What is the One Piece? What is the Will of D? Where is Raftel? We delve into the biggest questions in One Piece in search of answers…

PROLOGUE

he world is a big place. Many explorers during the Age of Discovery first set out to the seas thinking that the world existed on a flat plane. Just 500 years ago, astronomers believed that the universe revolved around the Earth. Until recently, we thought we were the only planet in the entire universe with the capability to support life. As we march forward through time, our understanding of our place in society, our place in the world, and our place in the universe evolves. We discover that there is a lot more to the world than what we can perceive.

The same holds true in the world of Eiichiro Oda’s One Piece. When we first entered the world of One Piece back in July 1997, we had limited knowledge of what existed of the world beyond the East Blue. We had no idea what the journey ahead would look like. Over the last eighteen years the world has grown exponentially. We have visited lands untouched by man in eons, ancient cities in the sky, islands of fishmen and mermen 30,000 feet below the surface, communities of giants and little people, human beings with unimaginable powers, and a world seemingly thrown into constant meteorological and political chaos.

As we stand in the One Piece world today, eighteen years after it began, we do not have all the knowledge necessary to put the pieces of the larger puzzle together. Just as we do not yet know if other planets indeed hold intelligent life, nor do we know the true meaning behind the birth of our universe, we also do not know what the One Piece is or why that world exists as it does. However, like everything in the universe is tied together by common elements and bonds, so is the One Piece world.

There are clues to these bonds all around us. Just because we do not know the answers to these great mysteries does not mean that the clues to solving them have not already been planted. Eiichiro Oda has already indicated that he has a much, much larger plan for the story. The problem is, we do not have the knowledge necessary to string everything together. Not yet, anyway. So, in an attempt to glimpse what picture these pieces weave, I’m going to try to bring as much insight and reason to the pieces that we do have, and we’ll leave it up to speculation and time to sort out the rest.

The story in One Piece exists in four layers. First, there are the immediate stories, which we often call story arcs. These include Baratie, Arlong Park, and Loguetown, for example. As Oda creates these stories he plants small details at the beginning that usually pay off at the end — usually around 20-40 chapters later.

Second, there are the larger stories, which many have called sagas. These sagas often encompass a series of story arcs leading to a major enemy or a major goal. Examples of this would include the Baroque Works saga, which tell the story of Vivi’s adventure to her homeland and the defeat of Sir Crocodile.

Third, there are milestone stories. These kind of stories are hinted about throughout a major portion of the series. The best example we have of this are the events leading to the Paramount War, which are discussed at length in Volumes 25, 45, and 50 and then ultimately come to a fore in the Sabaody, Amazon Lily, Impel Down, and Marineford arcs. In these cases, Oda plants scenes and moments throughout a wide swath of the story laying the foundation for the events to come.

What I will be discussing here is even larger then that, it is the underlying story that stretches across the entire series. It is what the current One Piece editor recently described as the “main story.” These clues are not as obvious as those planted prior to a milestone story like the Paramount War. I believe that Eiichiro Oda has been planting certain clues throughout the series, from the very beginning, in order to lay his foundation for a final battle with an inevitable outcome.

To put it more directly: these subtle clues are the key to solving what the One Piece really is and why Monkey D. Luffy will be the one to find it. Ultimately, the power that Luffy will discover at the end of the Grand Line has impacts for every character in the series, be it those of the past, those of the present, or those we have yet to see.

I. THE SPACE RACE

The Skypiea arc ended over a decade ago with an image of Eneru (also known as “Enel” or “Ener”), utterly defeated, finally making his way to the Endless Varse (also known as “Vearth”). Eneru said, “on the island I was born, people believed that [God] resides ‘there.’ They call it ‘Endless Varse.’ The land there stretches out farther than the eye can see.” [Volume 29, Page 197]. When we learn that the Endless Varse was actually the moon, my instant thought was that Eneru was a lunatic. Of course, it doesn’t hurt that he’s a megalomaniacal psychopath. However, when it is revealed what is actually on the moon, you realize that Eneru was as crazy to go to the moon as the Straw Hat’s were to venture to the sky. Remember that in the One Piece world, the possibilities are truly limitless.

