Hey, everyone - I wanted to clarify a few things, because I don't think I explained everything perfectly in the video. Basically, this video was an experiment, to see if I could take my usual weekly video concept and turn it into something with more of a point. While I do think Chapter 1119 shows the strength of OP's modern paneling, I also think the point could be made better - for instance, if I took a few weeks and made an essay-style script that drew from multiple chapters and made more general points. The reason I didn't do that is lack of time, so instead this was a test of how well I could make a point in a video made over the weekend. I think it was okay, but some things could have been clearer. The particular point I want to clarify is about small panels vs. double page spreads. I stand by my general point - double pages aren't for every situation, and a lot of really clever things can be done with smaller panels. But when I argue, I try to imagine a reasonable devil's advocate arguing against me - and I can imagine a reasonable person reading that sequence of Bonney, Sanji, and Franky hitting Luffy, and getting confused about where everyone is. I don't think that sequence is perfect, and if you wanted to argue it would be better if it included a wide shot that showed everyone's locations, that'd be fair. I think in a perfect world, it might have, but this was a twelve page chapter. And I think the sequence does a lot to give you information subconsciously such that even if you, as I said, couldn't answer a quiz on where everyone was, your brain reads it and intuitively follows that Sanji and Franky are there to hit Luffy from behind. And that Dorry and Broggy are dealing with something else and won't matter to the action sequence. There's also the fact that Sanji and Franky are secondary there, while Bonney, the main one, does have her position shown relative to Luffy. I think that for those deliberate reasons, it should work for most people. I've previously argued that showing characters' positions is important, and I don't want to be hypocritical - it is very important. I personally find that a lot of manga fail to show positions in wide shots AND don't do anything with page layout or framing to give you that information in other ways. One Piece knowing how to do this even when it doesn't have space for a position-establishing shot is what makes me continue to be impressed with its techniques. If you have any questions about my takes on this kind of thing, feel free to ask.
As a comic artist I'm learning A LOT of your content and I really enjoy your long videos like the katakuri one. The weekly format is very didactic and practical but I'm willing to see what you're capable of in an essay video. Thank you for sharing this content :)
@@Werb you’re waffling so hard trying to defend your goda, but deep down you know the truth. It’s bad and sloppy so stop trying to rationalize that it’s actually good
I'm going to say this is, by far, the best ONE PIECE channel I've come across during 2024 (and one of the best overall). Clear panelings and composings discussions, strict to the point. Bravo!
I personally think there is merit in maintaining a good balance between more compact paneling and big epic wide shots. The compact panels are great at conveying tons of information and moving the story along, and the big spreads are cool for spectacle purposes, and to emphasize really important moments. In terms of general art quality, I don't know how people can look at some of the recent spreads with things like the mother flame, vegapunk's brain, the 5 elders, and emet, and say that Oda fell off.
I personally enjoy your weekly videos. Reacting to your reviews of the most recent chapters give a real authentic, genuine criticism of the panelling in this current arc. I think your current rate of these review uploads are great as they are; I fear that, if you took more time to construct these videos to improve quality, your video may succeed less as the “new chapter hype” dies down overtime.
That said, I also love your review of the Katakuri vs Luffy chapter. It was clear throughout the video that you had put in next level effort and time into that one (much appreciated). I think you should save your longer, essay-style reviews for going through older chapters such as that one and the Luffy vs Bellamy chapter. You’re a captivating, knowledgeable narrator with an ability to dive into those chapters really well for your audience. Plus, you have the advantage of tapping into the “legacy” status of those chapters rather than relying on the “newness hype” of current chapters.
Yeah, I'm not changing the format of the weekly chapter analyses. Were I to do a more full, essay-style "One Piece's paneling is still good" it wouldn't be replacing one of them, but just be its own thing. But that wasn't even something I was planning until I read this chapter - it's more that once I saw how much paneling I liked was in the chapter, the idea to do something more with it occurred to me.
