku") was officially released on July 2, 2018, and marked the beginning of the "Wano Saga." Chapter 1058 ("New Emperors") was released on August 29, 2022, as the first chapter of the "Egghead" arc. The first chapter to fully kick off the Elbaf arc (Chapter 1126) came out in September 2024, and the Elbaf arc is still ongoing. This is just to give you the general context.

During this entire time, Zoro and Robin have had very little interaction or communication. This is quite unusual, considering that the author used to have no issue showing them in "contact."

What could be the reason behind this?

Personally, I believe this is directly related to the fact that the author will eventually confirm the canonicity of this couple. You might say it makes no sense — how can the author make them a couple without even showing them together? Let me explain.

This brings us to a specific writing technique that Oda uses all the time!

The "Spring" Effect.

The "Spring" Effect is not a strict academic term, but it is often used to describe a narrative structure where tension is gradually compressed and then suddenly released. Just like a real spring: the harder you compress it, the more powerful the snapback.

How the Spring Effect works.

Usually, it is built like this:

Characters face obstacles.

Tension keeps rising.

Options become fewer and fewer.

It feels like there is no way out.

Then, a sharp turning point occurs — either emotional or plot-driven.

It is precisely because of this long "compression" that the climax feels so incredibly powerful.

This principle is used in almost every type of storytelling — in action, mysteries, psychological thrillers, romances, tragedies, and comedies. And, of course, in anime and manga.

And One Piece combines them all!

Below, I will provide examples for each type of storytelling.

In action: A classic example

The hero loses almost every battle.

He gets injured.

He loses his allies.

We start doubting if he can even win.

Only after maximum pressure does the final showdown happen.

If the hero easily defeats everyone right from the start, the "spring" barely compresses — making the finale feel much weaker.

An example from Wano: we see Luffy losing to Kaido time and time again. Even though we know it's a shonen and Luffy will win, we don't know how, so the "spring" keeps compressing each time.

In mysteries:

The "spring" is the accumulation of riddles.

Every new clue only complicates the case further.

Then, the detective says:

"Now I get it."

And all the pieces fall into place.

One Piece isn't exactly a "mystery" series, but its world-building relies heavily on putting together a "jigsaw puzzle." Some "pictures" only come together after many years!

A perfect example is Brook and Laboon. In Chapter 103, we learned that Laboon was left behind by "some pirate crew." In Chapter 486, we discovered it was Brook's very own crew. In Chapter 506, we found out that Crocus (the one taking care of Laboon) became a doctor on Gol D. Roger's ship specifically to look for Brook's crew with them! "Now it all makes sense!" — The puzzle came together 403 chapters later!!! (Chapter 103 / Chapter 486 / Chapter 506)

In tragedies:

The "spring" exists here too, but it "uncoils" differently.

Tension keeps rising…

We hope everything will end well…

And at the very last second, disaster strikes.

The result isn't joy, but a massive emotional blow!

Perfect examples are Sabaody and Marineford.

The tension builds with the arrival of the Admiral / the tension surrounding Ace's execution keeps growing.

Rayleigh arrives to save the crew — victory! / Ace is freed — victory!

And then — Disaster. (Chapter 511, Chapters 571-572)

In comedy:

Here, the "spring" is often built on anticipation.

A character tries their absolute best to look serious.

Everyone around them is acting weird.

Tension keeps rising…

And suddenly, something completely ridiculous and absurd happens.

This is also a variation of the spring "uncoiling."

An example is when Oden comes to kill Orochi. Everyone around starts acting strange. The tension builds. And then, we are shown Oden dancing half-naked in the street. (Chapter 969)

In psychological stories:

Sometimes, the "spring" is almost entirely internal.

A character stays quiet.

They endure.

They hide their feelings.

They pretend everything is fine.

And one day, an emotional outburst happens.

Sound familiar?

An example is Water 7/Enies Lobby. Robin hides her true feelings and motives throughout the entire arc, and then the "emotional outburst" occurs. The emotional impact of this scene comes not just from the line itself, but because it was preceded by a long "compression of the spring." (chapter 398)

and...

In romance stories:

This is one of the most popular tropes.

Two characters cross paths.

They can't confess their feelings.

Misunderstandings arise.

Rivals appear.

Circumstances get in the way.

The reader can literally feel this tension. And only after a long time does a confession and/or a kiss finally happen.

That's why the scene feels so emotionally powerful.

If characters confess to each other five minutes after meeting, there is usually no emotional "payoff."

You probably thought of Zoro and Robin, didn't you? But let me give you a different example — Rayleigh and Shakky. They crossed paths at the beginning of the flashback, couldn't confess to each other, "rivals" appeared in the form of Roger (and basically every other man), and Shakky gets kidnapped — circumstances. After some time, almost at the end of the flashback, a "confession" happens. If we didn't already know they were a couple, we would have felt that exact same "tension." (Chapter 1156-1157/Chapter 1161)

Now, let's talk about why this technique actually works.

It is all about anticipation.

The human brain is constantly trying to predict what will happen next. As long as a conflict remains unresolved, it creates a state of tense anticipation. The longer and more convincingly the author maintains this tension, the more powerful the resolution feels — whether it’s a victory, a confession of love, the solving of a mystery, or a tragedy.

However, it is crucial not to "overstretch the spring." If the author delays the resolution for too long without actually progressing the story, the reader might get fatigued, and the effect will weaken.

That is exactly why good stories don’t just drag out the wait; they gradually raise the stakes. Every new event makes the conflict deeper and more meaningful, until the climax becomes absolutely inevitable.

There is also a separate technique that can be called the "stretched spring."

The formula looks something like this:

The First Encounter.

Characters meet or cross paths. Something important triggers between them: interest, a promise, a conflict, mutual respect, or a symbolic connection.

The Separation.

Their paths diverge. Sometimes for chapters, sometimes for years.

Parallel Development.

Each lives their own life, changes, grows stronger or more mature. However, the memory of one another (or the theme of their connection) resurfaces from time to time.

The Reunion.

This is exactly where the spring "uncoils." The longer and more meaningful the wait was — the more powerful the effect.

It is crucial that the tension is maintained not simply by the lack of encounters, but by the fact that the reader is actively anticipating this reunion.

For instance, if characters meet in Chapter 1, and then for 300 chapters they have absolutely no connection to the point where the reader forgets they even exist — that is not a spring. That is just a long hiatus.

BUT if the author periodically reminds us of their bond — through flashbacks, parallels, symbols, subtle nods, a shared goal, or a sense of unfinished business — then the tension keeps "compressing."

This technique is a massive favorite in epic storytelling. Sometimes, the first encounter takes up only a few pages, while the second one happens hundreds of chapters or several seasons later. It is precisely because so much time has passed between them that the reunion itself gains far greater emotional weight.

This resonates perfectly with the Zoro and Robin dynamic.

Many believe that after the early arcs, a significant dynamic was built between them, after which Oda heavily cut down on their direct interactions for a long time. If we assume this is a deliberate creative choice, such a "pause" could act as the "compression of the spring": the longer the sense of unfinished business remains, the more powerful the impact could be if the story eventually brings the characters together again at an emotionally critical moment.

This is exactly why the "spring" effect is less about the distance in time and more about the reader's continuous anticipation. If the anticipation fades, the spring "loses its tension," and the future reunion will no longer leave much of an impression. If the anticipation remains, the spring stays compressed.

This is exactly what Oda is doing. It would seem that since Zoro and Robin are on the same crew, they should be together often, but that is not the case. Their separation is a deliberate — hand-crafted choice by the author.

There are tons of examples.

If Oda had confirmed Zoro and Robin's relationship during the pre-timeskip arcs, let's be honest — it wouldn’t have caused any real impact, other than a simple "Well, that was obvious."

Then, Oda separates our couple for the timeskip, and we are all eagerly waiting for their reunion at Sabaody, and… it doesn't happen??? No, it actually does happen, but off-screen! These posts cover that part in more detail.

Every single character is shown, except for Zoro (only his legs) and Robin. Zoro is walking to meet Robin after 2 years.

But that didn't really satisfy us, did it? The "spring" is still compressed! Then, the author separates Zoro and Robin yet again on Fishman Island, and we start wondering: "Maybe something is wrong between them?" or "Did the author change his mind?"

And suddenly, an incredible "outburst" happens. (Chapter 639)

Then, he lets them interact for most of the "Punk Hazard" arc — or as I like to call it, the "Date" Arc.

But after that, he separates them again in Dressrosa. Notice how whenever Zoro and Robin are "separated," Oda very often portrays their actions in a "mirror" or similar way. For example, in Dressrosa itself.

Or take Wano as an example.

Oda didn't show them interacting directly, but what did he do instead?

He gave the most recognizable Japanese cultural archetypes (Ronin/Samurai and Geisha) exclusively to Zoro and Robin.

Constant "bridges" through other characters and "anchors" for one another.

Enma is a whole separate type of "connection."

The bond between Zoro and Robin through the "Hell theme" — the "King of Hell" and the "Demonio Fleur" (basically, the "Queen of Hell").

Those who miss these details might think, "Well, the author ignored this ship again." But right after Wano, Oda slightly "uncoils the spring" — emphasizing once more that he hasn't changed his mind or forgotten. And in doing so, he rewards the "loyal" reader.

As you can see, Oda has no problem showing them together. And he understands perfectly well how incredibly well-matched they are. after all, he created them for each other

What could it be? So the reason lies elsewhere.

Perhaps it is that exact same "Spring" Effect.

But it's also worth noting that Zoro and Robin are the "second lead" characters.

Zoro is the second male lead after Luffy.

Robin is the second female lead after Nami.

They can't always be together because each of them needs to drive the plot forward in one way or another.

That is why they are often paired with "supporting characters" to achieve specific plot goals. Take Onigashima, for example. While Zoro and Luffy, as the main male leads, were driving the core plot together, Robin spent most of her time with Jinbe, and later with Brook, to push her own storyline forward. By the way, it's exactly the same way Nami spent most of her time with Usopp and Tama.

The exact same thing is happening right now on Elbaf. Initially, Luffy, Zoro, and Nami were moving the plot forward with Loki's storyline. Then Nami headed back to the feast, while Luffy and Zoro pushed further. Eventually, they split up, and everyone started driving their own separate storylines.

The exact same goes for Robin. Her task was to introduce the storyline involving "The Harley"(chapter 1138) and to the reader. Which of the relatively supporting characters should be paired with her to help with this? It couldn't be Zoro or Luffy — they are the main leads, and they have a massive role to play. That's why Oda gives her Chopper, who acts as a listener, and Franky, who visually introduces the reader to "Harley."

Because the main leads have the most prominent roles while supporting characters act as helpers, it creates the illusion that the barely talk to each other.

Let me tell you even more: I found out that Luffy and Franky didn't interact for almost 25 VOLUMES straight. From Volume 73 to Volume 97. Specifically, from Dressrosa — when Franky said he could eat Ace's fruit if Luffy wanted him to — all the way to the beginning of Onigashima. That is 6.5 real-life years of manga!!!

If we follow the logic of "they don't talk, so nothing is there," then Franky left the Straw Hats ages ago, considering he doesn't even talk to his Captain!

Here is your homework xD: Try to remember how much Nami actually interacted with Luffy during Wano? On the other hand, Nami interacted with Usopp a ton. And let me remind you that Usopp and Kaya haven't spoken to each other for almost 28 real-life years, spanning over 1100+ chapters. Do you really think Oda forgot about that pairing?

Zoro and Robin interact with each other in one way or another in every single arc — sometimes less (Wano, Egghead), sometimes more (Punk Hazard), but without fail, in every single one. In the Elbaf arc, we haven't seen any direct interaction between them yet. I believe it has to happen. What kind of interaction? Well, there is a theory…

And one last thing.

Let me give you an example of how Oda tries "not to overstretch the spring."

The Whole Cake Island arc lasted for 2 real-life years. An arc where Zoro and Robin are completely absent. That is, if we don't count Katakuri, who is practically a "Zorobin" character — in the sense that he seems to combine elements of both Zoro and Robin. It's as if Oda is subtly reminding the reader about this ship, using Sanji's own memories! (Chapter 843/Chapter 856)

Wano. A wife calming her husband down when he gives in to his emotions right before a major battle. My dear, TOEI, even dragged out this scene, showing how slowly Robin approaches him. It's as if she is the only one who can actually get close to Zoro. And I'm so grateful to them for that! (Chapter 997/Ep. 1011)

Another example. A husband listens only to his wife. (chapter 1074)

Oda gives us "just a little," but never enough for us to forget — he constantly reminds us of this couple in one way or another. This is how he keeps the tension of the "Spring" alive/ In this post, @hapifangurl mentioned that "Zoro and Robin's relationship is like that of ants" — slow-burning, yet steadily moving forward. Combine that with the "Spring" Effect, and what you get is one of the most well-developed and beautiful ships in manga and anime history.

That is what we will get.

I could go on for much longer, but I think that’s enough for today. As I mentioned before, these thoughts were just inside my head, so I had to quickly throw them all together in this post over the course of a few hours. I might have forgotten something xD

This is my opinion. Share your thoughts/opinions in the comments! Thank you~

By the way, while I was looking for Zorobinkiss's post, I stumbled upon a reblog of Joe's post with a very interesting cover!)))) If you ever need a ton of Zorobin content, just head over to @zorobinkiss, type the hashtag, and scroll down xd. There is SO much stuff there. link to repost

part 5 of ???

Link to the part 1 Link to the part 2 Link to the part 3 Link to the part 4

At first, I thought about skipping Oden's flashback, but now that I'm on this path — Alea iacta est. And I think, for the bigger picture, it's necessary to skim through the flashback one way or another, because some people believe that Zoro is "Oden", and Hiyori is "Toki", which (spoiler) isn't so.

Chapter 960.

In Part 3, I touched upon Oda’s foreshadowing — specifically, Oden cooking oden soup over a funeral pyre. Right at the very beginning of the flashback, Oda drops this massive omen. But since it's just the start of the flashback, the reader has no way of knowing it's actually major foreshadowing for Oden's eventual fate.

Oden shares striking similarities with Mont Blanc Noland — yes, the exact same Noland we first learned about back in Skypiea. Both serve as the main protagonists of historical flashback arcs, and both ultimately face execution by greedy, power-hungry rulers who tarnish their legacy with lies and misinformation.

Also, in my previous post, I briefly mentioned the connection between Oden, Denjiro, and the Legend of Susanoo. Oda practically copied the archetype and key elements of the Susanoo myth to build Oden’s story:

Susanoo possessed a wild, unruly nature, committing reckless acts just to boast, destroying everything around him. Eventually, his sister, the sun goddess Amaterasu, lost her patience, and the gods banished Susanoo from the high heavens down to the earthly realm (the Izumo region).Similarly, in his youth, Oden was an uncontrollable delinquent, starting massive brawls, kidnapping women, and causing chaos in the capital. His father, Shogun Sukiyaki, couldn't bear the shame and banished Oden from the Flower Capital, exiling him to the lawless and dangerous region of Kuri.