When Eneru gets to the moon in his cover story, covered predominantly during the Thriller Bark arc, you see a story unfold that is of typical One Piece style: filled with quirks, humor and adorable but inscrutable characters. However, it is also laced with a series of earth-shattering revelations and questions as to the very foundation of all civilization in this world.

The Angels’ Descent

So what happened on the moon a millennium ago? How is it connected to the main story? Before Gold Roger’s execution, before Noland and Kalgara fought in battle, and before the void century, there were three races of human beings that lived on the moon (collectively known here as the “angel races”). Today, we know them as the (1) Bilkans (2) Shandians, and (3) Skypieans. You can see each of them depicted in the paintings on the ruins beneath the surface of the moon:

The painting also may contain some language that may be related to or the same as those depicted in the poneglyphs on the planet below. You can compare those same wings — and even the same hair — to the characters Gedatsu (from Eneru’s hometown of Bilka), Wyper (from Shandora), and Conis (from Skypiea) in the image below. The wings and their distinctive styles differentiate each of the three.

The wall paintings seem to indicate that the angel races descended from the moon to the planet below in search of resources, leaving the race of mustachioed androids (known as “mooninites”) to their own devices. It seems like it was an upsetting occasion for all involved, which begs the question as to why this event occurred? What was the cause of this resource shortage, and why did the angel races leave the mooninites behind?

The Moon Kingdom

Why did the three races cooperate to create these mooninites? What force brought these three races into harmony in order to create robots armed with weapons? Something had set the three angel races to work together and create this military force. As the cover story progresses, Eneru incidentally finds himself with this ancient mooninite army under his control. This army includes a set of mooninites that somehow ended up on the Grand Line at Machine Island. The scientist Dr. Tsukimi, at some point in the past, found these mustache-droids and “rebooted” them. With that, it seems that each developed their own personality, their own identity, and — perhaps — had their wings taken from them. It is unclear whether it was the scientist, the act of rebooting these droids, or something else entirely that set these mooninites apart.

Regardless, once they were reactivated, an explosion on the moon caused the scientist to choke on a dumpling and die. After this occurrence, the mooninites took to the moon with ordinary balloons in order to exact vengeance on the “Space Pirates.” The mooninites were utterly defeated.

So, who are these “Space Pirates”? They don’t look human, in fact, they look like characters out of Crash Bandicoot. Each of them seems to have a sort of clock or gauge in their chest, so they are either some sort of robot or some kind of creatures wearing depressurized space pirate spacesuits. It’s confounding as to where and when they fit into this story. It is possible they existed either long before or long after the mooninites and the angel races.

The space pirates are also working on building some sort of contraption. From what I can tell, it looks like they’re trying to build a ship, but the cover story calls it an “excavation plan.” So the question then is: what are they trying to find underground on the moon? The title “descent” in the sixteenth volume of Eneru’s cover story also is unclear as to whether this is a descent into the moon or down to the planet below.

Given all of this, it’s not too far-fetched to believe that the moon may hold some kind of great secret that the mooninites were created to protect. Maybe these space pirates represent the descendants of those who were trying to uncover the great mysteries of the moon, or the angel races. These races proved that they have access to remarkable, futuristic technology and the ability to build a durable structure and army of androids. For example, the complex depicted in the first drawing still stands on the moon as of Eneru’s arrival, and with some lightning charge, it remains functional.

So the question remains: how does this connect to the main story? It is not clear as to exactly when these angel races descended onto Earth, but it had to be well before the formation of Skypiea or Shandora. It also was likely to have occurred before the void century, since Kalgara mentions that they are protecting the poneglyph of “their ancestors.” The moon doesn’t just hold mysteries for the Shandians and the sky-people. It also may hold the key to unlock many of the mysteries of the past on the blue sea.

II. THE ANCIENT KINGDOM

I used to be one of those people who said to new One Piece fans: “you can just skip the Skypiea arc, nothing of real consequence to the main story happens there.” I now realize I was doing a major disservice to new fans. Not only is the Skypiea arc a fun and engaging journey told the way only Eiichiro Oda can, but it also provides some of the most pivotal big-picture storytelling in the entire series.