@@Werb I see. So more like a longer review of the panelling in the current era (mainly the egghead arc and maybe end of Wano too). Where you touch on and compare moments chapters apart from each other. Sounds like a great idea 🤩!
Happy that you can find some of the care and craft that goes into these cramped ass max efficiency over artistry panels but I'm just going to have to continue reading the latest chapters with a compass and a magnifying glass so I don't get lost in the confusing cacophony.
I just want to commend you on your editing style and the concise way you communicate. Thanks for all your work. And yes, I love One Piece’s panels. They’re so free!
I really like that you make me stop and think more about all this (beyond One Piece - I even started reflecting panelling decisions in webtoons more attentively - whenever I take the time to slow down and don't get swept up in the "heat" of a chapter) the actual "architecture" of Odas pages really don't get enough analysis beyond people crying about their individual preferences
it'd be cool to see a comparison on how different mangakas use paneling in their works, not in a way to say one is better than another but rather to showcase different techniques and the effect on the stories
Broadly speaking, not replying to anything in the video in particular, I do find it takes me much longer to parse a page in recent arcs. The initial readability is much lower, to the point where I need to skim it again before I move onto the next. I read through the entire manga again which confirmed it for me. Now that's just the tradeoff for density, but I do miss the clarity of some classic panels in the older days.
Exactly. Compact and max efficiency paneling has its place but sometimes you just need to give the art some much needed room to breathe, which I feel Oda hasn't done since Dressrosa.
i totally agree. thats the word im looking for "Readability" if i don't watch the anime and only read the manga i have no idea what's going on sometimes.
@@dekufiremage7808 "give the art some much needed room to breathe" 100% agree. In the wano arc, the raid scenes have so much crowds of people in one panel i can hardly understand what is going on. They need the art to breathe.
I like the all th examples, but the insight on Mars Flying from the bottom right to top left proves to me you know your stuff! That was an incredible find!
Loved the vid. I think it would be way cool if you could make some videos of panel reviews of other series besides one piece if you’re interested in doing them at all. I love one piece but just think it would be cool to see some examples of the things you talk about in your videos in other series
@@ididagood4335 i think it's more about the creative direction than whether or not they understand it. i've certainly heard from reliable sources that the anime staff are the most passionate OP fans in existence. they aren't failing to understand the manga - they're just working under difficult limitations, and making creative choices that aren't what i'd personally prefer but are ultimately valid.
Social media influence people's perception of what good paneling is to an unreasonable degree. By that I mean people confuse "cool looking panels that you can post on twitter and get many likes from" with good paneling.
Oda has great individual panels, especially the spreads, but the panelling across the board honestly is getting pretty poor now. too many chapters rely on wide shots and close ups when characters are talking (and that’s about it). and for anything else outside of fights, there’s an abundance on generic background chatacter reaction images, and large panels of the island we are on for literally no reason (while text bubbles from 3 different characters are there). to the point where it feels like it’s only there so Oda doesn’t have to draw as much. panels aren’t moving fluidly anymore and instead everything feels like snapshots instead of fluid scenes. during Vegapunk’s whole message, we got like 50+ reaction images. did we really need to see stoic and shocked faces for so many random minor characters we haven’t seen in years? we don’t get anything from it. we didn’t even see the straw hats react to it. that’s how bad it is. and i’m so frustrated how many times Oda cuts away from a 2 page fight to give us 5 pages of generic marines just talking about what’s going on the battlefield, instead of just showing us what’s happening; or even better; the actual main characters reacting.