Once on Earth, Susanoo transformed into a true hero. He encountered weeping elders whose daughters were being devoured by a terrifying eight-headed serpent; he took pity on them and stood up to protect the people. Oden arrived in Kuri when it was overridden by bandits and chaos. He single-handedly defeated the most dangerous criminal, Ashura Doji, tamed the region, built homes and farms, and brought peace to the people, fully redeeming himself for his reckless youth.

The legendary weapon Susanoo used to slay the serpent was a divine sword named Ame no Habakiri (天羽々斬, literally "Heaven's Feather-Cutter" or "Slayer of the Sky Serpent"). One of Oden's two signature swords, which he inherited from his father, is named exactly that — Ame no Habakiri. In the manga, it is explicitly referred to as the blade "capable of slicing through the heavens themselves." (more details on Ame no Habakiri in this post)

Susanoo’s most famous exploit is his victory over the legendary eight-headed serpent, Yamata no Orochi. In the story of Wano, Oden’s ultimate enemy and the oppressor of his country is none other than Kurozumi Orochi, who ate the Mythical Zoan Snake-Snake Fruit, Model: Yamata no Orochi.

In that same previous post, I also brought up the connection between Oden, Denjiro, and Ishikawa Goemon — the Japanese "Robin Hood." There, I explained how Goemon's and Oden's executions are completely identical. But there is another detail that Oda played around with: in Japan, following Goemon’s execution, large iron bathtubs heated from below came to be known as "Goemon-buro" (Goemon baths). Oda pulled off the exact same historical wordplay, but adapted it to his favorite theme — food. Instead of a bath, Oden was literally "boiled alive" just like the oden soup he is named after.

If you are still skeptical about the parallels between Zoro/Robin and the Greek myth of Hades and Persephone (or the Roman Pluto and Proserpina), Oden is the perfect proof that Oda frequently draws heavy inspiration from Greco-Roman mythology.

Oden is One Piece’s Heracles (Hercules). Look:

Both possessed monstrous, god-like strength since infancy.

Both were infamous for their numerous love affairs and scandals with women.

Both were rejected and disowned by a family member (Heracles was hated by Hera; Oden was disowned by his father, Kozuki Sukiyaki).

Both were famous sailors (Heracles was part of the Argonauts; Oden sailed the seas with the Whitebeard and Roger Pirates).

Both had fathers who ruled over their respective realms (Heracles' father was Zeus, the King of Olympus; Oden’s father was the Shogun of Wano and head of the Kozuki clan).

Heracles was banished and sent to tend cattle on Mount Cithaeron, where he slew the fearsome Cithaeronian lion and protected the local herders. Similarly, Oden was exiled to Kuri — a lawless "hell on earth." There, he defeated the strongest bandit, Ashura Doji, tamed the outlaws, cleared the wild forests, built farms, and became the Daimyo, transforming a wasteland into a paradise.

Furthermore, several of Oden's iconic actions are explicitly based on the Twelve Labors of Heracles:

Oden’s victory over the giant Mountain God is a direct nod to Heracles' Fourth Labor — capturing the Erymanthian Boar.

Oden’s attempt to help the citizens of the Flower Capital during a severe drought by diverting a river toward the city is based on the Fifth Labor — cleansing the Augean Stables in a single day by rerouting two rivers. However, unlike Heracles, Oden’s attempt ended in a massive flood and disaster…

Oda clearly knows his Greco-Roman mythology inside out. :)

Oden’s attack — Tougen Shirataki (桃源白滝) — is a classic Oda wordplay:

Shirataki is a type of Japanese konjac noodle, which literally translates to "White Waterfall." Crucially, it is one of the most essential and popular ingredients in oden soup!

Tougen (桃源) refers to the "Peach Blossom Spring" (Tougenkyo), the Eastern equivalent of a utopia, an earthly paradise, or Shangri-La. This concept stems from Tao Yuanming's classic Chinese poem, where a fisherman accidentally discovers a hidden village behind a cave near a waterfall and blossoming peach trees. In this paradise, people lived in absolute harmony, untouched by world wars and suffering.

Even the "Mountain God Incident" is a blend of two distinct inspirations:

Visually and narratively, the Mountain God is heavily based on Lord Okkoto from Hayao Miyazaki’s "Princess Mononoke". Oda borrowed not only the colossal size and snow-white fur of the boar but also his blinding fury triggered by the loss/theft of his kin (his cub, in One Piece’s case).

The Legend of Prince Yamato Takeru: In Shinto myth, the prince traveled to Mount Ibuki to defeat a malicious local deity. On his way, he encountered a massive white boar the size of an ox. The prince mistakenly dismissed it as a mere messenger of the god, but it was actually the enraged Mountain God himself, who struck the hero down with a deadly blizzard. In One Piece, however, Oda flips the myth — Oden successfully cleaves the Mountain God in half, unlike Yamato Takeru.

Since we are dissecting Oden's lore, we have to look at his family name: Kozuki (光月). Phonetically, it is incredibly close to Kojiki (古事記).

The Kojiki is the oldest surviving Japanese chronicle. It is the definitive source for Japanese mythology, early history, and the divine origin of the Imperial line.

The name itself breaks down into:

古 (ko) — ancient;

事 (ji) — events / matters;

記 (ki) — records / chronicle.

Literally, it means "Records of Ancient Matters." Pretty much everything we consider classic Japanese mythology — the tales of Amaterasu, Susanoo, Ame no Habakiri, Yamata no Orochi, the Imperial Regalia, and Yamata Takeru — is known to us today precisely because of this book.

It is highly likely that Oda chose the name Kozuki to deliberately echo Kojiki for his Japanese audience, instantly linking the clan to the ultimate keepers of ancient history.

Look at how beautifully this symbolic parallel aligns:

Kojiki: Records ancient history | Kozuki: Carves the True History onto the Poneglyphs.

Kojiki: Preserves the memory of the past | Kozuki: Protects the memory of the past at all costs.

Kojiki: The ultimate source of Japan's myths | Kozuki: The ultimate source of the Void Century and the True History of the One Piece world.

The Kojiki is a book that saved Japan's history from being forgotten. The Kozuki are the creators of the Poneglyphs — the indestructible stone "chronicles" meant to save the entire world's history from being erased by the World Government.

Chapter 963 / Chapter 1133.

If you ever thought that Kikunojo and Nico Robin looked strikingly similar… well, you weren't imagining things. On the left — Kikunojo. On the right — Nico Robin.

Chapter 964.

This chapter introduces us to Amatsuki Toki (天月トキ).

Her family name, Amatsuki, is written with the Kanji:

天 (ama) — heaven / sky

月 (tsuki) — moon Literally, it translates to "Heavenly Moon". This is a highly unusual combination. In actual Japanese history, there is no famous clan named Amatsuki, meaning Oda likely crafted this surname entirely on his own.

The Kanji 天 (ama) could evokes associations with the concept of Amatsukami (天津神) — the "heavenly deities" of Shinto mythology. These are the gods who dwell in the High Heavenly Plain (Takamagahara), as opposed to the Kunitsukami (earthly deities). Even though the phonetic spelling isn't an exact match, the "celestial/heavenly" nuance is impossible to ignore.

In stark contrast, her given name, Toki (トキ), is written in Katakana. To a Japanese speaker, hearing the word toki could brings to mind the Kanji 時 (toki), which means "time". This is a narrative choice, directly aligning with her ability to travel forward through time using the Toki Toki no Mi (Time-Time Fruit).

The Moon plays a big role in the lore of Wano. Originally, the country was governed by six major clans, each ruling a different region:

Kozuki («Light Moon»);

Shimotsuki («Frost Moon»);

Uzuki («Fourth-Month Moon»);

Fugetsu («Wind Moon»);

Amatsuki («Heavenly Moon»)

And finally, Kurozumi («Black Charcoal») — notably the only clan without the "Moon" in their name.

In traditional Japanese culture, the moon symbolizes the passage of time, the changing of seasons, eternity, memory, and hope. Every single one of these themes is deeply interwoven with Toki’s character arc.

But there is another fascinating, obscure detail: Toki (トキ) is also the modern Japanese name for the crested ibis. It is a strikingly beautiful white bird that represents rarity, rebirth, and hope. Whether Oda intended this double meaning or not, it is a poetic coincidence.

Chapter 964 / Chapter 273.

I don't know why, but for some reason Toki's phrase reminded me of Robin's phrase in Skypiea…

Oda clearly has a obsession with the number 26… Some people firmly believe that Zoro is a direct parallel to Oden (or vice versa). After all, Oden met and saved Toki when she was 26 years old, and Zoro met and saved Hiyori when she was exactly 26 years old. On top of that, Zoro now wields Enma — Oden’s legendary sword—and just like Oden, he leaves a permanent scar on Kaido.

The similarities are definitely there. Oden was also the Commander of Whitebeard’s Second Division, which visually fits the "number two" theme.

But when people force the Zoro-Oden parallel, they completely forget about Silvers Rayleigh. And honestly? That’s where could Oda’s clever misdirection lies.

The difference between Zoro, Rayleigh, and Oden isn’t just their personalities — it’s their fundamental positions within a crew:

Oden was a division commander for Whitebeard before joining Roger, but he was never Whitebeard's or Roger's second-in-command. He was a guest, a brother, a powerhouse — but not the Right Hand.

Rayleigh is the second in crew and the Pirate King's right-hand man. Zoro is the second in crew and right-hand man of the future Pirate King.

Rayleigh is the "Dark King" (Meio). Zoro is the "King of Hell" (En-o). The thematic connection between their titles is glaringly obvious.

Let's not forget the physical and behavioral traits they share — the exact same eye scar, the similar muscular build, the shared love for alcohol, and their calm, anchoring presence when their captains go wild.

If anyone actually inherits Oden’s personality, it’s Yamato! Yamato embodies Oden’s chaotic spirit, his obsession with freedom, and his dream to see the dawn of the world. Because of this, it’s highly possible Yamato will join the Straw Hats right before Laugh Tale — mirroring exactly how Oden joined Roger’s crew for the final stretch of his journey.

Or maybe not.

Chapters 965-966.

Chapter 965 — this is where Oda drops the real visual parallel between Zoro and Rayleigh. Rayleigh’s outfit here is almost identical to Zoro’s post-timeskip attire. The only difference? Rayleigh’s shirt is explicitly purple 👀. It makes you wonder: does the Dark King share the exact same aesthetic preference as the future King of Hell? After all, Zoro's advanced conqueror's Haki and King of Hell techniques are consistently wrapped in deep purple flames and aura.

Moving on to Oden, his attack Gan Modoki brings us back to Oda's signature culinary wordplay.

Ganmodoki (がんもどき) is a traditional Japanese fried tofu fritter made with vegetables and egg whites. Crucially, it is a staple, mandatory ingredient in a traditional winter oden soup. Oda committed to this bit completely: literally every single one of Oden's named attacks—including Tougen Shirataki and Shimi Daikon — is named after an oden ingredient.

Oda gave the technique a dark double meaning through Kanji. Written as 銃擬鬼, the first character means "firearm/bullet" (sounding like the English word Gun), while the remaining characters mean "in the likeness of a demon/ogre" (Modoki).

In the very same chapter, we witness Gol D. Roger unleash an attack called "Divine Departure". In the original Japanese, this technique is called Kamusari (神避).

This was the absolute first time this attack was shown in the manga, and it is no coincidence that Roger used it specifically against Kozuki Oden. The word Kamusari is an archaic, classical Japanese literary term found directly in — you guessed it — the Kojiki, the ancient chronicle I mentioned earlier!

In Shinto mythology, gods (kami) are immortal and cannot "die" in the conventional human sense. When a major deity passes away or leaves the mortal realm (like when the mother goddess Izanami perished after giving birth to the fire god), this divine departure is referred to as kamusaru or kamusari. Essentially, the mythological translation of the move is "The Death of a God" or "Divine Passing."

"Kamusari" is a term from the "Kojiki" - Roger uses "Kamusari" against Kozuki..

Btw, this is the exact same legendary technique that Shanks later used to obliterate Eustass Kid in a single blow.

Chapter 966 / Chapter 301.

In Chapter 966, right after Oden joins Roger, they set sail for Skypiea. Yes, the exact same Skypiea that some "fans" love to dismiss as "filler" or an arc that "doesn't matter anymore."

It is here that Oda reveals the moment the Pirate King left his message in the ancient Poneglyph script — the very text Robin discovered and read all the way back in Chapter 301.

Chapter 301 was released on December 1, 2003. Chapter 966 was released on December 23, 2019.

Oda held onto this secret and closed the narrative loop after SIXTEEN YEARS.

301 is, by the way, the very chapter where Zoro "wanted to leave Robin in Skypiea," but for some reason he looked happy when he saw her…

Chapter 966/ Chapter 967/ Chapter 233 / Ep 967.

Seeing Rayleigh holding baby Momonosuke is, first of all, incredibly wholesome! But his comment about it "bringing back memories" carries narrative weight. Back then, Roger also mentioned that it had been ages since he last held a baby. After all these years, the fandom finally connected the dots: they were almost certainly talking about Shanks, who ended up on their ship as an infant right after the God Valley incident!

In the manga this is not the case, but in the anime there is a direct parallel between Roger and Luffy.

When Toki falls ill, she strictly commands Oden not to give up on his grand dream. She is the ultimate definition of a strong woman standing by a strong man. Incidentally, Oden leaves Toki in Wano, and throughout this entire flashback, we never see Shakky. So keeping the two lovers apart is classic for Oda.

The name of the ruler of the Minks (or whoever he is) is Genghis Baan, he is a ram mink - this is also a reference to Japanese cuisine. Jingisukan (ジンギスカン) is a Japanese mutton dish which is said to be named after Genghis Khan.

It's also worth mentioning that Roger's crew arrives on Water 7 and Oden talks to Franky. Franky tells Oden that he was abandoned by the pirates. This is also a funny moment, and not without reason, since in SBS 113, Oda, in his own style, answered an interesting question about Franky and Queen.

SBS vol 113.

It's also worth mentioning that the factory overseer Franky kissed in Dressrosa is named Kyuin(or Kuween), which sounds a lot like Queen, don't you agree? Oda's foreshadowing? Franky x Kyuin ? I don't know. And I don't know for sure whether Queen is Frankye's father, and I'm not going to speculate on that here, but if you're interested, you can look for similarities between the two characters, and I think you'll be surprised…

Chapter 967.

This might be exactly what will happen to our Straw Hat crew when they find One Piece!)

Chapter 968.

In Chapter 968, we hear the Sea Kings speaking of the birth of two sovereigns. Given the timeline, they are almost certainly referring to Luffy and Shirahoshi (who is 16 years old in the current story).

Roger comments on the future Luffy, dropping line that birthed a thousand theories: "We were too early." We will leave the heavy lore theorizing to the theorists.