Eneru’s story on the moon and the Straw Hat’s story in the sky have seemingly little to do with the events that happen below. However, hidden under the surface is a story about the last remnants of an ancient kingdom. Near Shandora, Robin discovered just how old the city was: “The year 402 of Kaien,” she begins, “the city thrived over 1,100 years ago. And it was destroyed over 800 years ago!! It falls right into the hundred year gap in world history. Perhaps this island holds the secrets of the unspoken history that the land below ceased to talk about.” [Volume 28, Pages 117-118]. Robin notices while going through the ruins of ancient Shandora on Upper Yard that the city’s predominant text is written in the same language of the poneglyph (also known as the “ponegliff”). These poneglyphs were scattered throughout the world and meant to ultimately be read as one text, the Real Poneglyph (also written as “The Rio Poneglyph”).

The World Government’s Enemy

This story, when stitched together, reveals the “true history” of the world. Ardent readers of the series know this well. The World Government, as it has existed for the past eight centuries, represents a confederation of twenty kingdoms that united as an opposing force to this ancient kingdom. These kingdoms were allowed to retain noble status at the sacred land of Mariejoa, under the guise of the World Government. The descendants of these kings became known as the Celestial Dragons (known in Japanese as the “Tennryubito”). Donquixote Doflamingo and his lineage were once part of this world noble community, representing the Kingdom of Dressrosa. The Kingdom of Alabasta was the only member of this confederation that did not abdicate the throne and send its monarch to Mariejoa.

We also know that the World Government forbids reading the poneglyphs, a central point to Robin’s flashback during the Water Seven/Enies Lobby story arc. The archaeologists of Ohara had discovered far more than anyone else in this world because they treaded on the World Government’s declaration. They studied ancient texts and the poneglyph at Ohara and around the world in secret. The information they gleaned from this research was significant, and we as readers only are able to scratch its surface.

Professor Clover spoke to the Five Elders, the supreme leaders of the World Government, about the Void Century (also known as the “100 Year Void”). While speaking to them, Clover notes that “the greatest truth that we seek today is not in the poneglyph, but the reason for its existence.” [Volume 41, Page 132]. He says that the indestructible stone left behind by an ancient kingdom indicates that they also had an enemy, the current government. Clover describes the Void Century as a time that is “inconvenient” for the World Government. This country, which was eradicated over 800 years prior, also had enormous power.

Professor Clover was never able to name the ancient kingdom, and hence we are left with a major piece of the puzzle unsolved. Theories about what it may be have cropped up over the years. The only real clue we have linking the poneglyphs to something other than the poneglyphs themselves comes from Clover’s speech and Robin’s discoveries on Skypiea.

There are two instances on Skypiea we have seen that use the ancient text apart from the poneglyph:

First, we have Gol D. Roger’s text. Silvers Rayleigh, his first mate, claimed that Roger could not read the text like those in Ohara, but only was able to “hear the voices of all things in the world.” [Volume 52, Page 95]. This could imply some sort of inherited ability to hear all things past, present, and future. It is a a clue for what’s to come.

Second, we have the text sprawled throughout the ancient city of Shandora. This writing seems to have been the original dialect of the Shandian people. To take this logically to the next step, it would also mean it was the original dialect of the angel races on the moon. As discussed earlier, the ancient writing on the walls on the moon seems to be the same as that on the poneglyph. However, it also means that something occurred since its inscription that had been lost and forgotten by the Shandians of Kalgara’s time. All things considered, it is possible that this kingdom of “enormous power” either came from the moon or had the power to go to the moon. Either scenario could provide some very interesting story points in the far-future of One Piece.

The Ancient Weapons

In their conversation with Professor Clover, the Five Elders also mention the destructive powers of the ancient weapons. These weapons have the power to destroy the world. This kind of destructive power supposedly is derived from the ancient kingdom. Again, this seems to suggest that the kingdom was one of futuristic and unknowable technology. This makes it even more remarkable that the World Government was able to join forces and defeat such a presumably powerful enemy.

It is unclear whether the kingdom possessed the ability to use these weapons. In order to figure out what these weapons are, what they’re capable of, and how they can help decipher some of the mysteries of the One Piece world, it is necessary to look at each individually.