I’m sorry but that’s not what people are criticising about the paneling or the drawings. The directions and flows of the panels are cool and all but only if you can read the page in the first place. The pages you showed weren’t as bad but in recent one piece if you have to read a panel 7 times to understand what is happening it destroys the flow, especially in action panels. It’s too much crumbled in one page, overdrawn, to the point of having no focus point due to missing thin and thick lines, and when one reaction panel is only 5% of the page and half of it is a speech bubble, it doesn’t help either
you can also keep in mind that the MARINES are on the right and the PIRATES are on the left, so based on the factions it should be good marines and bad pirates, but it’s reversed
This video reminds me of how confident my college art teacher was whenever he told us that everyone should always shade with blue tones, he used to throw strawman and all lol Eventually I learned to not focus so much on his implied experience and just took what I could learn from his mistakes and such, tho
I think this is true to an extent, but it's hard to separate that from Oda just getting more and more experience over the years. There's a great video from Adam Savage (from Mythbusters) on his channel - it's titled "Best "I Told You So" Moments with Jamie" but he answers other patron questions in the video too - where he talks about aging. Your body gets weaker, and you stop being able to work at the same pace, but at the same time you know so much more than you used to. Learning and aging aren't directly related, but they both take time, and time doesn't wait. This is a common pattern with not just creatives, but anyone who applies themselves, and it's definitely been happening for years with Oda - he would absolutely be dropping 20 page chapters, not 12 page chapters, if he could still draw them on his schedule. Youth is wasted on the young, as they say. I'm young, so I'm trying not to waste it. I'm also reminded of a quote from The Incredible Hulk movie - the bad one that's canon to the MCU even when the MCU tries to ignore it, not the Ang Lee one. "No, sir, I'm a fighter, and I'll be one for as long as I can. Mind you, if I took what I had now, and put it in a body that I had ten years ago, that would be someone I wouldn't want to fight."
@@Werb very well said and I absolutely see that in Oda, his expertise is growing while his work capacity is decreasing, especially after having done this job basically nonstop for almost 30 years. What I find disgusting, there are haters who say that Oda is just getting lazy and that's why his art is getting worse and the chapters shorter
I think that modern One Piece panelling isn‘t that good. It’s actually quite messy for me nowadays. Compare it to Mangas like Dragon Ball, Bleach, Slam Dunk or Akira und will see what makes good panelling. Still though, One Piece shines at other qualities.
Ill be honest the double page spread at the end of 1118 is one of Oda's worst spreads I think in the entire series. The hierarchy of panels being read right to left in a zig zag pattern is thrown out the window, I think its genuinley the least readable op page ive seen
I am deeply confused at what you're saying here, because the page follows a completely normal, T-intersection based panel order. Nothing is thrown out the window there or even out of the ordinary. Could you clarify what you think is happening?
@@Werb we start at kuma's face at the top right then go down into the flashback panel. Then our eyes lead into the big panel of luffy and bonney transformed. This is fine, a lot of one piece pages are layed out like this. My problem is you dont continue onto the top left now being bonney saying yeah! And finishing off the page. No. You have to go all the way back down into the bottom right read that and again cut through the middle panel to read down into the top left formation of panels. Your eye is directly cutting through a moment that has happened 4 panels ago. Making the flow of the page tough to parse. The page would be fixed if there was a clear 3 part structure to the double page spread that oda has done a million times. Kuma panels clearly defined at the right side, then bonney + luffy panel in the middle with the subsequent panels with Mars, then finally bonney replying and the other gorosei with the iron giant. My main issue is the three sections of the panels aren defined they all weirdly mesh into eachother
@@frealish6622 I think I understand what you're describing, but I'm honestly not sure I understand what the issue is... why would you continue to the top left after the center panel, when there's panels below? Could you explain further why you think it should work this way? It would be one thing if the flow of the panel didn't draw the eye where it should, and there was something overly eye-catching in the top left, but I see Luffy's body, and then the sound effects, drawing the eye diagonally down and to the right after the speech bubble, and a composition that curves downward specifically to *not* point toward the top left panel. Rather than feed the eye in that direction, it pulls it down. Panel layouts that are further subdivided with T-shaped intersections are certainly more advanced, but that doesn't mean there's anything wrong with them as long as the flow is clear. I'm also confused about your critique that the eye cuts through a moment it already saw - it at most cuts over a bit of the corner, and in a way that is constantly happening in basically any manga. Unless you're reading a vertical webtoon, or something with absurdly simple panel layouts, this is always happening in a way the eye simply ignores. I also think it's worth acknowledging that while the page does have an intended order, and does direct the eye that way, Oda generally composes double pages like this such that it's okay if the eye skips ahead. He's well aware that when people see a big panel, many will simply look at it first, and then explore the rest. So a page with a big central panel, and then parts around it supporting it, will usually have the surrounding sections be complementary to the main point, rather than convey key events that need to be understood in order. It's specifically made such that the left section doesn't spoil anything from the bottom section, and the starting Kuma section could theoretically be read at any point in the page. That said, I again do not share your confusion with how to read the page in order; it's fairly standard use of T-shaped gutter intersections.