Panel where Rayleigh is reading the newspaper for the entire crew. We don’t know if this was his permanent duty, but again a collective image - a swordsman, the right hand of the Pirate King, a scar on his eye, connected to "Hell", reads a newspaper, wears purple clothes with floral patterns.

Oden then recalls Roger saying something to Rayleigh, something that even made Rayleigh cry (this is more clearly seen in the anime, episode 969). The manga also emphasizes once again that Rayleigh was called the "Dark King." (A reminder before Zoro is made the King of Hell?)

Oden returned to Wano and of course Toki missed him, as he missed her.

Chapter 969.

The title of Chapter 969, "Fool of a Lord," is a direct, nod to a Japanese comedy show that aired as a series of wildly popular television specials from 1986 all the way to 2020.

This show, starring the comedian Ken Shimura, birthed the archetype of Bakatono (literally translates to "The Foolish Lord" or "The Idiot Prince"). The character is an Edo-period ruler recognizable by his stark white-painted face, caricalturishly painted red lips, thick black eyebrows, and a ridiculously high, vertical topknot topknot on his head.

In the show, Bakatono is an infantile, lazy, and deeply eccentric ruler of a castle. Instead of actually governing his domain, he spends his days slacking off, chasing castle maids, overeating, playing absurd pranks, and getting into ridiculous arguments with his retainers. The show was built entirely on classic Japanese slapstick: characters constantly getting hit over the head with paper fans, doused in water, or smashed in the face with pies.

Oden was the hope of the people of Wano, but he turned into a Fool Lord and a laughingstock for the entire country.

Kurozumi Semimaru is a Biwa player and the previous user of the Bari Bari no Mi (the Barrier-Barrier Fruit currently owned by Bartolomeo). "Biwa players" (more historically known as Biwa-hoshi, 琵琶法師) were blind, wandering monk-musicians in medieval Japan. They traveled across the country, performing epic ballads to the accompaniment of the biwa — a traditional Japanese four- or five-stringed lute.

In medieval Japan (particularly during the Kamakura and Edo periods), strict checkpoints and barriers called sekisho (関所) were established between provinces. Because of the government's tight control, it was incredibly difficult for ordinary people to legally cross regional borders. However, an exception was made for the biwa-hoshi. The government issued special travel passes to these blind musicians, allowing them to freely pass through any state checkpoints and barriers. Thanks to this privilege, they could travel across the entire country completely unhindered, carrying and spreading news from province to province.

Kurozumi Higurashi — higurashi (ひぐらし) carries a few meanings. The most common one is the evening cicada (Tanna japonensis), which is famous for its distinct, melancholic singing at sunset.

However, the second meaning of higurashi in historical Japan is more telling. The term was used to describe certain itinerant performers: wandering singers, storytellers, reciters, and performers of Buddhist or other religious narratives.

A wandering storyteller is the ultimate symbolic blueprint for Higurashi. Using the Mane Mane no Mi (the Clone-Clone Fruit currently owned by Bon Clay), she constantly changes her face, spreads manipulative ideas, pulls everyone's strings with her words, and literally "acts out roles" to orchestrate the downfall of Wano.

Chapter 970.

The Arc of "Lies" in all its glory…

In the original Japanese, Oden’s ultimate attack is called Tōgen Totsuka (桃源十拳).

Tōgen (桃源): As mentioned before, this refers to the "Peach Blossom Spring" — the Eastern concept of a utopia, paradise, and an ideal world.

Totsuka (十拳): Literally translates to "ten fists." However, in Japanese mythology, Totsuka is the historical abbreviation for Totsuka no Tsurugi (十拳剣), which means "a sword spanning ten tsuka in length" (tsuka being the hilt of a sword used as a unit of measurement).

The Totsuka no Tsurugi is the name of the legendary divine sword used by the god Susanoo to slay the eight-headed serpent, Yamata no Orochi. Crucially, Ame no Habakiri and Totsuka no Tsurugi are actually different names for the exact same mythical blade. And as we know, Ame no Habakiri is one of Oden's two personal swords.

A very beautiful interpretation could be that the name of the technique reflects Oden's dream:

Tōgen — an ideal, free, open country (a utopia).

Totsuka — the divine sword capable of slaying the monster threatening that peace.

Chapters 971-972.

The "lie" is exposed, revealing the true reason why Oden chose to act as the "Fool of a Lord."

Orochi breaks his promise yet again — who could have possibly guessed…

And there is that key phrase of Oden's, which I mentioned earlier: "I am Oden… and I was born to boil!!!"

It is also intresting to note that traditional oden soup takes exactly one hour to boil. This is the exact amount of time Kaido challenged Oden to endure in the boiling oil, and it is exactly how long he held out.

Furthermore, Oden’s birthday, February 22nd, is celebrated in Japan as National Oden Day. To add to this, Chapter 972 — the very chapter where Oden is executed — was released on that exact same day, February 22nd.

Chapter 973 / Chapter 950.

Following Oden’s execution and the time-travel of the retainers into the future, Denjiro went into hiding, unleashing his absolute raw fury and grief inside… the Enma Shrine!

This is the exact same isolated shrine deep in the forest where Hiyori later took shelter while Zoro fought off the Orochi Oniwabanshu ninjas pursuing them.

Which may once again hint at the connection between Hiyori and Denjiro, which I described in the previous part (the third).

And also the Zoro-Robin-Denjiro-Hiyori connection.

So, the flashback is over, but I still have some things. I know this post isn't exactly "Zorobin," but I hope it was at least interesting..

However, we can still learn something from this flashback.

Oda prefers to keep couples apart? Most of Oden adventure — Toki was off-screen. Shakky and Rayleigh met at the beginning and end of the flashback in the Elbaf arc. Kin'emon and Tsurujo haven't seen each other for a huge number of chapters.

And so on.

And at this point, you might quite rightfully ask: “So, why exactly did you choose this title for the post?”

Chapter 961.

Oda said (or is credited with saying) that "One Piece is shonen and it's not about romance." Well, it looks like the author who doesn't want "love/romance in shonen" is most likely being held captive and forced to do it!

Love in shonen can be presented in different ways - funny and serious, cheerful and sad, "loud" and "quiet". However, there is one thing that does not change - the hero always becomes enraged when his beloved is in danger.

Like, for example, Kin'emon flew into a rage when the Mountain God "ate" Tsurujo.

Chapter 968.

Or how Oden became furious when he learned that Toki had been attacked and wounded in his absence.

Or Rayleigh's rage towards Sommers when Rayleigh came to save Shakky (Chapter 1161). Or...

Other than "captivity," I can't explain why our "non-fan" of drawing romance draws it…

Chapter 218 of One Piece, where Robin joins the crew, was released on February 18, 2002. Chapter 965 was released on December 16, 2019, and Chapter 1156 was released on August 3, 2025. As you can see, the difference between these dates is huge. But some things don't change… And I couldn't shake the feeling that it was like something. A ship, a lonely goof-swordsman making a face, a girl smiling at him one-on-one… I feel like I've already seen something like this before…

Chapter 965 / Chapter 218 / Chapter 1156.

part 4 of ??? Link to the part 1 Link to the part 2 Link to the part 3 Link to the part 5

To once again highlight Oda’s deep love for Japanese culture and literature — especially prominent throughout the Wano arc — I wanted to share this direct visual nod to Katsushika Hokusai’s legendary woodblock print, "The Great Wave off Kanagawa."

Chapter 910. It’s nearly identical!

In the anime (episode 891), they took it a step further. To emphasize the woodblock print aesthetic, several frames were stylized to look exactly as if they were painted directly onto a wooden canvas! And with that, let’s begin!~

Chapter 942

Shimotsuki Yasuie is a distant relative of Zoro. In Chapter 941, as well as from the title of Chapter 942, we learn that he is the Daimyo of the Hakumai region. And right here, we (once again) encounter Oda's favorite thing: wordplay, specifically his favorite theme — food!

In Japanese, the Hakumai region in Wano is written as "白舞" (White Dance). However, phonetically, it sounds ABSOLUTELY identical to the word Hakumai — "白米".

Hakumai (白米) literally translates to "white rice" — the exact type of rice used to make Sushi and Onigiri! This is a classic food-related pun by Oda, very much like Zoro's "Oni Giri" technique (which doubles as "demon cutter" and "rice ball"). You can read more about this wordplay here.

Yasuie’s execution takes place in the Rasetsu Town (羅刹町, Rasetsu-chō), an area of the Flower Capital where people are imprisoned for crimes against Shogun Orochi and Kaido — including showing loyalty to their enemies, the Kozuki Family. The district is named after Rakshasas (Rasetsu in Japanese mythology), fierce, man-eating demons. This name heavily emphasizes the grim and brutal atmosphere of the location.

Once again, it is confirmed that "Ushimitsu Kozo will die alongside Komurasaki" — a direct nod to the tale of Komurasaki and Shirai Gonpachi, who died on the very same day (which I covered in my previous post here).

As I have mentioned multiple times: Wano is the "Arc of Lies," and this theme is strongly reinforced here! Yasuie not only lies about being Ushimitsu Kozo, but he also claims he created the rebellion's picture image just to "play a prank" on Orochi. In reality, he sacrifices his life and uses this lie to save the alliance, giving the rebellion a second chance. A noble lie for the greater good.

In this chapter, we once again witness Oda’s brilliant use of double entendres. The phrase "A man of such small caliber shall never in his life truly devour Oden!!" carries a clever dual meaning: it implies that someone as petty as Orochi could never truly finish a bowl of oden soup, while simultaneously declaring that he could never truly best or digest the legacy of Kouzuki Oden (the legendary man himself).

Furthermore, Orochi constantly refers to Yasuie as a "rat." This isn't just a basic insult — it’s another intentional linguistic pun by Oda! Yasuie’s actual nickname is "Yasu the Hedgehog." In Japanese, the word for hedgehog is Harinezumi (ハリネズミ / 針鼠). Literally, it translates to "needle mouse" or "spiky rat," where 針 (hari) means needle and 鼠 (nezumi) means mouse or rat.

Yasuie's dialogue placed right over Zoro's panel feels like a deliberate narrative misdirection. It was designed to trick the readers into believing that Zoro would be the one to defeat Kaido — a theory that a massive part of the fandom genuinely bought into while Wano was airing. There were so many signs pointing toward Zoro taking Kaido’s head, and that very well could have been the case… if Wano wasn't established as the "Arc of Lies!"

To wrap it all up, this chapter brings us back to the horrifying reality of the "SMILE" fruits, which Doflamingo was manufacturing for Kaido. A plot thread that Oda planted over 300+ chapters ago, finally revealing its devastating truth...

Chapter 943.

The chapter cover features a classic Oda "foreshadowing" moment, subtly hinting at Robin’s future battle against Black Maria, who possesses the spider-model Devil Fruit.

In my opinion, Zoro connected the dots the very second he heard the name "SMILE" — even before Hiyori explained why the people of Ebisu are forced to "smile" through their pain. That’s exactly why he is drawn with such a grim, heavy expression here.

Side note: If anyone is somehow bothered by Robin standing next to Franky in these panels — calm down. He is huge, and the artist simply needed to fit his massive design into the frame layout.

We also see Sanji’s reaction to the realization that the people of Ebisu were starving. For Sanji, the theme of hunger is deeply personal, striking at the very core of his character and backstory.

Look at Zoro’s reaction. He recalls Yasuie’s words about laughter. His fury is so intense that the veins on his face and neck are literally bulging!

Right after, Hiyori spots Toko, and Sanji notices her too. Notice how Robin’s reaction mirrors Hiyori’s! Meanwhile, Usopp explains to the trio that Toko is Yasuie's daughter, as an old woman had just revealed this truth to him and Nami in the previous chapter. Franky is visibly shocked by the news.

Then, Orochi notices Toko and immediately prepares to execute her. He acknowledges her as Yasuie’s daughter, claiming that her "laughter" was the reason Komurasaki had to die, and declares that "two generations of her family have earned his wrath."

Orochi is completely delusional and unhinged. He utterly refuses to acknowledge that her laughter is a direct consequence of the artificial SMILE fruits — crimes that he himself committed!

And, of course, the scene where Sanji and Zoro step in to protect Toko from Orochi.

Interestingly, Oda chose to have Zoro be the one who physically catches and holds Toko, rather than Sanji.

Why do you think he did that? Especially considering that shortly after, Zoro hands Toko over to Sanji, Sanji passes her to Usopp, as a result, Toko ends up directly under Robin's care..

Next, Zoro hands Toko over to Sanji and launches a direct assault on Orochi using his "720-Pound Phoenix" technique. However, Kyoshiro (Denjiro) suddenly steps in and blocks the attack, saving the Shogun's life. Even though Zoro is wounded here, his slashes are still incredibly powerful, so Denjiro managing to deflect them easily establishes him as an exceptionally skilled samurai and swordsman.

As a fun side note: On the page where Zoro attacks Orochi, Oda includes a panel of Robin. Yet, on the page where Denjiro blocks the strike, the focus shifts to Hiyori… that’s just a little detail.

Here, I want to take a quick detour to explain how the numbering of Zoro's cannon/phoenix techniques actually works (you might already know this, but it’s fascinating!).

The numbering is rooted in strict mathematical logic tied deeply to Buddhist philosophy, specifically regarding the human mind and worldly desires. At the core of this formula lies the Buddhist concept of the 36 earthly desires (passions) that corrupt the human soul.

The number 36 is calculated by multiplying human senses, perceptions, and time:

6 senses: sight, hearing, smell, taste, touch, and mind;

3 types of perception: good, bad, or neutral (6 × 3 = 18);

2 qualities of the soul: pure or corrupt (18 × 2 = 36).

The final power and name of the technique depend entirely on how many swords Zoro is currently wielding. He simply multiplies the base 36 desires by the number of blades:

1-Sword Style (Ittoryu): 36 × 1 = 36-Pound Cannon

2-Sword Style (Nitoryu): 36 × 2 = 72-Pound Cannon

3-Sword Style (Santoryu): 36 × 3 = 108-Pound Cannon

After his two years of training with Mihawk during the timeskip, Zoro’s power increased proportionally, so Oda simply multiplied everything by 10:

1-Sword Style: 36 × 10 = 360-Pound Cannon

2-Sword Style: 72 × 10 = 720-Pound Cannon (the one he uses here against Orochi)

3-Sword Style: 108 × 10 = 1080-Pound Cannon (used against Pica in Dressrosa)

This proves once again that Zoro is actually excellent at math!

also 7 and 2 the official numbers assigned to Robin and Zoro...

Next up, we get a Zoro x Franky shipping scene. Joke!

What actually happens is Franky swooping in to shield Zoro from incoming gunfire. This is like a mirror to how Franky shielded Robin back in Enies Lobby — also from a barrage of bullets! Franky is truly nakama, protecting both halves of our favorite couple with equal devotion. We love him for that!

Right after, Franky retrieves Yasuie’s body. This is a moment for Zoro: he is now completely free to fight. He doesn't have to worry about Toko's safety (Sanji has her), and he doesn't have to worry about securing Yasuie's body (Franky took care of it).

