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One Piece Episode 654 UNCUT REACTION! (Patreon)

Published:
2025-09-12 05:36:54
Edited:
2025-09-12 05:40:47
Imported:
2026-08
Tags:

Videos

  • 531309810.mp4

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Content

OK wtf, idk why this was posted ahead of 655. I literally waited until this was published, sorry about that

last few were posted out of order, so if you haven't caught up just scroll down!

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Comments

idziman

we're so BOLDback

Mo za

"◥▶◀◤"

Albanese

Yaaaaaaaaaay

Sanji Joestar

That Sanji entrance Watched it hundred of times over the last decade Still as epic🔥🔥🔥🔥🔥🔥

Artemis

One of the most compelling aspects of this arc to me is how Doflamingo, the primary antagonist, is not a distant threat waiting at the end of the journey. Instead, he is actively involved in direct conflict with the Straw Hat crew throughout the story. Unlike traditional shonen narratives, where the main villain often remains in the background until the final confrontation like alot of earlier OP arcs. Doflamingo is constantly intervening in the characters affairs and trying to stop them in there tracks. I appreciate a story that doesn't have to fall into the pitfalls of "Major Villain saved for final boss" trope.

100Rainy

I never noticed Doflamingo dropped that random Marine's heart and apparently stomped on it too. RIP to that guy I guess lol

Oussama Essamadi

Cavendish out here fighting Temu Lelouch 😭

Kittyslayr

"Here comes quite a tough one" is the cherry on top

Matthew Gilroy

They said multiple times that Doflamingo is a stop gap in the grander scheme of taking down Kaido. He's Caesar round 2. Everything we're doing in Dressrosa, the while point we're even here, is to cripple Kaido's growth of his army of Zoans. I don't think Oda has portrayed Doflamingo to be the main villain. Narrative wise and strength wise too (he shits his pants when it comes to Admirals and Yonko)

Matthew Gilroy

Basically I assume you were referencing someone like Crocodile when you said "earlier OP arcs". Doflamingo and Crocodile are incomparable. Crocodile was actually the final boss of that part of the story. In contrast Dressrosa is a sub-story. The "final boss" in our plan is Kaido. And don't forget we picked a fight with Big Mom too.

Artemis

I understand but I am specifically reffering to the way he is used and presented within the dressrosa arc. Had this been early OP. It most likely would have followed the more conventional formula of having his side kicks do all the fighting, well the final big bad of the story doesn't actively get involved till the end, regardless of rather or not he is a bridge to get to kaido. This story straying from that trope I think is what makes dressrosa more compelling and overall solidifies that oda has grown as a writer.

Artemis

That is also true. It is evident that Eiichiro Oda has started to weave larger, more interconnected narratives throughout the grand story of One Piece. This for sure marks a significant shift in his approach, as current story arcs are being set up with much greater attention to overarching plot lines than in the early days of the series.

Matthew Gilroy

That conventional formula hasn't been seen for 600-700 episodes though. This is not new. Enel was active throughout the entire Survival Games, Kizaru was actively trolling, Magellan was active, Hody was actively getting whooped😂, Caesar was active etc. Moria left the fighting until the end, but it ties in with the themes and his character writing of losing his ambition, interestingly because of Kaido.

Matthew Gilroy

Bro this isn't an argument of "interconnected narratives throughout the grand story of One Piece". The main narrative is taking down Kaido. That's why we came to Dressrosa

Artemis

In the Skypiea arc, there was a significant portion of the storyline where Enel remained largely inactive, observing events from his position in "heaven" while his priests dealt with adversaries on his behalf. This approach aligned with the narrative's themes sure, portraying Enel as a godlike figure who rarely descended to direct confrontation. However, this structure required patience from the audience, as the central conflict was delayed, and readers had to wait for the story to escalate into serious action. The "ball ordeal" is a prime example of this pacing, where the buildup was extensive before the true conflict began. Magellan serves as a contrasting example as well. Instead of being a constant, active threat, he functioned more as a narrative device. He was removed from the main conflict not through direct confrontation, but due to his recurring stomach issues and pain. This allowed the Straw Hats to progress through the various levels of Impel Down, engaging with jailer beasts, guards, and the numerous dangers of the underwater prison, rather than facing Magellan directly at every turn. CP9 was also in a very similar situation. Oda introduced the idea's of multiple keys they had to obtain before reaching the end when clearly there was quite a few plot conveniences in that story. The Marineford saga marks a departure from this typical format. Unlike previous arcs, there is no singular "big bad" for Luffy and his allies to confront at the story's climax. Instead, the saga presents a multitude of formidable enemies, emphasizing the overwhelming power difference that Luffy and his crew must overcome. Kizaru is one piece of that. This shift obvously serves to highlight the next stage of Luffy’s journey and the escalating scale of challenges he faces. But my point is, many arcs in One Piece are structured around delayed confrontation with the main antagonist. However, at this point in the story, in the new world, the Punk Hazard and Dressrosa arcs introduce a new approach. Almost immediately upon arriving at the island, the primary antagonist actively pursues the Straw Hats. This change in narrative pacing enhances the story’s engagement by eliminating unnecessary padding and the extended periods of inactivity for major characters. To be fair DR has so many moving parts but each of those parts are something you would never equate to like the ball ordeal or some random side kick of crocodile just being used as a "stop gap" to pass time unecessarely. These are all signficant to the grander narative. Oda’s evolving storytelling reflects a recognition that prolonged waiting and indirect conflict can diminish momentum. By focusing more directly on key characters and plot progression, the story becomes more dynamic and resourceful, resulting in a more compelling story. That is the best way I can describe it and as a new watcher of Dressrosa, I deffinitly feel the lack of these kinds of tropes, enhances the story especially with everything oda has wrote and setup with Law being so well interweaved into the grander saga. I want to clarify that my observations are not an indication of ignorance regarding how circumstances may evolve in the future of one piece. Rather, my intention is to analyze and reflect on the significant changes that the story is experiencing at this moment. The emphasis here being currently where Boldcast is in this journey and the transformative phase it is currently undergoing for them.