i totally disagree. one piece paneling and composition is bad. Now, of course, some of the climactic events have good paneling and composition. But i'm in wano arc and i cannot understand what is happening.
Hey, everyone - I wanted to clarify a few things, because I don't think I explained everything perfectly in the video. Basically, this video was an experiment, to see if I could take my usual weekly video concept and turn it into something with more of a point. While I do think Chapter 1119 shows the strength of OP's modern paneling, I also think the point could be made better - for instance, if I took a few weeks and made an essay-style script that drew from multiple chapters and made more general points.
The reason I didn't do that is lack of time, so instead this was a test of how well I could make a point in a video made over the weekend. I think it was okay, but some things could have been clearer.
The particular point I want to clarify is about small panels vs. double page spreads. I stand by my general point - double pages aren't for every situation, and a lot of really clever things can be done with smaller panels. But when I argue, I try to imagine a reasonable devil's advocate arguing against me - and I can imagine a reasonable person reading that sequence of Bonney, Sanji, and Franky hitting Luffy, and getting confused about where everyone is.
I don't think that sequence is perfect, and if you wanted to argue it would be better if it included a wide shot that showed everyone's locations, that'd be fair. I think in a perfect world, it might have, but this was a twelve page chapter. And I think the sequence does a lot to give you information subconsciously such that even if you, as I said, couldn't answer a quiz on where everyone was, your brain reads it and intuitively follows that Sanji and Franky are there to hit Luffy from behind. And that Dorry and Broggy are dealing with something else and won't matter to the action sequence. There's also the fact that Sanji and Franky are secondary there, while Bonney, the main one, does have her position shown relative to Luffy. I think that for those deliberate reasons, it should work for most people.
I've previously argued that showing characters' positions is important, and I don't want to be hypocritical - it is very important. I personally find that a lot of manga fail to show positions in wide shots AND don't do anything with page layout or framing to give you that information in other ways. One Piece knowing how to do this even when it doesn't have space for a position-establishing shot is what makes me continue to be impressed with its techniques.
If you have any questions about my takes on this kind of thing, feel free to ask.
As a comic artist I'm learning A LOT of your content and I really enjoy your long videos like the katakuri one. The weekly format is very didactic and practical but I'm willing to see what you're capable of in an essay video. Thank you for sharing this content :)
@@Werb you’re waffling so hard trying to defend your goda, but deep down you know the truth. It’s bad and sloppy so stop trying to rationalize that it’s actually good
I'm going to say this is, by far, the best ONE PIECE channel I've come across during 2024 (and one of the best overall). Clear panelings and composings discussions, strict to the point.
Bravo!
One Piece has some of the best panelling in comic history
facts
I personally think there is merit in maintaining a good balance between more compact paneling and big epic wide shots. The compact panels are great at conveying tons of information and moving the story along, and the big spreads are cool for spectacle purposes, and to emphasize really important moments. In terms of general art quality, I don't know how people can look at some of the recent spreads with things like the mother flame, vegapunk's brain, the 5 elders, and emet, and say that Oda fell off.