We also see Usopp covering Franky’s back — which is logic, considering Franky’s back is his only vulnerable spot without metal armor.

The anime adaptation (Episode 942) expands on this sequence beautifully, showing a perfect chain of teamwork: Robin covers Usopp, and Nami covers Robin. Great teamwork!

Meanwhile, Kyoshiro (Denjiro) claims he is protecting Orochi because he is "the Shogun’s dog." Which, as we know, is another lie. In my opinion, Denjiro stopped Zoro from killing Orochi for one calculated reason: if Orochi died right then and there, Kaido would have immediately descended upon the Flower Capital. He wouldn't just destroy the city; he would slaughter everyone in sight, completely ruining any chance for the actual Rebellion plan to succeed.

This chapter also finally unmasks the true identity of Hitokiri Kamazo. I actually did a deep dive into this character in my previous (second) post, which you can read here.

Killer and Kid are captured and brought back to Udon.

Let's talk a bit about Udon.

The Udon Prisoner Mine is a reference to the industrialization of Japan during the Meiji Restoration and the forced labor camps of the late 19th and early 20th centuries, cleverly blended with traditional Japanese food culture.

During the Meiji era, Japan underwent rapid modernization. Political prisoners and criminals were exiled to remote, undeveloped territories (most notably to Hokkaido, inside the infamous Abashiri Prison) to build infrastructure, mine coal, and fuel heavy industry. Just like in real history, the prisoners in Udon aren't just sitting in cells — they have been enslaved to build weapon factories and manually quarry stones to enrich their occupiers.

Furthermore, after the abolition of the samurai class in real-world Japan, many former warriors who rebelled against the new regime were sent to these penal colonies, where their pride was systematically broken through brutal, grueling labor. Oda mirrors this historical tragedy perfectly: former Yakuza bosses, samurai, and loyal retainers of the Kozuki clan have spent years breaking their backs in Kaido's mines, waiting for their spirits to finally sap away.

And, of course, Oda’s favorite theme — food — makes its appearance here as well.

Udon is, famously, a thick Japanese wheat noodle. It is deeply ironic that inside a prison named after food, the inmates are given meager kibidango as payment for slave labor. Meanwhile, Queen is utterly obsessed with oshiruko (a sweet red bean soup with mochi). To wrap it all up, Big Mom is currently marching right toward them for that exact same reason — for oshiruko!

Chapter 945. Zoro continues his fierce clash with Kyoshiro (Denjiro), but things get complicated when the Orochi Oniwabanshu ninjas arrive on the scene and attack Zoro!

Do you remember who had to deal with the Oniwabanshu just a few chapters ago? That’s right — Robin!

I did a comprehensive breakdown of the Oniwabanshu in my previous (second) post, which you can check out here. As a quick reminder, Oniwabanshu literally translates to "people of the noble garden."

Meanwhile, Sanji safely passes Toko over to Usopp.

Meanwhile, Brook steps up to protect Hiyori. Yet, for some reason, I don't see any "Brook x Hiyori" shippers around… Pretty strange, isn't it?

Naturally, Sanji’s inner "woman radar" goes off, and he immediately catches wind of Hiyori being in danger and rushes to her rescue.

However, he failed to realize that Oda had a completely different "plan" in mind…

Zoro swoops in to save Hiyori. It’s honestly not surprising at all, considering he’s the only one in the crew who actually knows she is Momonosuke’s sister. And, he is annoyed at her again for her… "foolishness."

And now, we finally arrive at the exact moment that, in my opinion, justifies why this entire sequence was written in the first place...

Sorry, Sanji…

This honestly reminds me of that scene in the Enies Lobby anime where Sanji desperately tries to catch Robin as she falls, only for Franky to scoop her up instead (it never happened in the manga).

I truly believe this entire farce was written just for the sake of this punchline. It’s classic author behavior, always finding ways to "bully" Sanji for comedic relief.

I condemn Oda for this!

From SBS of this chapter(945). (SBS of Volume 94!) A small detail for attentive readers!

Chapter 946.

We are greeted by a beautiful cover from the very same author "I don't want to draw romance" and "shonen manga is for boys, they aren't interested in romance." Yet, here we have Kin'emon and Otsuru on a literal nighttime DATE by foxfire-light!

Quick reminder: at this point in the story, Kin'emon is de facto 36 years old, while Otsuru is 55. Funnily enough, I don’t see anyone screaming about the age gap!!

As a daily reminder, "fox" in Spanish is Zorro. Tanuki - exact animal Chopper is constantly mistaken for throughout the Wano arc. Tsuru (Otsuru's name) literally translates to "crane" in Japanese — Robin’s official animal representation!

I don't have too much to say about this chapter as a whole, but this is where Luffy uses Ryou (Wano's brand of Haki) for the very first time to remove the exploding collars. This mirrors exactly what Rayleigh did back in Sabaody when he freed himself, the giant, and Camie.

That happened all the way back in Chapter 504 — 442 chapters ago! (in chapter 947, Oda actually redraws new panels illustrating that Sabaody scene).

More importantly, it is right here that "Flower" Hyogoro drops a pivotal piece of wisdom that will truly come to fruition later on Onigashima.

He states: "It is in the midst of danger that power truly blossoms!!!"

And that is precisely what we are going to witness moving forward!!! Not just with Luffy, but also with Zoro and Robin!!

Chapter 948. Kiku puts on her mask, and everyone instantly recognizes her as "The handsomest swordsman of Wano"… who is also biologically a man. With this, the author unveils yet another "lie" in this intricately woven "Arc of Lies."

It's easy to mistake her mask for a generic Oni mask, but it is specifically a Hannya mask!

There is a very important distinction here, much like between a Samurai and a Ronin. While every Ronin is a former Samurai, not every Samurai is a Ronin. The same logic applies here: every Hannya is an Oni, but not every Oni is a Hannya!

In Japanese mythology, Oni is a broad term for the entire race of demons. A Hannya, on the other hand, represents a very specific entity — a woman who has transformed into a monstrous demon due to overwhelming jealousy and grief.

In traditional Japanese Noh theater, the Hannya mask possesses a haunting dual nature. When looked at straight-on, it projects a terrifying, wrathful demonic sneer. However, if the actor tilts the mask slightly downward, the angled eyebrows and shifting shadows create the profound illusion of a weeping, deeply sorrowful face.

(If you remember, I previously wrote about Noh theater in relation to Robin in my very first post of this series, which you can read here).

Kiku deliberately puts on this mask before a battle to conceal her soft, feminine features and present nothing but unyielding fury to her enemies. Oda truly knows exactly what he is doing!

To top it all off, "Old Man Hyo" is finally revealed to be the legendary Hyogoro of the Flower — marking yet another broken illusion in Oda's "Arc of Lies".

Chapter 950. Zoro easily defeats the ninjas sent after them. We find them taking shelter at the Enma Shrine (!!foreshadowing), located deep within the forest of the Hakumai region — the very land once ruled by Yasuie.

Hiyori apologizes, calling herself a burden to Zoro. He bluntly agrees but tells her not to worry about it, adding that if he lets her die, he’d have to answer to Momonosuke. Zoro then asks if she plans on returning to "that house in the snow." In my opinion, he asks this because if she goes back there, it gives him a direct path back to the bridge where the "sword thief" is hiding.

When Hiyori expresses her deep worries about Toko, Zoro reassures her, saying Toko will be fine (physically speaking, at least) because he left her with "his people". He has zero doubts because he knows for a fact that Robin will take care of her.

Throughout this entire interaction with Hiyori, Zoro's mind is completely occupied by his missing sword and the cryptic words Gyukimaru told him. Hiyori offers to guide him back to the famous Bandit's Bridge of Ringo, and Zoro declares to avenge Yasuie's death — to which Hiyori responds that she wishes to kill Orochi with her own hands.

Chapter 951 Some say that since Frankie offered Robin a ride on his motorcycle, it means they are a couple.. Well, going by that exact logic, Franky and Nami are also a couple, since she’s riding with him too…

Moving on, Robin takes Toko from Brook, and her words to him are brutal, but honest xD. This completely mirrors Zoro's bluntness from the previous chapter, when he openly agreed that Hiyori was a burden.

And then, we are blessed with one of the absolute sweetest panels in the entire arc! It gives pure, heartwarming "mother and daughter" vibes. The only thing missing from this perfect picture is the "dad," Zoro…

Chapter 952.

Zoro clashes with Gyukimaru once again to reclaim his sword. Gyukimaru explains that Shusui is Wano’s stolen national treasure, once wielded by the God of the Blade (Ryuma). Naturally, Hiyori is completely shocked to hear this, as she knows the full weight of Shusui's legacy.

Kawamatsu interrupts the fight by hurling his sword, which Zoro deflects with ease — much to the Kappa's surprise. This chapter also gives us the emotional reunion between Hiyori and Kawamatsu.

Now, I won't say a word here. I'll just leave you with these two panels of Zoro reacting to two completely different reunions…

Chapters 953-954.

In this chapter, Kawamatsu tells the story of the Daimyo of Ringo, Shimotsuki Ushimaru (who happens to be Zoro’s relative), and his loyal fox companion, Onimaru. (I covered a bit about them in my previous post, which you can read here).

Upon realizing that Zoro’s blade is the legendary Shusui, Hiyori begs him to return it to its rightful place in Wano. Zoro, completely true to character, instantly refuses!

To sway him, Hiyori offers a trade: she promises to give him another weapon in return — Enma, the legendary katana inherited from her late father, Oden, and the only blade to have ever left a scar on Kaido.

Chapter 954 kicks off with a countdown: only 7 days remain until the raid on Onigashima!

Hiyori explains the legacy of Oden’s swords and, once again, pleads with Zoro to return Shusui. Zoro deduced that Moria was the one who stole Shusui (which is completely correct) and ultimately agrees to the deal — but strictly as a fair exchange. He will return the sacred treasure only if he gets Enma as a replacement, and only if he is allowed to visit Ryuma’s grave later.

So that is, this is not just a gift from Hiyori, but a mutually beneficial exchange (she asks Zoro twice to return Shusui).

Robin expresses her deep admiration for Yasuie, saying, "This Yasuie… was an incredible man…" It’s a brief but incredibly significant moment for the bigger picture, and I’ll definitely be returning to this point later on!

In this chapter, we finally get only the second moment in the entire Wano arc where Zoro and Robin share the exact same frame (the first one was at the very beginning, in Chapter 909). Looking at the anime adaptation (Episode 955), we can see they are actually sitting quite close to each other, though Oda, true to form, just had to stuff someone else between them… Then again, considering Wano is explicitly established as the "Arc of Lies," I would honestly be more worried if they were sitting right next to each other!

Chapter 955, Episode 956.

Huge shoutout to TOEI Animation for actually giving us more frames of them together compared to the manga author xD

In this chapter, Zoro officially receives Enma, while Kiku returns Nidai Kitetsu.

So, two blades: Ame no Habakiri and Enma.

Ame no Habakiri: The "white" sword destined to slice through the Heavens.

Enma: The "purple" sword destined to split the earth straight to the bottom of Hell.

Which one ends up with Zoro?

Honestly, even if I hadn't watched the Wano arc at all, I could tell just by looking at them which sword was meant for Zoro xD

In Japanese culture, Enma-o (閻魔大王 — Great King Enma) is the ruler of the underworld (the Buddhist hell, Jigoku) and the ultimate judge of the dead. This figure integrated into Japanese folklore alongside Buddhism, originating from the Vedic god of death, Yama.

According to traditional Buddhist beliefs, once a person dies, their soul is brought before his court. Enma acts as the supreme magistrate:

He reviews the person's deeds using special scrolls and books where every single sin is meticulously recorded.

His courtroom features a magical mirror called Johari no Kagami, which reflects the absolute, unvarnished truth of a person’s earthly life, exposing any deception.

Based on these findings, Enma determines which of the six realms of reincarnation (Samsara) the soul will pass into, or what specific torment in hell they must endure.

Here is a fascinating detail: there is a famous Japanese children's saying: "If you tell a lie, Lord Enma will pull your tongue out" (嘘をつくと閻魔様に舌を抜かれる). It is traditionally used to scare kids into telling the truth. Quite ironic, considering the "Arc of Lies", isn't it?

A few words about Ame no Habakiri as well.

Ame no Habakiri is named after the mythical sword used by the storm god Susanoo to slay the legendary eight-headed serpent, Yamata no Orochi! (I briefly touched upon the legend of Susanoo and its connections to Oden and Denjiro in my previous, third post here).

Because of this, the moment these swords were introduced, the reader familiar with Japanese mythology could have deduced that Zoro would not be the one to deal the killing blow to Orochi!

Ame no Habakiri symbolizes the heroic triumph over a monster. Enma, on the other hand, symbolizes judgment, an ordeal, and the heavy price one must pay for absolute power.

Oda’s choice here could be seen as follows: one sword embodies a legendary feat, while the other represents an unrelenting judgment and an internal trial. This is precisely why Enma fits Zoro so perfectly — his strength has always been forged through pushing past his absolute limits.

But there’s even more to why Enma is the perfect for Zoro.

Zoro once swore an oath that his name would "reach the heavens." Strictly speaking, it would have made more narrative sense for him to wield Oden’s other blade, Ame no Habakiri — the sword explicitly destined to slice through the heavens. Yet, he was given Enma instead. Why?

Let's look closely at Enma:

It is Zoro's seventh (7) sword — 7 is Robin's official number.

It features a distinct purple color scheme — Robin’s signature color.

It is adorned with floral patterns — Robin’s symbol.

Its tsuba (handguard) is shaped like a trefoil (clover) — visually connecting it directly to Professor Clover and Ohara (Robin’s past). I actually did a breakdown on this specific detail here.

Even if you want to argue that the last point feels like a stretch, the first three are absolutely undeniable.

Just like it is undeniable that all the way back in Chapter 265, Robin fought against a character named Yama! I remind you that, King Enma’s mythological origins stem directly from the Buddhist/Vedic god Yama. And guess who is featured on the cover page of that exact chapter? Zoro, sporting the Shimotsuki clan crest on his outfit!

Furthermore, Zoro receives Enma exactly seven (7) days before the raid on Onigashima. There is that number 7 popping up again.

It's also worth noting the lineage of these blades. Ame no Habakiri was forged by Tenguyama Hitetsu (Momo and Hiyori’s grandfather). Meanwhile, Enma was crafted by Shimotsuki Kozaburo — Kuina’s grandfather and a direct blood relative of Zoro himself! It seems Oda deliberately avoided tethering Zoro to Hiyori through this sword. Instead, for some reason, he chose to lace Enma with an overwhelming amount of Robin’s "symbolism"…

I wonder why?!

In essence, Zoro simply reclaimed what was rightfully his. It's funny because Shusui (Ryuma's sword) also belonged to Zoro by bloodright, given his ancestry.

