Higher Ground, Broader Horizons.
part 2 of ??? Link to the part 1
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 "s," 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.
Well, in the next part, we’ll dive into some incredibly interesting moments that I'm sure you already know about. So I hope I can surprise you with something new~ I initially wanted to cover them in this part, but I’ve been writing this post for over 9 hours now, so let’s save it for the next one xD