I personally enjoy your weekly videos. Reacting to your reviews of the most recent chapters give a real authentic, genuine criticism of the panelling in this current arc. I think your current rate of these review uploads are great as they are; I fear that, if you took more time to construct these videos to improve quality, your video may succeed less as the “new chapter hype” dies down overtime.
That said, I also love your review of the Katakuri vs Luffy chapter. It was clear throughout the video that you had put in next level effort and time into that one (much appreciated). I think you should save your longer, essay-style reviews for going through older chapters such as that one and the Luffy vs Bellamy chapter. You’re a captivating, knowledgeable narrator with an ability to dive into those chapters really well for your audience. Plus, you have the advantage of tapping into the “legacy” status of those chapters rather than relying on the “newness hype” of current chapters.
Yeah, I'm not changing the format of the weekly chapter analyses. Were I to do a more full, essay-style "One Piece's paneling is still good" it wouldn't be replacing one of them, but just be its own thing. But that wasn't even something I was planning until I read this chapter - it's more that once I saw how much paneling I liked was in the chapter, the idea to do something more with it occurred to me.
@@Werb I see. So more like a longer review of the panelling in the current era (mainly the egghead arc and maybe end of Wano too). Where you touch on and compare moments chapters apart from each other. Sounds like a great idea 🤩!
Happy that you can find some of the care and craft that goes into these cramped ass max efficiency over artistry panels but I'm just going to have to continue reading the latest chapters with a compass and a magnifying glass so I don't get lost in the confusing cacophony.
I just want to commend you on your editing style and the concise way you communicate. Thanks for all your work.
And yes, I love One Piece’s panels. They’re so free!
I really love this channel. It makes me have so much more appreciation for the manga than only reading it on my own ever could.
I really like that you make me stop and think more about all this (beyond One Piece - I even started reflecting panelling decisions in webtoons more attentively - whenever I take the time to slow down and don't get swept up in the "heat" of a chapter)
the actual "architecture" of Odas pages really don't get enough analysis beyond people crying about their individual preferences
it'd be cool to see a comparison on how different mangakas use paneling in their works, not in a way to say one is better than another but rather to showcase different techniques and the effect on the stories
Broadly speaking, not replying to anything in the video in particular, I do find it takes me much longer to parse a page in recent arcs. The initial readability is much lower, to the point where I need to skim it again before I move onto the next. I read through the entire manga again which confirmed it for me. Now that's just the tradeoff for density, but I do miss the clarity of some classic panels in the older days.
Exactly. Compact and max efficiency paneling has its place but sometimes you just need to give the art some much needed room to breathe, which I feel Oda hasn't done since Dressrosa.
i totally agree. thats the word im looking for "Readability" if i don't watch the anime and only read the manga i have no idea what's going on sometimes.
@@dekufiremage7808 "give the art some much needed room to breathe" 100% agree. In the wano arc, the raid scenes have so much crowds of people in one panel i can hardly understand what is going on. They need the art to breathe.
The G8 Marine Base Arc has the best panelling (haters will say it was filler).
I love how it minimizes the amount of panels needed to convey the plot.
IT WAS FILLEEEEEERRRR 👺
I like the all th examples, but the insight on Mars Flying from the bottom right to top left proves to me you know your stuff! That was an incredible find!
Keep doing these bro
This i didn't know.
Thank you for expleining the art of one piece panels❤
It's werbin' time
I actually learned so much about manga paneling in one video. This channel may be a banger
Not gonna lie when the elders arrived at egghead was probably one of my favorite panels all year ,it was menacing AF
I love very deep analysis, thank you
Loved the vid. I think it would be way cool if you could make some videos of panel reviews of other series besides one piece if you’re interested in doing them at all. I love one piece but just think it would be cool to see some examples of the things you talk about in your videos in other series
Meanwhile Luffy keeps getting shorter and shorter.
great video man
Great, as always.