On top of that, Enma stands out beautifully against Zoro's other blades, creating a striking contrast that proves once again just how perfectly purple (Enma/Robin) and green (Zoro) complement each other!

Metaphorically, Enma is the Japanese equivalent of Hades, the King of Hell. By weaving all these details together, Oda planted a massive narrative anchor that binds Zoro to Robin's imagery.

No matter where Zoro wanders, "Robin" will always be with him!

Robin arrives with Toko at Yasuie’s grave. Out of the entire crew, only Robin and later Zoro make the time to personally visit Yasuie's resting place!!

In the panel directly beneath them, Zoro is hard at work training with Enma when Hitetsu approaches him. Later on, Toko will stay behind under Hitetsu's protection while Robin and Zoro head out to Onigashima.

Hitetsu reveals to Zoro that both Enma and Wado Ichimonji were crafted by the exact same blacksmith — Shimotsuki Kozaburo. He suggests that Hiyori recognized the Wado, which is likely why she trusted Zoro with her father's memento, Enma. Hitetsu also points out that Enma has not yet been forged into a "black blade." This serves as a major narrative callback to Mihawk’s crucial lesson during the timeskip: any sword can become a "black blade". Not just temporarily coated in Armament Haki, but permanently turned pitch-black — just like Mihawk's Yoru or Ryuma's Shusui. (we saw this flashbacks in Dressrosa after Zoro defeated Pica, all the way back in Chapter 779).

In a way, Hitetsu acts as a "bridge" for Zoro and Robin, much like Toko. Look at the narrative connections: it is Hitetsu who officially delivers Enma to Zoro, and it is Hitetsu who later guides Robin directly to the hidden Poneglyph.

Also the anime adaptation treats us to an absolutely gorgeous wide shot of our couple! (As you can see from the manga panels, it was barely visible in the source material). I’m also leaving a wonderful link to a brilliant post diving deeper into this specific frame!

This ended up feeling like a chapter-by-chapter recap of Wano, but it is what it is. I can't help it, alas~

The individual parts of my posts might vary in quality and overall setup because… Well, there is no strict structure xD. Unlike Oda, I don't have a master plan layered in advance — I’m simply turning the pages of the manga and going episode by episode through the anime.

Also, as Joe noted in their blog: Toko like a "bridge" between Zoro and Robin. Personally, I believe there are several of these "bridges" scattered throughout the Wano Arc. Once I finish my Wano "recap series", I plan to dedicate a separate, standalone post to all the "bridges," "anchors," and visual parallels linking Zoro and Robin in this arc.

part 3 of ??? Link to the part 1 Link to the part 2 Link to the part 4 Link to the part 5 If you read my previous post(part 2), you know the answer. In the forest. But what does he do if there is no forest? He grows a forest to hide it in.

While writing that post, a thought struck me: this is exactly what Oda did in the Wano arc.

Think about it. For years, the fandom anticipated Wano, and so many people believed this would be the exact arc where Oda would finally canonize or heavily confirm Zoro and Robin’s relationship.

So, what does Oda do? He creates a whole forest just to hide a single leaf.

Now, I’m not saying Oda built the entire country of Wano solely to conceal Zoro and Robin. No, of course not. What I am saying is that this arc is packed with "false leads" and illusions. That is why I call Wano the "Arc of Lies." When surrounded by an overwhelming amount of deception, the truth becomes almost impossible to spot.

So, how could Oda write an arc where, as many expected, he would validate ZoRobin? By hiding the leaf in the forest. But how do you keep the audience (and yourself) from getting entirely lost? You leave "anchors".

All those subtle literary tropes, cultural nuances, and hidden details that we (and others) try so hard to notice — the author doesn't just leave them for us. He also leaves them for himself. These are the very "anchors" Oda dropped throughout the entire narrative of Wano to keep the true story grounded.

Before diving into this section, I need to mention a few things that I left out of the previous parts. Specifically, how Oda draws inspiration from various myths, fairy tales, and cultural archetypes, and how he reframes them within his story—particularly in the Arc of Lies Wano. Understanding this will help us analyze how the author has been crafting and continues to build Zoro and Robin's relationship in One Piece.

I want to start with the Tale of Momotaro.

"Momotaro" (The Peach Boy) is one of the most famous and beloved Japanese folktales. It is a story about bravery, loyalty, and the ultimate triumph over evil. I won't recount the entire tale here — if you're curious, you can easily look it up online. Instead, I’ll highlight the key points that matter for our analysis.

Momotaro grew at an incredible, almost supernatural pace: every time he ate a bowl of rice, he instantly became bigger and stronger.

When Momotaro grew up, he learned about a distant island called Onigashima (the Island of Demons), inhabited by wicked oni (monsters/demons) who terrorized and plundered innocent people. The brave youth decided to journey there and defeat the villains. As a parting gift, his mother made him kibi-dango (magical millet dumplings) for the road, which granted immense strength.

On his way to the island, Momotaro encountered three unusual creatures:

A Dog;

A Monkey;

A Pheasant.

Each of them asked where the youth was headed and begged for a treat. Momotaro shared half of a kibi-dango with each animal. Upon eating it, they gained incredible power, swore their loyalty, and agreed to become his faithful companions.

Alright, let’s break it down piece by piece.

Kozuki Momonosuke is Momotaro himself. His name literally translates to "Little Peach," he wears pink (peach-colored) robes, and he can transform into a giant pink dragon.

Kaido is the main antagonist of the arc and the literal embodiment of the Demon Oni.

Onigashima bears the exact same name as the Island of Demons from the legend.

O-Tama and her Kibi-Dango: O-Tama possesses the power of the Kibi Kibi no Mi, which allows her to pinch magical rice dumplings from her cheeks. Just like in the fairy tale, these dumplings instantly tame and win the absolute loyalty of any wild animal or animal-hybrid. On top of that, her personal companions are a dog (Komachiyo) and a monkey (Hihimaru).

Furthermore, during the Battle of Onigashima, the three primary animals from the fairy tale fight right alongside Momonosuke:

The Dog — Yamato (who ate the fruit of the Divine Wolf);

The Monkey — Monkey D. Luffy (his name speaks for itself);

The Pheasant/Bird — Marco the Phoenix.

Oda has been drawing from this tale long before the Wano arc ever began. Just look at the original three Marine Admirals:

Akainu (Sakazuki) — translates to "Red Dog."

Kizaru (Borsalino) — translates to "Yellow Monkey."

Aokiji (Kuzan) — translates to "Blue Pheasant."

Chapter 937.

Now, I want to circle back to a one moment.

If you’ve read my previous posts and checked out the links I shared, you’re likely familiar with the deep parallels comparing Zoro and Robin to Hades and Persephone.

In the last part, we recalled how Robin moved directly from the Flower Capital and the Shogun's Castle (symbolizing Spring/the upper world) to Ringo — a cold, bleak, and snow-covered region (symbolizing Winter/the underworld). This mirrors Persephone’s forced descent from the sunny world into the realm of the dead.

In a brilliant post by @wolfbart, the author pointed out a fascinating detail regarding Greek mythology. During the mythical battle for the city of Pylos (which translates to "gates," often interpreted as the gates of the underworld), Hades was wounded in the shoulder by an arrow shot by Heracles. Being immortal, Hades couldn’t die, but the pain was agonizing. He had to leave his dark kingdom and ascend to Olympus, where Paeon, the physician of the gods, healed him with a miraculous, pain-relieving ointment.

So, how does this tie back to Zoro?

In Chapter 937, Zoro gets wounded precisely in the shoulder. Right after that, O-Toko treats his wound using Usopp’s "miracle toad oil/ointment."

Now, think back: who was the mentor who trained Usopp during the timeskip? That's right — Heracles. He wore a beetle-like armor. As noted in the linked post, beetles have historically been used in traditional Japanese medicine and serve as symbols of healing. Moreover, there is literally a species called the Herculese(Heracles) beetle. The conclusion here is something I agree with 100%: Oda knows his Greek mythology inside out.

To further ground this Hades (Zoro) and Persephone (Robin) dynamic, here are a few more incredible parallels and analyzed by other authors: 1. by hapifangurl 2. by hapifangurl 3. by wolfbart 4. by wolfbart

If you haven’t read them yet, I highly recommend checking them out — they are absolutely mind-blowing!

Chapter 938. Back in the Flower Capital, everyone is preparing for Komurasaki’s funeral, and we are shown Denjiro, the man who supposedly "killed" her.

Meanwhile, Robin and Zoro have… completely swapped places! Robin is now in Ebisu Village, where Zoro was just a few chapters ago. Conversely, Zoro is in Ringo, the exact winter region where Robin used to be.

But the swap doesn't stop with locations; they also exchange companions:

Zoro runs into O-Toko, who had been traveling with Robin.

Robin (along with the others) meets Yasuie, who had previously been guiding Zoro.

In his blog, Joe compared O-Toko to a narrative "bridge" connecting Zoro and Robin. I completely agree with this take, and as we go further into the arc, we will see even more concrete examples of how this bridge functions. Link 1 Link 2

(Ep 935) Here are the specific details I want to highlight from these scenes:

Zoro’s reaction to Hiyori: Look closely at Zoro's face when Hiyori grabs his wounded arm. He immediately calls her an "idiot" (baka) — a harsh word he has never used toward Robin.

The "Noble" slip-up: Hiyori accidentally mutters that he looks "no-good…", before quickly correcting herself to "a noble man." Zoro dryly fires back, noting that he heard what she originally said. The anime adaptation makes this awkward dynamic even clearer.

In the anime, Zoro literally growls at Hiyori to "Don't touch" him, visibly startling her. However, he allows O-Toko to "touch" him to apply the ointment.

Contrast this with where Zoro tells Robin "not to come any closer." He says it without a shred of real anger, and Robin, unlike Hiyori, isn't intimidated by him at all. She knows his true nature.

The "Oroshi" Pun. Another brilliant detail is Zoro’s line: "Oroshi?" (when hearing about Orochi). Food is a massive, recurring theme in One Piece, and this is a classic Oda wordplay delivered through Zoro.

In Japan, Oroshi (おろし) is a culinary term referring to grated vegetables, most commonly Daikon Oroshi (grated Japanese radish). It is used as a refreshing condiment, sauce, or side dish for grilled fish, meat (like tonkatsu), or tempura.

The theme of food is incredibly significant not just for Zoro's character, but for the lore of One Piece as a whole. If you want to dive deeper into the overarching significance of Zoro and food, I highly recommend checking out posts by @wolfbart at this links: Link 1 Link 2

Maybe I'm missing something here, but some people genuinely seem to believe that irritation and annoyance are signs of hidden "romantic attraction"?

@hapifangurl and @kathitah shared their thoughts on this matter. As always, I’ll leave the links to their posts right here: Link 1 Link 2 Link 3 Link 4 Link 5 Link 6 Link 7

Also in this chapter, we are introduced to the three wretched, bankrupt men from whom Hiyori stripped every single coin… It’s as if Oda is deliberately highlighting that this girl is, to put it mildly, not exactly the ideal match for Zoro... Meanwhile, Robin seems to be genuinely charmed by Yasuie's character. This is clearly shown through her warm smile and the fond remark she makes right after he leaves.

Furthermore, it is in this exact chapter that we "learn" O-Toko is Yasuie's daughter. Except… even this beautiful truth is, in reality, partly a lie!

As it turns out, Oda revealed a massive secret to a reader in SBS Volume 99: O-Toko is actually Yasuie’s adopted daughter!

This crucial piece of lore is never explicitly stated anywhere within the main pages of the manga, nor is it ever mentioned in the anime. It happens entirely behind the scenes. This serves as yet another definitive proof that Wano is structurally the "Arc of Lies." Oda intentionally leaves a staggering number of truths hidden "off-screen," leaving us to connect the dots and guess what is truly happening.

I also want to bring your attention back to Yasuie’s role. To the people of Ebisu Village, he is essentially a "Holy Figure" or a Saint. As I noted in my previous post, Ebisu is named after the traditional Japanese "smiling" god of luck and fishermen.

Chapter 941.

Next, we're greeted by a beautiful color spread, which I absolutely love!!!

I was sure I'd seen an analysis of this color spread somewhere among ZoRobin fans, but I can't find it… (If you know the link, please send it my way, and I'll add it here!)

Zoro and Robin are sporting matching, paired backpacks — these two are together.

They are framed like a duo of highway bandits, waiting to ambush passing drivers. Look at their positions: Robin acts as the perfect, alluring "bait" to make drivers stop, while Zoro is the muscle waiting in the wings, ready to "slice and dice" anyone who falls for the trap. It’s the ultimate husband-and-wife teamwork! xD

On the signpost right above the "Good Place" sign, there is a small notice that reads "Don't Go." It’s a literal warning for any traveler to stay away from this dangerous duo!

However, the plot thickens when you look at the directions. The "Good Place" sign is deliberately crossed out and pointed backward, while the arrows painted on the road force drivers to go straight forward.

This means our couple is specifically waiting for the drivers who continue down the main road! They are deceiving travelers into believing that a "Good Place" awaits them ahead. But if you look at the master signpost in the background, it reveals exactly what lies at the end of that very road: "HELL."

Are the future King and Queen of Hell literally luring unsuspecting victims directly into their "dark domain"?!

Chapter 941.

Back in the main story, Orochi receives a report that they have finally captured the legendary thief in the Capital… USHIMITSU KOZO.

Remember when I told you in my previous post that we would be coming back to this name?

Well, this is where we transition into what I consider to be an incredibly fascinating sequence of events!

Kyoshiro (who we know is actually Denjiro) reports to Orochi that all the arrangements for Komurasaki’s funeral are complete. Hearing this, Orochi replies:

“Then we shall have Ushimitsu Kozo die along with Komurasaki.”

“The TWO BIGGEST STARS of the city dying together! …”

Keep those exact words in mind!

This chapter is heavily remembered by the fandom for one specific sequence.

And this is where I want to circle back to the question from the very beginning: Where does a wise man hide a leaf?

In my view, Oda grew an entire "forest" out of Hiyori. Let me explain, but first, look at this detail.

Brook finds Zoro and Hiyori. This exact moment was actually foreshadowed right on the cover of Chapter 937 — Brook is looking through a telescope, and both he and Zoro are facing the exact same direction. (And sorry, Robin’s behind ended up in the shot by accident, but hey, I’m not complaining, so I decided to keep it in! xD)

Now, let's look at the blocking in the cabin. In the previous chapter, we clearly see O-Toko sleeping on Zoro's RIGHT side. Yet, in this chapter, O-Toko is suddenly on Zoro's LEFT side.

Hiyori literally moved a sleeping child out of the way just so she could lie down on Zoro's right side — and right on top of his wounded arm, no less! Isn't that just absurd? This is definitely not an author's mistake or a drawing error. If it were, it would have been corrected in the anime adaptation, but the anime animated it exactly the same way(ep 938).

Just picture Hiyori actually going through all these motions in real-time… Oda deliberately directed this scene as an absurd, comedic farce, not as some kind of "romance."

