Loguetown, twenty years ago. The sun, beating down in the square, off of the hundreds—no, thousands of people clamoring together, the clinking of chains…
“Wealth. Fame. Power. I found everything this world has to offer. Free yourselves. Take to the seas! My treasure is yours to find,”said Gol. D. Roger, King of the Pirates, before his execution in Loguetown.
So begins Netflix’s new live-action adaptation of the beloved, nearly three decades old and running manga series, “One Piece,” by Eiichiro Oda. Rich in character and world-building — whimsical and spirited, the series is a timeless staple.
Thus, the release of the live-action, starring Iñaki Godoy as boisterous young upstart Monkey D. Luffy, Emily Rudd as sharp navigator Nami, Jacob Romero Gibson as sharpshooter Usopp, Taz Skylar as suave cook Sanji, and Mackenyu as “Pirate Hunter” Roronoa Zoro, was simultaneously anticipated and feared by old and new fans alike.
Would it be able to capture the way Luffy laughs, the sprawling scenes of Oda’s fantastical world, Zoro’s fierce loyalty and Usopp’s impeccable comedic timing? What about Sanji’s tendency to flirt, and Nami’s heartbreaking backstory? Above all, how would the original theme of the source material, messages of freedom and dreams, translate into an adaption?
Unlike Westernized remakes of Japanese material such as “Death Note” (2017) and “Ghost in the Shell” (2017), the “One Piece” live-action (OPLA) surprisingly delivers in most aspects, prominently in the development of the theme of “dreams.” Indeed, the show has been received generally well by fans, some even calling it the one that will “break the curse” of horrible anime adaptations.
However, that isn’t to say that “One Piece” is perfect. Unfortunately, the crucial role of translation falls short of the mark.
OPLA is unique in that the Japanese dub for the show was done by the anime’s original voice actors, providing an authentic alternative to the original English version. However, for non-Japanese speakers that may want to enjoy the show with the original voice of Luffy (Mayumi Tanaka), and the rest of the Straw Hats, the question of how English subtitles can alter the message being sent across languages is raised.
Netflix is no stranger to having a spotty track record with issues in translation, a popular example being the Korean thriller series “Squid Game” (2021), where the translation of honorific terms and other phrases had viewers complaining about the inauthenticity. Although certain dialogue inconsistencies can be overlooked for the sake of mundaneness, due to differences in conventional Japanese and English grammar rules, other, more pivotal scenes are not as forgiving.
As someone who studies and speaks both Japanese and English, I wanted to consult a native speaker on this issue. First year Business of Cinematic Arts student Aditya Mishra, born and raised in Tokyo and a fan of the original manga/anime, says that although the translations improve throughout the show, they remain slightly awkward—perhaps due to the differing sentence structure between the languages.
In the Japanese language, sentences follow a subject, object and verb pattern, whereas English follows a subject, verb and object blueprint. Watching the show in the Japanese dub with English subtitles felt disjointed at times, and as a result, some important scenes lost their nuance and impact.
A major example is Zoro’s words to Luffy after swearing to stand by his side in episode six, where he says (in the Japanese dub) 「今日からルフィが海賊王になるその日まで、最後の最後まで。」 This is translated in the English subtitles as, “From now until the end. Until we find the One Piece or die trying,”which unfortunately does not convey the full meaning. \
The Japanese line doesn’t mention the famed treasure “One Piece” at all–rather, it falls more along the lines of “From this point on, until you (Luffy) become the King of the Pirates, until the very, very, end– (I will stand by you).”
Aside from lacking the nuance of this intimate declaration between captain and first mate, this translation also shifts the focus of the narrative. As is implied in the source material, Luffy’s goal is not to only find the famed treasure and become the pirate king, but to become freedom itself. Thus, the subtitles and Zoro’s “...until we find the One Piece” insinuate to the audience that the focus of the show is on the material treasure only, rather than Luffy’s bonds with his crew, or his dream.
The main point is that although disjointed grammar can be overlooked, specific circumstances lack a very intense nuance that drives the plot, develops Luffy further, and imbues the material with more meaning, but unfortunately locks that meaning behind a caveat: it is only accessible to those that can speak the language.
What Hollywood does not struggle with, however, is developing the concept of a “dream.” “One Piece” may be a story about pirates, but it’s also about courage — about reaching for the stars. This topic is ever present in the source material, and it is echoed nicely in the live-action as well.
This was demonstrated in an added interaction between Zeff (Craig Fairbrass), former pirate captain turned owner of the Baratie restaurant, and Garp (Vincent Regan), vice-admiral of the Navy. Both men from the previous generation use the food as an allegory for the upcoming generation–aged goods like them are better left to usher in the new light.
Indeed, this rising of the youth continues throughout the show, reflected spectacularly in Koby’s (Morgan Davies) decision to knock out marine Axe-Hand Morgan (Langley Kirkwood) in episode one, regardless of his desire to protect the weak under the Navy. While Luffy and the Straw Hats may be bringing in a new era of piracy based on dreams and friendship rather than the traditional plundering and swashbuckling; Koby acts as a foil, striving to remain strict to his moral code, and shifting the Marines into an improved system of moral justice, sincerity, and heart.
As the franchise continues to increase in popularity and as Netflix continues to adapt foreign media, the world becomes more culturally interwoven. It is essential to be conscious of the messages sent through this media and how they might be altered through the vehicle of language.
Nevertheless, regardless of OPLA’s translational flaws, it undoubtedly houses tear-jerking triumphs that have set a new precedent for animanga adaptations to come. All persons involved in the project, from the showrunners to actors to Oda himself, dreamed about bringing such a hugely beloved classic to life, and they achieved just that, no matter the hurdles. And that—as Luffy would say— is what matters, isn’t it?
Netflix has announced that the show will be renewed for a second season.