I hope the people in charge of the anime watch your channel
well that wouldn't really do much since they're making an anime not a manga, but i appreciate the positive sentiment
@@Werb I mean so they understand what oda is conveying with the paneling as well as you do
@@ididagood4335
i think it's more about the creative direction than whether or not they understand it. i've certainly heard from reliable sources that the anime staff are the most passionate OP fans in existence. they aren't failing to understand the manga - they're just working under difficult limitations, and making creative choices that aren't what i'd personally prefer but are ultimately valid.
"One Piece art isn't good." "Oda is washed."
I might just link your videos if I see people say that. EXCELLENT REVIEW!
Social media influence people's perception of what good paneling is to an unreasonable degree. By that I mean people confuse "cool looking panels that you can post on twitter and get many likes from" with good paneling.
Oda has great individual panels, especially the spreads, but the panelling across the board honestly is getting pretty poor now.
too many chapters rely on wide shots and close ups when characters are talking (and that’s about it). and for anything else outside of fights, there’s an abundance on generic background chatacter reaction images, and large panels of the island we are on for literally no reason (while text bubbles from 3 different characters are there). to the point where it feels like it’s only there so Oda doesn’t have to draw as much.
panels aren’t moving fluidly anymore and instead everything feels like snapshots instead of fluid scenes.
during Vegapunk’s whole message, we got like 50+ reaction images. did we really need to see stoic and shocked faces for so many random minor characters we haven’t seen in years? we don’t get anything from it. we didn’t even see the straw hats react to it. that’s how bad it is.
and i’m so frustrated how many times Oda cuts away from a 2 page fight to give us 5 pages of generic marines just talking about what’s going on the battlefield, instead of just showing us what’s happening; or even better; the actual main characters reacting.
I’m sorry but that’s not what people are criticising about the paneling or the drawings. The directions and flows of the panels are cool and all but only if you can read the page in the first place. The pages you showed weren’t as bad but in recent one piece if you have to read a panel 7 times to understand what is happening it destroys the flow, especially in action panels. It’s too much crumbled in one page, overdrawn, to the point of having no focus point due to missing thin and thick lines, and when one reaction panel is only 5% of the page and half of it is a speech bubble, it doesn’t help either
you can also keep in mind that the MARINES are on the right and the PIRATES are on the left, so based on the factions it should be good marines and bad pirates, but it’s reversed
This video reminds me of how confident my college art teacher was whenever he told us that everyone should always shade with blue tones, he used to throw strawman and all lol
Eventually I learned to not focus so much on his implied experience and just took what I could learn from his mistakes and such, tho
Maybe modern paneling had to get better bc of the lack of visuall space, so it got worse one way and better in another?
I think this is true to an extent, but it's hard to separate that from Oda just getting more and more experience over the years.
There's a great video from Adam Savage (from Mythbusters) on his channel - it's titled "Best "I Told You So" Moments with Jamie" but he answers other patron questions in the video too - where he talks about aging. Your body gets weaker, and you stop being able to work at the same pace, but at the same time you know so much more than you used to. Learning and aging aren't directly related, but they both take time, and time doesn't wait. This is a common pattern with not just creatives, but anyone who applies themselves, and it's definitely been happening for years with Oda - he would absolutely be dropping 20 page chapters, not 12 page chapters, if he could still draw them on his schedule. Youth is wasted on the young, as they say. I'm young, so I'm trying not to waste it.
I'm also reminded of a quote from The Incredible Hulk movie - the bad one that's canon to the MCU even when the MCU tries to ignore it, not the Ang Lee one. "No, sir, I'm a fighter, and I'll be one for as long as I can. Mind you, if I took what I had now, and put it in a body that I had ten years ago, that would be someone I wouldn't want to fight."