Pluton

Pluton is named after Pluto, the Greek god of the underworld. The ancient weapon “Pluton” has been described as a battleship that has the power to “destroy the entire world.” This is the first ancient weapon we were introduced to, and it is the one we have heard about the most. When the Straw Hat crew arrived in Alabasta, they found themselves in the middle of a conflict created by Sir Crocodile who sought to obtain Pluton for himself. His ultimate goal was to create his own, independent nation with the help of the weapon.

Of all the kingdoms of the World Government, only Alabasta chose not to send its monarch, the Nefertaris, to Mariejoa. Alabasta is the only kingdom of the World Government as it exists today that has a poneglyph, a relic of the Government’s enemy.

The poneglyph on Alabasta, and its connection to past and present events, is perhaps the most puzzling. Crocodile somehow had the knowledge that the information about the Pluton weapon was inscribed there. Further, Nefertari Cobra, the king of Alabasta, somehow also knew that the Pluton’s whereabouts were written there.

The other question the poneglyph in Alabasta poses is why is it there? We learn later that the blueprints to the Pluton were handed down from shipwright to shipwright in the city of Water Seven. It is unknown how these blueprints came into existence, but it cannot be assumed that they were necessarily written in ancient text, especially since the title is written in English. All who saw it understood its destructive nature.

Both Crocodile and Iceberg, oddly enough, had the same idea in mind. They wished to keep or control the blueprints of the Pluton in order to act as an opposing force to the World Government. These blueprints drive the action for much of the Water Seven/Enies Lobby story arc, just as they did for the Baroque Works story arc. Franky’s flashback revolves around his mentor and father-figure Tom, who sacrifices himself, in part, to hide the blueprints from the government.

The Pluton has proven itself to be a major catalyst for some of the most crucial arcs in One Piece. Its existence, its purpose, and its history still remain completely and utterly unknown to the reader and to most of the characters in the series.

Why was it in Alabasta, a kingdom of the opposition World Government? Why were the blueprints in Water Seven? These questions, and many others, remain unanswered. However, they all provide essential connections between the ancient history and the One Piece.

Poseidon

Poseidon is named after the Greek god of the sea. Our first introduction to this ancient weapon was in Skypiea, which indicated that the weapon was located in Fishman Island. The Fishman Island story arc addresses many questions surrounding this second ancient weapon. The poneglyph on Fishman Island includes an apology from an individual named “Joyboy” who lived on the surface, addressed to the mermaid princess over 800 years ago, during the Void Century. [Volume 66, Pages 62-63]. According to the “royal legend,” someone will come to fulfill the promise in his stead, and at that time the legendary ship Noah will perform its intended purpose. I would argue that the person who arrived in Joyboy’s stead is Monkey D. Luffy.

King Neptune goes on to say that the mermaid princess at the time had the ability to control the sea kings (also known as “Neptunians”), and that power had become apparent in the current mermaid princess, Shirahoshi.

This power, King Neptune explains, would throw the world into chaos. [Volume 66, Pages 68-69].

Out of all three ancient weapons, we know the most about Poseidon. It is clear why this power is so destructive: it is the power to control the sea kings. This is a power that can reshape the world. These sea monsters are what divide the four seas from the Grand Line, and they have proven incredibly destructive.

What is equally incredible is that this is a gift that has been passed down through a living being. The mermaid princess of the Void Century and Shirahoshi both possess this gift. The only equivalent legacy trait we have seen in One Piece thus far is the legend of the “will of D.” This initial, too, possesses latent ties to the ancient kingdom that we do not yet understand. The inherited will in the ancient weapon Poseidon may offer the most tangible clue for the power behind the One Piece.

Uranus

What do we know about the ancient weapon Uranus? Absolutely nothing. We are able to derive some important points, however, using etymological clues. In ancient Greek mythology, Uranus is the god of the sky. Moreover, in Greek mythology, Uranus’s blood rained down and created giants. Oda has followed this mythology with the ancient weapons thus far, and there is no indication he would deviate here. I would therefore not be surprised to see the poneglyph for Uranus in Elbaf. This connection between Uranus and giants may also explain Dr. Vegapunk’s experiments at Punk Hazard. While there, the Straw Hat Pirates encountered a skull of a creature even larger than an ordinary giant. Vegapunk’s former protege, Caesar Clown, tried to turn regular children into giants. This kind of power may be harnessed as a means to operate this ancient weapon. The government has proven in Enies Lobby and elsewhere their desire to control these weapons, and using Vegapunk’s abilities to do so would not be out of the ordinary. Punk Hazard may be the first clue Oda has planted in regards to this ancient weapon as both the World Government and the Navy have a stake in this facility.