Zoro’s reaction speaks for itself. Personally, I don't see even a single hint of romantic feelings toward her on his part.

But moving on. Brook arrives and delivers the news: the Capital is preparing for Komurasaki’s funeral, and they have captured Ushimitsu Kozo.

Pay close attention to Hiyori’s reaction here! Why is she suddenly so terrified and shaken? Because she knows exactly who the real Ushimitsu Kozo is!

As I mentioned earlier, Hiyori knows exactly who the real Ushimitsu Kozo is. And it is not Yasuie. This is precisely why Oda chose not to show her reaction when Brook reveals that Yasuie was captured under that name. On the other hand, Zoro and O-Toko’s shocked reactions are shown in full detail — because they didn’t know the truth. Zoro calls Hiyori an "idiot". Again.

Interestingly, Robin didn't know the truth either, despite the fact that she had briefly passed herself off as Ushimitsu Kozo earlier! Meanwhile, Usopp recalls that in the previous chapter, the villagers were calling Yasuie a "Saint."

From this point on, both the Straw Hat crew and the readers are finally told who Yasuie truly is.

And just like Orochi said, there is a dark, tragic irony in his words: the "Treasure of Wano" (Komurasaki) and the "Legendary Thief" (Ushimitsu Kozo) will "die together."

Now, to make sense of this entire puzzle, I have to take a massive but absolutely necessary detour. I need to jump ahead for a moment, and then circle back.

Komurasaki and Ushimitsu Kozo.

As @toomuchpineapples brilliantly pointed out (she is not only incredibly observant but also draws the most amazing art!!! 👀) — Robin and Hiyori share striking parallels: their respective roles as an Oiran and a Geisha, the fact that both lost their parents/mothers, and how both spent 20 years on the run, hiding in plain sight. They are simultaneously identical yet completely different in terms of personality.

By the way, Hiyori is currently 26 years old. In one of my posts, I mentioned that Shakky was exactly 26 years old during the events of God Valley. Furthermore, as we all know in the fandom, the number 26 is a literal numerical pun (Goroawase) for Nico Robin (2=Ni, 6=Ro).

In another previous post, I also suggested that Oda draws heavy inspiration from classic Japanese literature — specifically, The Tale of Genji. The main heroine of that story is named Murasaki (the prefix "Ko-" means "little", so Ko-Murasaki literally translates to "Little Murasaki"). There I argued that the "Genji" figure in One piece is actually Denjiro: much like Genji, Denjiro essentially "raised" Komurasaki/Hiyori to fit his grand scheme.

But there is another historical layer that I mentioned before, and it fits perfectly here:

"One of the most famous women to bear this name lived in the 17th century. She was the heroine of a tragic love story involving a samurai named Shirai Gonpachi. When Gonpachi was executed for his crimes, Komurasaki tragically committed suicide at his grave."

Chapter 973.

We finally learn the truth about who the real Ushimitsu Kozo is. It’s Denjiro!!

So, how does Denjiro connect back to Zoro and Robin?

Robin initially "worked" under Kyoshiro (Denjiro), believing him to be nothing more than the Shogun's loyal lapdog.

Zoro crossed blades with Kyoshiro (Denjiro), similarly viewing him as the Shogun's lapdog.

Denjiro stole money from the wealthy to distribute it among the impoverished citizens of Ebisu. He was, quite literally, a ROBIN Hood figure.

Furthermore, as I mentioned in my previous post about the historical tragedy of Shirai Gonpachi and Komurasaki — Gonpachi was a thief too! When Gonpachi was caught and sentenced to death, Komurasaki took her own life at his grave out of despair.

This is exactly why in Chapter 941, Orochi believes he is orchestrating the perfect poetic ending by "burying" both Komurasaki and Ushimitsu Kozo at the same time. He thinks he is reenacting that classic tragic tale!

This also creates a direct link to Yasuie and Toko, who are just as deeply connected to both Zoro and Robin!

Zoro is the first one (from the reader's perspective) to hear about Ushimitsu Kozo.

Robin uses the name "Ushimitsu Kozo" as a bluff/cover story inside the Shogun's Castle.

Yasuie falsely claims to be Ushimitsu Kozo to save the alliance, paying for that lie with his life.

O-Toko is Yasuie's daughter.

Robin protects O-Toko from Orochi's wrath.

Zoro protects O-Toko from Orochi's wrath.

Chapters 974-975. Throughout the entire Wano saga, Denjiro played one of the most pivotal roles.

He helped the impoverished citizens of Ebisu survive.

He raised, shielded, and protected Hiyori.

He masterminded and faked her death inside the Shogun's Castle.

He gathered an entire army and a fleet of ships for the raid on Onigashima.

And ultimately, he was the one who saved Hiyori and delivered the final blow to Orochi.

Denjiro is 47 years old (like 47 Ronin!), and his birthday is October 26th. Hiyori is currently 26 years old. Denjiro is powerful — he was able to block an attack from Zoro (even if Zoro was wounded at the time).

Furthermore, look at their color schemes. Denjiro's signature color is a light lilac/pale purple, while Hiyori’s is emerald green. Their colors are quite literally the "soft" versions of Zoro and Robin’s iconic color palettes! And just like Zoro and Robin's green and purple, Denjiro and Hiyori's colors complement each other perfectly.

Personally, I believe that if Hiyori is ever paired with anyone in the future, it will be Denjiro. Yes, Denjiro is older than Hiyori, but honestly, when has an age gap ever stopped Oda?

Some might scream, "But Hiyori is clearly in love with Zoro!!1!" To that, I say: and what? Gloriosa was in love with Gol D. Roger, and what? Roger was in love with Shakky, and what? Sanji falls head over heels for every beautiful woman he sees — and what? Also, I think that by the end of Wano, Hiyori is no longer in love with Zoro. But more on that later.

Wano is a country of masks. Denjiro and Hiyori are the two individuals who forced themselves to wear the heaviest, most suffocating masks for 20 long years. He became the enemy's "loyal hound" (Kyoshiro), and she became a courtesan (Komurasaki). They shared this agonizing, terrifying secret between just the two of them, and his raw grief and anger literally altered his facial features. Once the masks are finally shed, no one in the world will ever comprehend Hiyori's pain and trauma the way Denjiro does. And vice versa. We shouldn't underestimate this potential dynamic! Some people think that Zoro will end up with Hiyori because he's "like Oden." But that's not so.

Looking ahead, Denjiro has a "literary" connection with Oden.

Denjiro — Oden — Ishikawa Goemon.

Ishikawa Goemon (1558 – October 8, 1594) was a legendary Japanese outlaw and folk hero from the Azuchi-Momoyama period, frequently dubbed the "Japanese Robin Hood"(again!). According to legend, he and his bandit crew plundered wealthy daimyos (feudal lords) and merchants, distributing the gold and riches to impoverished peasants. Goemon’s fatal mistake came when he attempted to assassinate the ruler of Japan at the time, Toyotomi Hideyoshi. He was captured and sentenced to death.

On October 8, 1594, Goemon and his young son were condemned to be publicly boiled alive in a large iron cauldron filled with boiling oil (or water) outside the gates of the Nanzen-ji temple in Kyoto. The legend vividly states that Goemon held his son high above his head on his outstretched arms, keeping him out of the boiling liquid until his strength completely failed him.

Oda recreated this heartbreaking historical legend almost word for word:

Just like the real Goemon, Kozuki Oden was sentenced to a public boiling alive by the orders of Kurozumi Orochi and Kaido. The execution lasted for exactly one hour.

Goemon held his little son above his head in the cauldron. Oden lifted a massive wooden platform above his head, with all his loyal vassals — the Nine Red Scabbards.

Look at one of Oda's foreshadowing at the very start of the flashback: Oden is heavily criticized for cooking oden soup over a cremation fire.

The name “Oden” is actually a popular Japanese winter dish — a savory soup where various ingredients are simmered together in a deep pot. Before his tragic execution, Oden delivers his most iconic, historical final words: “Oden was born to boil!”. Like soup(oden) is boil.

However, the connection between Denjiro and Oden runs even deeper, as they both share the mythological archetype of Susanoo (the Shinto god of storms and the sea). While I might unpack this massive legend in much greater detail in future posts, for now, I want to highlight the most crucial pieces of the myth:

Upon arriving at the Hi River, Susanoo encountered a pair of weeping elderly earthly spirits. They revealed that a monstrous, eight-headed serpent known as Yamata no Orochi had been devouring one of their daughters each year. Now, it was time for their last remaining daughter, Kushinada-hime, to be sacrificed.

Having instantly fallen in love with the young maiden, Susanoo transformed Kushinada-hime into a fine-toothed comb and hid her safely within his own hair.

To defeat the monster, he ordered a fence with eight gates to be built, placing a platform at each gate with a large vat filled with eight-fold refined sake.

The colossal serpent arrived, drank greedily from every single vat, and promptly fell into a deep, drunken stupor. Seizing the moment, Susanoo drew his sacred sword, Totsuka no Tsurugi, and hacked the monstrous beast into pieces.

Chapter 1048.

Hiyori is Kushinada-hime. In the myth, Kushinada is the last surviving maiden hunted by the eight-headed serpent Orochi. Hiyori is the last surviving princess of the Kozuki clan, relentlessly hunted by Kurozumi Orochi.

Denjiro is Susanoo, hiding her in his hair. In the legend, Susanoo transforms the maiden into a fine comb and hides her within his own hair so the serpent cannot find her. What does Denjiro do? He takes a young, vulnerable Hiyori under his wing, renames her Komurasaki, and hides her in plain sight as an Oiran, right under Orochi's nose!

And to bring this entire mythological puzzle to a perfect close: it is Denjiro who ultimately slays Orochi, whose Devil Fruit is literally the Hebi Hebi no Mi, Model: Yamata no Orochi.

So, this is already my third post about Wano, and who knows how many more are on the way… But trust me, we’ve barely scratched the surface!

For those of you who managed to push through all three of these posts, I suggest leaving a comment: how many of these literary and cultural references did you actually know before reading this?

Honestly, I knew almost none of them myself… Writing these has been a huge journey of discovery and learning for me as well.

part 2 of ??? Link to the part 1 Link to the part 3 Link to the part 4 Link to the part 5

Just a quick reminder: in these posts, I’m not just focusing on Zorobin. I also want us to dive deeper into Oda’s overall writing style and creative intent, both in the Wano Arc and throughout the entire story.

Since I hit Tumblr's 30-image limit way too fast in the previous part, I’ll be combining some images in this post to cover more moments. The quality might suffer a bit because of this, so please bear with me!

Chapters 919/921.

Right off the bat, it’s hilarious how badly Sanji misinterprets the "relationship" between O-Kiku and Kin'emon. But honestly, look at their reunion! O-Kiku is literally on top of Kin'emon. Also, notice Law’s line that I highlighted — even he thought they were "more than just that"! I’m not blaming Sanji or Law here; any reader could have made the same mistake.

If Kin'emon hadn't shut Sanji down right away, many readers would have thought there was something romantic going on between them. Instead, this is the moment where Kin'emon reveals he is married, and Kiku explains that O-Tsuru is his wife. It feels like Oda is subtly telling us once again: "Don't just believe everything you see in this arc!"

(By the way, in these chapters, Kin'emon mentions that "the entire Capital is talking about the Geisha O-Robi," but I decided not to include that panel. Do you know who else the Capital is talking about? The "Slasher Zorojuro" xD).

Moving on, Kin'emon shows the secret symbol of the rebellion and explains its meaning. The crest of the Kozuki clan features a crane, and we see two cranes here. This brings us back to the bird motif.

In Japanese culture, the crane is one of the most noble symbols, representing longevity, loyalty, and hope for a bright future. In Japanese poetry and art, paired birds (meotodori, 夫婦鳥) often symbolize a union, devotion, unity of purpose, and people walking the same path.

Kin'emon also explicitly mentions the "Hour of the Bird" (Tori no koku). This just goes to show how deeply Oda weaves traditional Japanese elements into the story — including the ones I mentioned in my previous posts.

Here is another interesting detail: the cranes have crossed necks, which closely mirrors the Shimotsuki clan crest (Chapter 265). In traditional Japanese warrior symbolism, crossed items often represent readiness for battle, the unity of two forces, and protection. Lastly, Kin'emon specifically highlights two(2) birds and the second(2) hour of the Bird.

Chapters 921/922/924.

In these chapters, we are introduced to the kunoichi Shinobu and the bandit leader, the fierce and powerful Shutenmaru. Let’s be real — just by looking at them, you’d never guess they are highly skilled, seasoned warriors. But as we already know, not everything in the Wano Arc is what it seems. Shutenmaru even managed to slash Jack!

Furthermore, this is where we learn that O-Tsuru didn't marry anyone else for TWENTY (20) whole years. Instead, she faithfully waited for Kin'emon's return! Even though so many years have passed, she is still just as beautiful to him… yet, they cannot properly reunite right now.

I also want to highlight that Kin'emon doesn't really interact with his beloved wife throughout the entire arc. Through this, Oda shows us that keeping a husband and wife apart for a massive amount of time is completely normal in his writing! Duty (or in this case, the main plot) always comes first. The deep bond between two people who love each other runs as a subtle, secondary thread beneath the main narrative.

(By the way, this situation with O-Tsuru strongly reminded me of the dynamic between Robin and Usopp back in Dressrosa)

Chapter 927.

This chapter is titled "O-Toko the Kamuro." Here, we get to see the gorgeous Robin again, and we are introduced to a little girl named O-Toko for the first time.

O-Toko is a kamuro — a young maid servant assigned to a high-ranking courtesan (oiran). This detail once again highlights the distinct difference between an oiran and a geisha, as Robin does not have such a maid assigned to her.

Her actual name is Toko. However, because of the polite prefix "O-" added to female names in Wano (like O-Tama, O-Robi, O-Kiku), her name sounds absolutely identical to the Japanese word otoko (男), which means "man" or "boy." That's exactly why she jokes about her name being O-Toko even though she isn't a boy. It's a classic Oda wordplay.

Chapter 928.

In this chapter, Oiran Komurasaki makes her grand entrance, and absolutely everyone loses their minds over her. Sanji, of course, goes wild, Usopp is in complete shock, and even Franky blushes! You might not see it in my panel, but it’s very clear in the chapter itself and especially in the anime adaptation.

Komurasaki’s toxic attitude toward men is pretty obvious here. However, it raises a question: is she genuinely speaking her mind, or is she just "playing a part," which, as we know, is a recurring theme in the Wano Arc? I won't state anything as a fact and will leave that for you to decide. Personally, I really dislike this kind of behavior, and I honestly don't think Zoro would appreciate it either…

In any case, Oda drops a direct hint in this chapter that Komurasaki is actually Momonosuke’s sister, revealing her age to be 26. By the way, that makes her 5 years older than Zoro — and funny how nobody in the fandom seemed to have an issue with that age gap, right?! xD

Chapter 929. Ep 921. Ep 922.