@@Werb very well said and I absolutely see that in Oda, his expertise is growing while his work capacity is decreasing, especially after having done this job basically nonstop for almost 30 years. What I find disgusting, there are haters who say that Oda is just getting lazy and that's why his art is getting worse and the chapters shorter
"lazy" is the one word that is probably not applicable to a single professional mangaka. you cannot do that job if you're lazy.
@@Werb yes, especially bc Oda is rich enough to retire so if he really didn't to put in effort anymore he would just cancel the series
I think that modern One Piece panelling isn‘t that good. It’s actually quite messy for me nowadays. Compare it to Mangas like Dragon Ball, Bleach, Slam Dunk or Akira und will see what makes good panelling. Still though, One Piece shines at other qualities.
Ill be honest the double page spread at the end of 1118 is one of Oda's worst spreads I think in the entire series. The hierarchy of panels being read right to left in a zig zag pattern is thrown out the window, I think its genuinley the least readable op page ive seen
I am deeply confused at what you're saying here, because the page follows a completely normal, T-intersection based panel order. Nothing is thrown out the window there or even out of the ordinary. Could you clarify what you think is happening?
@@Werb we start at kuma's face at the top right then go down into the flashback panel. Then our eyes lead into the big panel of luffy and bonney transformed. This is fine, a lot of one piece pages are layed out like this.
My problem is you dont continue onto the top left now being bonney saying yeah! And finishing off the page. No. You have to go all the way back down into the bottom right read that and again cut through the middle panel to read down into the top left formation of panels.
Your eye is directly cutting through a moment that has happened 4 panels ago. Making the flow of the page tough to parse.
The page would be fixed if there was a clear 3 part structure to the double page spread that oda has done a million times. Kuma panels clearly defined at the right side, then bonney + luffy panel in the middle with the subsequent panels with Mars, then finally bonney replying and the other gorosei with the iron giant. My main issue is the three sections of the panels aren defined they all weirdly mesh into eachother
@@frealish6622 I think I understand what you're describing, but I'm honestly not sure I understand what the issue is... why would you continue to the top left after the center panel, when there's panels below? Could you explain further why you think it should work this way?
It would be one thing if the flow of the panel didn't draw the eye where it should, and there was something overly eye-catching in the top left, but I see Luffy's body, and then the sound effects, drawing the eye diagonally down and to the right after the speech bubble, and a composition that curves downward specifically to *not* point toward the top left panel. Rather than feed the eye in that direction, it pulls it down.
Panel layouts that are further subdivided with T-shaped intersections are certainly more advanced, but that doesn't mean there's anything wrong with them as long as the flow is clear. I'm also confused about your critique that the eye cuts through a moment it already saw - it at most cuts over a bit of the corner, and in a way that is constantly happening in basically any manga. Unless you're reading a vertical webtoon, or something with absurdly simple panel layouts, this is always happening in a way the eye simply ignores.
I also think it's worth acknowledging that while the page does have an intended order, and does direct the eye that way, Oda generally composes double pages like this such that it's okay if the eye skips ahead. He's well aware that when people see a big panel, many will simply look at it first, and then explore the rest. So a page with a big central panel, and then parts around it supporting it, will usually have the surrounding sections be complementary to the main point, rather than convey key events that need to be understood in order. It's specifically made such that the left section doesn't spoil anything from the bottom section, and the starting Kuma section could theoretically be read at any point in the page. That said, I again do not share your confusion with how to read the page in order; it's fairly standard use of T-shaped gutter intersections.
i totally disagree. one piece paneling and composition is bad. Now, of course, some of the climactic events have good paneling and composition. But i'm in wano arc and i cannot understand what is happening.
I cannot define with words how garbage Oda's paneling is
I like onepiece and stuff but this just reeks of soyboy
The paneling and art has never been worse what are you talking about
He is talking about how the panelling in One Piece is the best it has ever been.
It ain’t though. The real oda died years ago. Rip.
@@RocketKissyou never liked one piece then
Rocketpiss xdddd😹😹😹
@@RocketKiss by all means make a video and convince us of that then.