There's an early moment in episode three of Netflix's One Piece that should tell the viewers all they need about the series. It's the first time Luffy sees the vessel that will become the Going Merry. The music swells as the camera lovingly frames the iconic sheep figurehead. It's simultaneously a genuine moment of reverence for fans, a tease for newcomers, and a bit of pandering. If it works, the rest of the series will too.
Episode 3: "Tell No Tales" is directed by Emma Sullivan. Sullivan is best known for her award-winning short film "After Tomorrow," but she also has her name on a couple of episodes of Doctor Who. Returning writer Matt Owens is joined by Damani Johnson. Johnson is a writer and producer who worked extensively on Major Crimes.
After their scrape with Buggy the Clown, the Straw Hat Pirates are off in search of a new adventure. They quickly discover that the sloop Nami stole is falling apart. With barely enough time to make it to the nearest shore, they make landfall at Gecko Island. Luffy is determined to get his crew the perfect ship. Something flashy, powerful, and well-decorated. Though he has no money, Luffy makes fast friends with a local worker named Usopp. Usopp knows the owner of the local shipyard, and he's convinced he can get the Straw Hats an audience with her. As they get to know Usopp and make their way into the wealthy owner's home, they discover a secretive plot that could turn the village upside down.
After introducing Luffy, Zoro, and Nami in the first episode, Usopp gets this entry to himself. He's less insufferable than in the original anime, but that slight downplaying of his worst traits may weaken his appeal. Usopp is a braggart known for making up stories and exaggerating his accomplishments. The anime played up his arrogance and frequent lies to knock him down with cathartic reveals of the truth. The recurring joke of Luffy hanging off his every word while everyone else sees right through him is lost, at least so far. This is partially a consequence of the adaptation's time crunch. Usopp's tragic backstory is revealed in the anime, but the audience gets to know who he is thoroughly before finding out why. The live-action series explains his behavior in the same episode it introduces him. He's a more likable character, but part of the fun of Usopp is watching him grow into a decent person. Maybe they'll show off more of his negative traits as he joins the crew, but sanding off the sharp edges of his personality makes him less interesting.
This episode also introduces new villains. Klahadore, the comically obvious evil butler, is set up for a confrontation in the upcoming episodes. His disguise works well enough, but the show never hides his intentions from the audience. Again, due to time restraints, the believable facade and gradual reveal of his scheme are lost. He's still a compelling villain, and his presence is genuinely threatening, but a lot of his story arc is missing. Arlong steps into the spotlight in a brief B-story, giving the audience a glimpse of live-action fish-men. They're deeply unpleasant to look at. They're realized with impressive practical effects makeup, but that doesn't make them any less bizarre in a scene otherwise filled with regular people in strange outfits. They blend right into the anime. It works for these villainous characters, who are meant to be slightly frightening, but it's hard to imagine how good-natured fish-men like Jinbe might come across.
One Piece still works reasonably well as an adaptation, but it's started making changes for the worse. Cutting certain bits will infuriate superfans but help the overall experience of the live-action show. Other losses are sad to see but not critical to the narrative. There's a death in this episode that will make some both sad and angry. The show's wildly varying tones capture the spirit of the original anime, and that's always what's most important. The pitch of a live-action One Piece adaptation was always going to be an uphill battle. This one is performing admirably, but each episode seems to reveal more holes in this ship's hull.
One Piece isn't a disaster like Cowboy Bebop, though it comes from the same strange place. It can be a nice treat for fans of the anime, as long as it's treated like what it is. It's a lavishly produced adaptation that can only hope to evoke the joy of the original work. The series seems to know its place and hit its marks in most of the ways that matter. It'll never outrun the accusations of pointlessness, but it's making a strong argument for its place. Let One Piece play with these beloved characters and scenes. It's harmless fun, even when it doesn't nail what it's aiming for.