Further, the legend of Oars the continent puller, and the similarity Oars has to the logo at the entrance of Punk Hazard may also provide clues to what this third ancient weapon may be capable of. A popular theory we have discussed on the podcast is that Uranus is the connection between the moon kingdom and the ancient kingdom’s weapons. This theory would suggest that one of the moons present in the library at Ohara may be an ancient weapon.

Regardless of what Uranus may or may not be, it provides the most potential for connecting these two halves of the story. It can bring together the potential origins of this ancient kingdom on the moon or in the sky with the ancient weapons spoken about in the poneglyphs.

The World Government’s Answer

The World Government has sought a means to counteract the potential destructive power of the ancient weapons. The most apparent examples of this effort are in Spandine and Spandam’s efforts in Ohara and Enies Lobby respectively. The next most apparent example is Dr. Vegapunk. His abilities have been heralded as being “500 years ahead” of current technology. He has the ability to create cyborgs, dragons, ships able to pass along the Calm Belt without worrying about the Sea Kings, the ability to imbue physical objects with devil fruit abilities, and much more.

Oda again is leaving clues that have some connection, but no obvious answer as to why they’re there. The most likely theory for Vegapunk’s use of this kind of advanced technology used in the present story is that he used the advanced technology of the ancient past. This becomes an even more resonant idea when you take into account that Vegapunk grew up on the same island as the scientist who repaired the mooninites at some point in the past.

III. DESCENDANTS

The moon is a pervasive story element in One Piece. It isn’t just pervasive because of Oda’s attention to detail in showing the passage of time, but it also may provide a hint at to its importance to the greater story. For example, at the introduction o f Brook’s character in Thriller Bark we were introduced to the familiar tune, Bink’s Brew (also known as “Bink’s Sake“). This sea tune had apparently been sung by sailors at sea for generations. The song specifically invokes the moon in one of its final stanzas (“there’s sure to be a moonlit night again”). It’s easy to dismiss, after all, why would this be of any real consequence?

Since the start of his manga, Eiichiro Oda has put in imagery of the moon like this everywhere. An early version of “Romance Dawn” includes pirates named after the crescent moon. Volume 6 is ti tled “Crescent Moon.” The moon turns into a waxing gibbous when we arrive in Whiskey Peak in Volume 13. We see a full moon shine as Chopper rides down with his new crew in Drum Island. Many scenes in Alabasta take place under a waning gibbous moon, and the moon becomes full again in time for Eneru’s ascent to the Endless Varse.

At the beginning of the Noland-Kalgara flashback in Volume 31, many scenes take place under a full moon. In fact, Oda devotes several full panels in that flashback exclusively to the moon. Even the back of Noland’s boat features a crescent moon.

This image remains ever-present. A crescent moon adorns the Franky House in Water Seven, a waining gibbous moon peeks through the clouds over the fight between Luffy and Usopp. Blackbeard sulked under a crescent moon in a drawing Oda made for one edition of the SBS. Even recent chapters have featured a crescent moon. It’s perhaps the most apparent connection between everyone, past and present, in the One Piece story.

Now that we have been to the moon and have actually seen the surface of the moon we know a little bit of its importance. There are two lingering questions that remain:

First, why were there several moons on the map of Ohara, and where are they now?

Second, what has come of those that were once on the moon and those who defended the ancient kingdom?

The Origin of Species

The world in One Piece looks nothing like our own. For one thing, humans aren’t the only intelligent species on this world. They are joined by a litany of other species. We have seen “dwarves” (also known as “little people”) in the Tontattas of Dressrosa and Green Bit. We have seen members of the “Longarm” and “Longleg” tribes in Scratchmen Apoo, Ideo, and the antagonists in Brook’s time-skip story. We have seen giants in Little Garden, Enies Lobby, and Dressrosa. We have seen fishmen and mermaids at Arlong Park, Enies Lobby, Sabaody, Dressrosa, and most notably in Fishman Island. The remaining species: the mink and the snakenecks, remain unknown. Many have speculated that Gecko Moria is a snakeneck. Others have speculated that human-animal hybrids like Bepo, Pekoms, and others make up the Minks.