In the manga, this is the exact moment where Zoro is shown with Yasuie for the first time. The anime (Episode 923) actually fills in the blanks and animated the events that Yasuie is describing here.

Also, it looks like Franky just can’t get Komurasaki out of his head… So, Franky x Komurasaki is the real endgame here, right? xD Or maybe he’s just lying to his boss? Who even knows at this point — this whole arc is basically the "Arc of Lies."

Moving on to Chapter 928 (or Episode 922 in the anime), we see that lady luck is smiling on Zoro once again. He keeps winning at dice, and Yasuie definitely takes notice of his insane good fortune!

Chapters 929, 930.

In Chapter 929, we catch a brief glimpse of Robin attending Orochi’s banquet. Meanwhile, in Chapter 930, Zoro finds himself in Ebisu Town.

For context, Ebisu is the Japanese god of luck, fishing, and commerce. He is traditionally depicted with a smiling face, holding a fishing rod and a large sea bream (tai). Because of this, he is often called the "laughing god."

Looking at these moment, I noticed a fascinating mirror dynamic. Right now, Robin is at a high-society banquet inside the Shogun's castle, surrounded by an abundance of food and the wealthiest, most influential people in Wano. Zoro, on the other hand, is in the exact opposite environment — Ebisu Town, where people can’t even afford food and literally have to buy clean drinking water. Essentially, Robin is at the very "top" while Zoro is at the absolute "bottom" of Wano's social hierarchy.

The ultimate irony here is that the only thing connecting these two completely separate worlds at this moment is laughter. Except, they are laughing for entirely different reasons…

When Zoro is offered some clean water, he hesitates and initially tries to refuse, fully understanding how precious water is to the villagers. But I think, likely remembering how O-Tama previously refused food out of politeness, he ultimately accepts and drinks it.

Also, I highlighted the name Ushimitsu Kozo for a very specific reason. Look at what this thief does: he robs the wealthy citizens of the Capital and gives the money to the poor people of Ebisu…

Ushimitsu Kozo is literally Wano's local ROBIN HOOD!

And it gets even more interesting from here…

Chapters 931, 932. (Ep 925-926)

In Chapter 931, Robin is looking for information inside the Shogun's castle when she is suddenly discovered by a squad of ninjas.

(Quick side note before we move on: I want to point out that Hiyori/Komurasaki plays the shamisen not only during Zoro’s key scenes, but also during Robin's. The Wano Arc is structured like a traditional play split into "Acts," and Hiyori plays the shamisen at various crucial turning points across Wano, including the very beginning and end of Act).

Now, back to the chapter. As I mentioned, Robin is ambushed by a squad of 11 ninjas known as the "Oniwabanshu." The fact that there are exactly 11 of them is emphasized at least twice. As we all know, 11 is Zoro's number (his birthday is November 11th).

Historically, the word Oniwabanshu (御庭番衆) literally translates to "people of the noble garden." They were a real-life secret internal intelligence service — undercover agents and spies (ninjas) who reported directly to the Shogun.

Oniwa (御庭) means "garden" or "courtyard," with the polite prefix "O-" adding a "noble" nuance since it referred to the gardens of Edo Castle.

Ban (番) means "guard," "watchman," or "duty."

Shu (衆) means "group," "crowd," or "squad."

In real Japanese history, this service was established in the 18th century by the eighth Tokugawa Shogun, Yoshimune. To avoid suspicion, these men were officially listed as humble garden keepers. In reality, they gathered intelligence on officials, secured the castle, and carried out top-secret missions.

(Another fun historical fact: The Tokugawa Shogunate also directly ruled Osaka — Robin’s official prefecture — for over 250 years. Osaka didn't belong to any local feudal lord; it was kept under the direct control of the central government. It was the economic heart of Japan, famously nicknamed "The Nation’s Kitchen" (天下の台所). By controlling Osaka's massive rice trade, the Tokugawa clan controlled Japan’s finances)

So, we have the number 11, spies/intelligence agents, and a "noble garden"… What a fascinating coincidence!

When the squad leader demands to know who she is and what she’s doing there, Robin instantly bluffs and claims she is… USHIMITSU KOZO!

Let that sink in: Robin literally claims to be Wano's local Robin Hood! We just learned about the Ushimitsu Kozo back in Ebisu Town — the "bottom of society" where Zoro is — and now we hear the exact same name from Robin at the "top of society" in the Shogun’s castle. Trust me, we will be returning to this name later!

Right after, the 11 ninjas attack, only to realize they hit a clone. This once again proves that thanks to her Devil Fruit abilities, Robin is far better suited for the role of a "Ninja" than a "Geisha."

Chapter 932. Ep 926.

A fascinating detail here: in both the manga and the anime, Robin references a line from the detective story "The Sign of the Broken Sword" (from G.K. Chesterton’s 1911 anthology, The Wisdom of Father Brown).

The full quote goes: "Where does a wise man hide a leaf? In the forest. But what does he do if there is no forest? He grows a forest to hide it in."

While it sounds like a beautiful metaphor, this quote actually describes a horrific war crime in the context of the story. Trust me, it has a very dark undertone — which is perfectly in character for Robin. I won't spoil the story here in case anyone wants to read it themselves, but if you're curious, let me know in the comments and I'll explain!

In this exact same chapter, Kyoshiro drops some incredibly profound lines:

"Don't speak of women as dogs or pets."

"People are flowers. If your water was pure, yours would bloom well, too."

These words basically define healthy, respectful human relationships. The phrase "if your water was pure…" caught my eye in particular. Zoro has never treated Robin like a pet or a trophy (in fact, he doesn't treat women that way at all).

Furthermore, think back to just a few chapters ago: Zoro drank pure water in Ebisu Town, and Robin’s Devil Fruit literal namesake is flowers (Hana Hana no Mi). (As a reminder, in my previous post, I broke down why Komurasaki/Hiyori is NOT a flower, but rather an ornamental shrub — you can read about it here).

Also, pay close attention to the moment when Robin and Hiyori share the screen in the anime. Remember this scene, because it will never happen again for the rest of the Wano Arc. In fact, in the manga, Robin and Hiyori are never shown in the same panel even once.

To top it all off, the anime adds a telling detail: Orochi notes that when Robin pours sake, it tastes better, whereas he describes that "Komurasaki's sake sinks into the marrow!"

We all know that Zoro loves sake more than anything (specifically the taste, not just getting drunk). And here we learn that the sake Robin pours becomes even more delicious! Put two and two together, and you get the absolute perfect match!

This line from Hiyori can also be interpreted as a sign that "warriors" generally prefer "strong women."

As for Orochi and his characterization, I’ll dive much deeper into his design and narrative role closer to his own "final", so to speak.

Also we see Robin stepping in to rescue O-Toko.

Chapter 933. Robin is still holding onto O-Toko to protect her, with Brook stepping in to help, closely followed by Nami and Shinobu. Meanwhile, Kyoshiro "executes" Komurasaki — but as we already established, this is the "Arc of Lies."

I previously discussed Oda’s potential inspirations for the character of Komurasaki in my last post. However, there is another historical detail I want to bring up here.

During the Edo period, the name Komurasaki (小紫) was repeatedly used as a professional title for legendary, high-ranking courtesans (oiran) in Yoshiwara. Much like the names "Takao", "Usugumo", or "Agemaki", it was passed down from one famous beauty to another.

One of the most famous women to bear this name lived in the 17th century. She was the heroine of a tragic love story involving a samurai named Shirai Gonpachi. When Gonpachi was executed for his crimes, Komurasaki tragically committed suicide at his grave.

Oda completely flips this historical drama on its head: his Komurasaki (Hiyori) merely fakes her death with Kyoshiro’s help in order to escape and survive.

Throughout all of this, no matter what happened, Robin never once let go of O-Toko.

Chapters 934, 935.

In these chapters, we are shown the map of Wano (I broke this down in slightly more detail in my previous post). Robin, Brook, Shinobu, and Nami arrive in Ringo, the northwestern region of Wano. As a quick reminder, Shimotsuki Ushimaru — Zoro’s relative — was the Daimyo of Ringo. This is also where Ryuma’s gravesite is located, from which Moria originally stole his corpse and the black blade, Shusui.

Meanwhile, Yasuie tells Usopp, Franky, and Law that Zoro wandered off somewhere because his sword was stolen.

Brook also mentions seeing a Poneglyph hidden in a room filled with wooden dolls. Shinobu notes that these are traditional Kokeshi dolls. We won’t dwell on this right now, but if you want to know more, you can read about it in these posts by @kathitah and comments to this post by @hapifangurl

Later, during the bathhouse scene, Shinobu explicitly points out that Robin acts "just like a ninja" — which, as we’ve already discussed multiple times, fits her perfectly…

Chapter 936. Honestly, if we strip away all the bathhouse "fanservice" from these chapters, there’s not much left to talk about… Just kidding~

Zoro has officially arrived in Ringo to reclaim his stolen sword. And naturally, it looks like he managed to cross paths and.. miss Robin yet again…

Instead, he clashes with Gyukimaru on the Oihagi Bridge.

When creating Gyukimaru (Onimaru) for the Wano Arc, Oda drew heavy inspiration from classical Japanese history, Buddhist folklore, and mythology. In fact, Gyukimaru's entire concept is a direct homage to Saito Musashibo Benkei — the legendary warrior-monk (sohei) of Japanese lore.

In the legends, Benkei made a vow to collect 1,000 swords. He guarded a bridge in Kyoto, challenging every passing samurai to a duel and taking their weapon upon victory. Gyukimaru does the exact same thing: he stakes out travelers on Wano's Oihagi Bridge, confiscating their katanas (including Zoro's Shusui).

Historically, Benkei lost his 1,000th duel on that very bridge to the young Minamoto no Yoshitsune. Zoro and Gyukimaru’s clash on the Oihagi Bridge is a brilliant, direct artistic nod to this legendary duel. Furthermore, Gyukimaru wears the robes of a warrior-monk and fights with a naginata (a traditional Japanese polearm), which perfectly mirrors the classical depiction of Benkei.

Later in the story, we discover that Gyukimaru's true identity is actually a magical komagitsune (mythical fox) named Onimaru.

In Japanese mythology, foxes (kitsune) are deeply intertwined with Inari, the Shinto deity. They are believed to possess shape-shifting abilities (often transforming into monks), a love for fried tofu (aburaage), and a reputation for absolute loyalty. The fact that Onimaru ate the Hito Hito no Mi (Model: Onyudo) allowed him to permanently become a giant warrior-monk, flawlessly intertwining the shape-shifting fox myth with the historical tale of Benkei.

Onimaru’s years of guarding the Ringo region and the graves of the Shimotsuki clan from grave robbers is a beautiful homage to classical Japanese tales of loyal animals (the most famous real-world example being Hachiko). Even long after the death of his master, Shimotsuki Ushimaru, the fox remained fiercely loyal to his duty until the very end.

The moniker "Gyukimaru" (牛鬼丸) itself contains a direct reference to the Gyuki (or Ushi-oni) — a mythical yokai traditionally depicted with the head of a bull and the body of a spider (or vice versa).

Furthermore, Oda did not choose the name Onimaru (鬼丸) by accident; it has deep roots in Japanese culture and military history.

The Onimaru Kunitsuna is one of the legendary "Five Swords Under Heaven" (Tenka-Goken). It is a real, historic katana that is currently preserved in the Japanese Imperial Collection.

Linguistically, the name consists of two kanji: 鬼 (Oni), meaning demon/ogre, and 丸 (Maru), a traditional suffix used for male names, as well as ships and swords in Japan. As it turns out later, Onimaru ate the Hito Hito no Mi (Model: Onyudo / Giant Demon Monk). Thus, his name perfectly foreshadowed his ability to transform into a massive, intimidating warrior resembling an Oni. Ironically, while the word "Oni" sounds menacing, the suffix "maru" was historically added to the names of children or beloved pets. This beautifully highlights that behind the mask of a fearsome guardian hides a loyal, devoted pet fox!

Onimaru's master was the Daimyo of Ringo, Shimotsuki Ushimaru. His name contains the kanji 牛 (Ushi), meaning bull. By naming the fox Onimaru (where 鬼 / Oni means demon), Oda created the classic Japanese mythological pairing of "Bull and Demon" (Ushi-Oni). This cleverly sealed their unbreakable bond as master and pet through wordplay.

Through all of this, the author crafted a brilliant, ironic setup: a fox (Onimaru) is fighting a fox (Zorro).

Chapter 937. This chapter greets us with a gorgeous color spread, which @hapifangurl previously analyzed in detail in this post. I also shared a few of my own thoughts regarding this specific spread before.

I firmly believe that this color spread was placed here for a very specific reason, considering this is the exact chapter where Zoro meets Hiyori.

The anchor and the rope connecting Robin and Zoro act as both a warning and a subtle reminder to the attentive reader. It's as if Oda is telling us: "The world of Wano may be full of dangers and new encounters, but the foundation of this crew and these two people is unchanging."

In this chapter, Zoro crosses paths not only with Hiyori and O-Toko, but also with Hitokiri Kamazo.

As you might have guessed, this character is also crafted from a mix of Japan's brutal history, dark folklore, and classical cinema.

The word Hitokiri (人斬り) literally translates to "human slayer" or "manslayer." This is a real historical term from the late Edo period (the Bakumatsu era), referencing the infamous Four Hitokiri — elite samurai assassins who fought against the Shogunate. By giving Kamazo this "Hitokiri status," Oda frames him as a ruthless, state-sanctioned executioner who does Shogun Orochi’s dirtiest work.

The name "Kamazo" contains the kanji 鎌 (Kama), meaning scythe or sickle. Therefore, his name can be understood as "the man with sickles," which perfectly matches his chosen weapons.

Kamazo fights with two massive scythes, spinning them at blinding speeds to create vacuum blades that slice enemies from afar. This is a direct mythological nod to the Kamaitachi (the sickle-weasel) — a yokai from Japanese folklore. According to legends, this spirit travels within harsh winds and slashes people's skin with blade-like claws so swiftly that the victim initially feels no pain.

Visually, Kamazo’s design — a face completely wrapped in bandages paired with a wild, crazed gaze — draws heavily from the archetype of hidden criminals and mercenaries in classical Japanese historical dramas (Jidaigeki) and Kabuki theater. The bandages conceal his true identity, his scars, and the permanent, haunting smile forced upon him by the SMILE fruit, creating a chilling "butcher" persona.

While Zoro is busy fighting Kamazo, Gyukimaru recalls what Zoro mentioned earlier in the chapter — that he feels that something "doesn't feel right" fighting without his third sword. This is precisely why Gyukimaru blindsides Zoro; his sneak attack distracts Zoro, allowing Kamazo to stab him. However, it is exactly because of this injury that Zoro manages to trap and claim Kamazo's scythe to use as his makeshift "third sword."

…And for us, the readers, it delivers a shot that is not only incredibly brutal, but also beautifully mirrors a previous panel of Robin.