These races, according to the human auction list, only constitute the major species in the world, and that other rarer species also exist.

So the question here is: did these species naturally evolve on this world, or did they come from elsewhere?

The Ohara Library depicts a planet with six satellites, and one small satellite that circles another satellite. Provided that fishmen and mermen evolved underwater, which seems likely, it is possible that the other six races each came from a satellite. This sounds like it could work, right? The thing is, it may be too good to be true. For one thing, the aforementioned angel races are likely not included on the list of species. The moon that we see to this point also seems to be at the Ohara library, and therefore only leaves us with five potential worlds for these species to come from.

There’s a much, much bigger problem, and that’s the issue as to why we only see one of the moons in the sky in the present storyline. What happened to the other six celestial bodies that circled this world? It is possible that they no longer exist. The cataclysmic event that took place in the Void Century, potentially using the ancient weapons, may have wiped out or forever altered these moons. Further, this could be the ultimate cause for the climactic and geographic upheaval within the Grand Line and the New World. This event, in part, may have created the world we see in the manga today.

The Message for Raftel

When the Straw Hat Crew enters the Grand Line in Volume 12, Crocus explains that Raftel “[is] the last island of the Grand Line. In all of history, only one group of pirates is known to have landed there for sure…the crew of the Pirate King. Raftel is the stuff of legend.” In Volume 51, Shakky describes the race to Raftel as a sort of “tournament” of the fittest. Perhaps this race to the end of the Grand Line also carries with it a meaning, and perhaps it was forged by the World Government in the Void Century to prevent others from reaching the final island.

The poneglyphs scattered around the world connect to create a message, as I mentioned earlier, the “Real Poneglyph.” This set of interconnected messages are to then be delivered to Raftel, which has only been successfully completed once by Gol D. Roger. It is possible that the message Roger brought to the end was not sufficient or did not fulfill the purpose the members of the ancient kingdom originally set forth to end the World Government’s reign. Or, potentially, it provided a catalyst that set the “Great Pirate Age” in motion. Whatever occurred in Raftel likely gave Roger the impetus to say what he did on the execution platform. It is likely that the Straw Hat Pirates, through Robin, will finally deliver the real message to Raftel that sets forth the course of events that will reshape the world. The poneglyphs are likely to provide the key to fully toppling the status quo.

Raftel is where the remnants of the ancient kingdom are. The job of those that make it there, according to Robin, is to bring the messages weaved throughout the world to whoever may remain there. Even in the image behind Crocus at its initial mention, Raftel seems to either be or have been a populated island, dotted with buildings along its shore. It is possible that Raftel is the home of those that descended from the ancient kingdom. It is possible that the world was reshaped in order to prevent anyone from reaching that final island. This may have been the means in which the World Government “quarantined” its enemy. Robin says that she has to “guide the poneglyph documents that [she has] read so far to the end of the Grand Line, to Raftel.” [Volume 32, Page 208]. I had always imagined that there was some sort of poneglyph at Raftel that told the true history, but it seems to be the opposite. The journey through the Grand Line and the New World connect together to create that history, and Robin is the one who is to deliver it to Raftel.

The search for the Real Poneglyph, the connected history of the world, sets the Straw Hat Pirates up as ambassadors of the past, but also potentially as forgers of a new future.

Under the Half Moon

What has become of the descendants of the moon and the ancient kingdom? Beyond Raftel, there remain many questions as to the final days of this immense kingdom.

Kalgara mentioned that the people of Shandora had been protecting the Jaya Poneglyph for generations. He said that what’s certain is that the “city of Shandora was destroyed in a fight to protect this stone. A sacrifice of that magnitude leaves us no choice but to continue to protect it.” [Volume 31, Page 95]. This is the clearest account of the potential war between the ancient kingdom and the World Government in their fight over Shandora and the Poneglyph. Robin says it directly: “The poneglyph was brought to [Shandora], there’s no doubt that this city fought against the enemy.” [Volume 29, Page 151]. The enemy burned the books of the city and erased their history. This provides the most direct connection between the angel races, the ancient kingdom and the World Government.