Right after this, Zoro instantly defeats Kamazo using his "Purgatory" technique. This makes total sense given Hitokiri Kamazo’s "demonic" imagery (which we broke down earlier) and serves as an awesome foreshadowing of Zoro's future title, the "King of Hell."

As for Gyukimaru, he chooses not to finish Zoro off even though he easily could have. This once again proves that his actions were ultimately meant to help Zoro.

Part 1 of ??? Link to the part 2 Link to the part 3 Link to the part 4 Link to the part 5

So, I’ve finally made it to the Wano arc (well, partially, at least!).In these posts, I won’t just be sharing panels and screenshots from the manga and anime. Instead, I want us to dive deeper and look into the cultural, literary, and historical references that Oda cleverly wove into this arc. Of course, I won't be able to cover everything, but I'll try ro my best (hopefully with your help).

For Zorobin shippers, the Wano arc brought pretty mixed feelings. On one hand, both Zoro and Robin absolutely shine in this arc. On the other hand, they barely have any direct interaction. Even though many fans anticipated Wano to be "the Zorobin arc" back when it was releasing, things turned out quite differently. Or did they? Let’s break it down.

The Straw Hats’ first introduction in Wano happens in Chapter 909. The chapter is titled "Seppuku" — referring to the ritual suicide by disembowelment practiced in feudal Japan. Right off the bat, we need to look closely at the specific roles and THE WAY Franky, Usopp, Robin, and Zoro are introduced to us.

Interestingly, cherry blossom petals appear only in Zoro and Robin’s introduction panels. You could argue that the petals were simply blowing all over the Flower Capital, but they are completely absent from Usopp and Franky’s panels. What’s more, Robin isn’t even outside — she is indoors (which is especially noticeable in episode 892 of the anime). Yet, Oda still chose to draw sakura petals around her, mirroring Zoro’s panel.

As for their roles, Usopp is introduced as a merchant, which makes total sense given his "talent" for lying. Franky is shown as a carpenter — again, a spot-on choice.

Zoro is introduced as a Ronin. In feudal Japan, a ronin was a wandering or disgraced samurai who had lost his master. The word itself consists of 浪 (rō / nami) — wave, wander, reckless — and 人 (nin / hito)—person. Metaphorically, it describes a person who has lost their footing and drifts through life like a wave in the ocean. Simply put, a "wandering person" — which, honestly, is the most perfect description for our chronically lost swordsman.

Robin is introduced as a Geisha, and this is where it gets really interesting. Based on the logic above, everyone received a disguise that directly matched their practical skills, but this doesn't apply to Robin. Given her abilities, the role of a ninja would have suited her perfectly (I mean, she can literally create clones, LOL). But the role of a Kunoichi (female ninja) went to Nami later on. Instead, Oda chose the Geisha role for Robin. Why?

Before we dive into the reasons, I want to emphasize this specific detail: Zoro is a Ronin. Robin is a Geisha. This is a crucial nuance.

A Samurai is an elite Japanese warrior who is officially in the service of a feudal lord and provided for by him. A Ronin is a samurai who has become a free-roaming wanderer and a social outcast due to losing his master, land, and status.

Denjiro is a Samurai. Zoro is a Ronin.

An Oiran is an elite, high-ranking courtesan who sold her high education, luxurious company, and sexual services to men for exorbitant amounts of money. A Geisha is a professional artist and keeper of traditions, who entertained guests at banquets strictly with dancing, music, and intellectual conversation — without any intimate services.

Hiyori is an Oiran. Robin is a Geisha.

Understanding this distinction is crucial if we don't want to "miss the forest for the trees."

In classical Japanese culture, there was no widespread romantic archetype of the "Ronin and Oiran." Whenever such characters crossed paths in Edo-period literature and theater, their relationships were mostly depicted as difficult, socially impossible, and often tragic — even though purely romantic stories did occasionally exist.

Similarly, there was no mainstream romantic archetype of the "Ronin and Geisha" in classical Japanese tradition either. However, unlike the "ronin and oiran" pairing, this bond wasn't viewed as inherently doomed from the start. In literature and art, the relationship between a ronin and a geisha was more often portrayed as a story of deep mutual understanding, hidden feelings, devotion, and personal sacrifice, even if it frequently came with social hardships or a bittersweet ending.

While the image of a "ronin and geisha" wasn't a canonical archetype, it fit perfectly into the aesthetics of Japanese drama: a lonely warrior without a master, and a woman whose life is bound by art and societal expectations. Because of this, these stories were built around melancholic romance and emotional intimacy rather than the loud social catastrophe typical of ronin and oiran tales.

If the "Ronin and Oiran" pairing in the Japanese imagination is associated with impossible, destructive passion and ultimate tragedy, then the "Ronin and Geisha" represents a quiet, understated romance — one rooted in mutual understanding and shared loneliness.

Does this ring any bells?

Episode 892. While rewatching this episode, I noticed an incredibly fascinating detail! Just look at the background during Robin's very first introduction in Wano.

The tree painted on the folding screen behind her is depicted in a style distinct to traditional Japanese painting:

A thick, twisted trunk;

Horizontally stretched branches;

Rounded "clouds" of pine needles instead of individual leaves;

Foliage arranged in distinct, layered tiers.

This is a Pine tree (Matsu)!

This is exactly how pines are traditionally depicted on Japanese golden folding screens (byobu) and as the backdrop of a Noh theater stage. In fact, a classic Noh stage is almost always decorated with a painted pine tree known as kagami-matsu (mirror pine).

As we know, Robin's signature color is purple, which strongly associates her with the Wisteria. In my previous post, I analyzed the poetic and symbolic "bond between the Pine and the Wisteria" in Japanese culture, and even shared a painting illustrating it.

What do you think? If we know about all of this, is it possible that Oda — a Japanese creator — and TOEI, a Japanese studio, are fully aware of these things too? :)

Episode 893. A lovely detail that, by the way, wasn't included in the manga.

Wano is an arc of "masks." In fact, I’d even call it an arc of "lies." Yes, you heard me right. Almost every character here is "wearing a mask" and playing a role:

The Straw Hat crew — every single one of them is under cover, putting on a "mask." The citizens of Ebisu Village — forced to wear a perpetual "smiling mask." The Nine Scabbards — hiding their true identities behind "masks" for years. Komurasaki/Hiyori — wears a "mask" both metaphorically and literally (her very first appearance is in a mask, and she pretends to be someone she’s completely not). Old Man Hyogoro — wears the "mask" of a frail old man, only to turn out to be a legendary underworld boss. X Drake — wears a "mask" by posing as Kaido’s loyal subordinate. The CP0 agents shown in this arc are all quite literally masked. Even Sanji gets the alias "Soba Mask."

It’s the exact same thing in this scene: when Robin is asked about Zoro's wanted poster, "Is that someone you know?", she flat-out lies and replies, "N-No." Oh, Robin… Even her "teacher" noticed that "You can't take your eyes off of the poster" 🤭

We also get introduced to little O-Tama in this episode. Purple and green — what a beautiful color combination in her design!

Side note / Off-topic: Here is a fascinating detail: she "tames" a giant demon-baboon holding a katana using her Kibi Kibi no Mi devil fruit power, specifically through "food" — dango. Dango is a traditional Japanese treat, essentially rice balls. Let me just remind you that Zoro spent two years fighting baboons on Mihawk’s island. Rice is his favorite food. A katana — well, that speaks for itself. On top of that, she lives with Hitetsu, the swordsmith who created Sandai Kitetsu — Zoro's katana. Luffy comes to her rescue, and in return, she feeds him rice! By the way, regarding the ultimate importance and deeper meaning of food in this arc, there are some absolutely brilliant meta posts by @wolfbart

Chapter 912. Such an interesting choice of wild animals here. Especially the Tiger and the Shark-Crocodile hybrid. The Tiger and the Shark are Zoro’s official animal representations. As for the Crocodile… well, I'll let you connect the dots yourself...

Episode 897 (adapting Chapter 912). In this episode, Zoro rescues a woman named O-Tsuru, who, as we later find out, happens to be Kin'emon’s wife.

"Tsuru" (鶴) means "crane" in Japanese. Therefore, her full name Tsuru-jo literally translates to "Crane Woman." She is the very first woman Zoro meets and saves in Wano, and by a beautiful twist of fate, she is the wife of Kin'emon, the "Foxfire." Just a reminder: the word for "fox" in Spanish is Zorro, and it is from Kin'emon that our swordsman later learns the technique to cut through fire.

SBS Vol 50. Chapter 485. (By the way, this chapter is titled "Pirate Hunter Zoro" — exactly in this chapter "Nothing Happened" in Thriller Bark.) Robin's official animal representations chosen by Oda are the Falcon and the Crane! Let me remind you Zoro's home prefecture is Hokkaido, the northernmost prefecture of Japan..

Interestingly, within Hokkaido itself, there is a region called "Eastern Hokkaido" — the wildest, least populated, and most breathtakingly picturesque corner of the country. And guess what? Eastern Hokkaido is the only place in the world where rare Japanese cranes (Tancho) reside all year round! Do you notice the pattern here? The women who are significantly connected to Zoro’s often have names inspired by birds:

Kuina is named after the water rail bird (kuina in Japanese). Tashigi is named after the common snipe (tashigi in Japanese). O-Tsuru ("crane") is the very first woman Zoro encounters and rescues in Wano. And, of course, the most important woman in Zoro’s life — Robin..

Tsuru-jo at age 14 vs. age 35. And Robin in Wano. Am I the only one who thinks that 14-year-old Tsuru-jo looks incredibly similar to Robin? (Just a reminder that in the manga, Robin canonically has brown eyes).

By the way, Kin'emon is only one year older than Tsuru-jo; he is 36 and she is 35. However, after Kin'emon was "sent into the future" (which is the present timeline), things changed drastically. By the time of the Wano arc, Tsuru-jo is 55 years old, while Kin'emon is physically still 36. And yet, they are still husband and wife, and they are deeply in love!

Funny how nobody seems to be bothered by this massive age gap, right? ;)

In this very same chapter (912), Luffy finally reunites with Zoro. We also see how deeply Zoro cares and worries about the sick child, O-Tama. This moment is highlighted even better and shown in much more detail in the anime (episode 897).

The sword that Luffy borrowed from Hitetsu is Nidai Kitetsu — the second sword in the cursed Kitetsu series, and it happens to be purple! As a reminder, Zoro’s sword is Sandai Kitetsu, the third in the Kitetsu series. Zoro was dying to get a closer look at it, but Luffy absolutely refused to let him see it xD

Chapter 913-914. In these chapters, we are introduced to a beautiful girl, O-Kiku.

Zoro’s reaction to O-Tama eating truly delicious food for the first time in her life. This is exactly what a quietly, subtly happy Zoro looks like. Hmm, this rings a huge bell for me… 😏

A little earlier, O-Tsuru called Zoro a "Samurai," but here he goes out of his way to emphasize that he is a Ronin. Also, O-Tsuru's laugh sounds incredibly familiar, doesn't it?..

And Zoro rescues O-Tsuru again.

Episode 901.

A beautiful girl who also happens to be a samurai — you just know some fans immediately rushed to "ship" them. And this is exactly where I want to jump back to our "Arc of Lies" theme. Sure, nowadays we all know who O-Kiku really is. But back then, when the manga chapters were first dropping, just imagine how many readers thought, "Oh look, the perfect match for Zoro!"

Do you really think Oda didn't know that would happen? That he didn't see it coming? Or maybe that was his exact goal — to deceive and play a prank on the readers? To show everyone that we shouldn't make a mountain out of a molehill. Let's be real, some people are ready to ship a characters with a literal stool if they so much as glance at it.

I also want to firmly emphasize this: at that point in the story, neither Zoro nor the readers had any clue who O-Kiku actually was.

And then she gets captured, to the point where even Luffy asks in disbelief, "Why did you let them grab her?!" In one of my previous posts, I suggested that Zoro doesn't divide people into "men and women" — instead, he divides them into "the weak and the strong." In his eyes, O-Kiku isn't a "fragile woman"; she is a strong person. And this exact moment completely proves my theory.

Chapter 916. Even here, when O-Kiku is about to get hit, it’s Luffy who steps in to help her, not Zoro.

Yet another proof of my theory.

Episode 905. And even more proof of my theory. Sorry, O-Kiku, you might look like Robin on the outside… but you are not Robin. Here's a great article about Hanafuda cards and how Kiku means chrysanthemum in Japanese by @kathitah And great post about the similar appearance of O-Kiku and Robin by @hapifangurl

The look on Zoro's face makes it seem like he figured out who O-Kiku really is at that exact moment… Whether he realized something about her gender or that she is actually one of the Nine Scabbards, we can only guess.

Chapter 919 / Episode 909.

We are shown Robin once again, and once again, I need you to look closely at the background. While the previous "pine tree" detail was an anime-only addition, this time the visual motif is right there in the manga itself!

In this very same chapter, Zoro suddenly vanishes! And this is exactly where my usual point comes into play: the anime beautifully expands upon the manga. It is the anime that actually shows us "where and how" Zoro disappeared — he stayed behind because he sensed an assassin tailing them.

Episode 909.

I won’t bother listing all the visual similarities here; you can clearly see them for yourselves. I just want to remind you once again that Zoro’s official animal representation is the tiger.

In Japanese culture, the White Tiger (白虎, Byakko) isn’t just any beast. It is one of the Four Celestial Guardians of the cardinal directions, integrated into Japanese mythology from ancient Chinese cosmology:

Byakko (白虎) — The White Tiger of the West.

Seiryu (青龍) — The Azure Dragon of the East.

Suzaku (朱雀) — The Vermilion Bird of the South.

Genbu (玄武) — The Black Tortoise-Snake of the North.

What makes this fascinating is that the White Tiger is traditionally deeply tied to the West, the autumn season, the element of metal, as well as martial valor, justice, raw strength, and rigid discipline.

Autumn is Zoro’s favorite season. The element of metal, valor, a fierce sense of justice, strength, and discipline — all of these elements perfectly define Zoro’s character.

But why the West? Zoro is originally from the East Blue, and his real-world prefecture, Hokkaido, is in the far north. So where does the West come from? I don't know for sure… But what I do know is that Robin is originally from the West Blue, and her real-world prefecture, Osaka, is located in the western region of Japan.

It is also incredibly striking that in Japanese symbolism, the dragon and the tiger are frequently juxtaposed as equal and opposing forces. And looking at Wano, that’s exactly what happens: Zoro not only managed to leave a scar on the "dragon" Kaido, but he also ultimately defeated the "dragon" by King.

Chapter 920.

Alright, I think that’s more than enough for a start. This post only covered 12 chapters, and even so, only partially. That's 12 chapters out of 149… Either way, my Wano posts will be coming out in parts, and through them, we will gradually try to look at "the whole forest at once." I truly believe that Wano is a Zorobin arc at its core; Oda just chose to present it in a completely different, much more subtle way. And that only makes breaking it down all the more exciting.