The angel races’ exodus from the moon to Shandora, Skypiea, and Bilka, may be explained by a popular theory that has circulated amongst the One Piece fan community for some time. Back in 2010, writer for One-Piece.com and our Japan Correspondent Greg said, in part, that the Volume 27 cover featuring Luffy winking with a set of wings may be a clue.

In sum, this theory states that those with the initial “D” were wiped out in a major event that occurred during the void century. This event could be what destroyed Shandora or brought about the World Government as the superpower it is today. Those with the initial “D” survived and inscribed the story in hope to some day be avenged. Their descendants would eventually carry out their will and topple the corrupt government built upon their demise.

The theory is that those who carry traits of both the angel races (the moon people) and the people born on the world below have come to be designated as “D.” The meaning of “D” in this case would be a pictographic symbol representing a half-moon. As the alphabet became ubiquitous, “D” became known as the letter instead of a pictogram. This would explain why Luffy is winking on the Volume 27 cover and bears wings. He carries a connection between the blood of those on the world below and of the angel races above.

This would bring Luffy in line with other shonen protagonists like Gohan from Dragon Ball or Yusuke from Yu Yu Hakusho whose powers are partially derived from their hybrid upbringing. It actually fits quite well into shonen tropes that have been set forth since the Golden Age of Weekly Shonen Jump. Further, it directly involves the protagonist in this larger-than-life conflict.

Whether you or I believe this “half-moon” theory or not, Monkey D. Luffy undoubtedly carries with him the will of an ancient people. The ancient people he inherits from are likely the standard-bearers of the ancient kingdom, which would explain why the “D” always “bring a storm” and are the “enemies of the gods.” These descriptions of those bearing “D” in their name were created by the Celestial Dragons and the World Government, the current standard-bearers. The enemy of the World Government, those that seek to destroy it, are those who have inherited this will from the ancient kingdom.

IV. THE ONE PIECE

Since Dr. Kureha mentioned the legend of “the Will of D” on Drum Island, it has been a pervasive and significant part of the story, even proving an essential plot point in the Dressrosa arc. Those with the initial D have proven themselves important in the creation of a new age.

The Will of D presents something that is central to everything discussed up to this point. When Roger informs Whitebeard of his impending demise he discusses two specific points, both of which have been discussed or will be discussed at some length here. First is Raftel, where the One Piece is. The second is Gold Roger’s real name, Gol D. Roger. Whitebeard notes that he sees people “with that ‘D.’ from time to time,” noting Marshall D. Teech (“Blackbeard”) in particular. [Volume 59, Pages 203-204] Roger explains what the “D” is. He begins, “a long time ago…”

The Will of D

Whitebeard’s final speech, which culminates in his grand statement that “the One Piece does exist,” is the most clear piece we have received in solving this puzzle. He notes that Blackbeard is not the man “Roger is waiting for,” implying that the ideals and actions undertaken by Teech do not represent those that carry the “D.” Whitebeard said that those inheriting Roger’s will — Luffy in this case — will someday rise to “challenge the world and shoulder centuries of history.” To make things even clearer, Whitebeard tells Sengoku that the Marines and “the World Government fear the great war that will come to this world one day.” Whitebeard concludes that when the One Piece is found “the whole world will be turned upside down.” [Volume 59, Page 204].

This is the key to everything we have learned thus far. This long history that began with the people on the moon and an ancient kingdom, that the scholars of Ohara and the Roger Pirates have tried to uncover, that over the past nine centuries has affected just about every aspect of One Piece. It all ends with Luffy.

On our podcast, some time ago, Greg (The One Piece Podcast Japan correspondent, creator of “The Grand Line” and author and writer in V-Jump and One-Piece.com), mentioned a potential clue for the true meaning behind the One Piece.

To those of us that speak English, the title “One Piece” seems to have little additional meaning to it. However, in the Japanese language, it’s actually a much more nuanced title. In order to understand the nuance, it is important to understand the three different types of Japanese writing. Succinctly, there are three components to the Japanese writing system. The first is katakana, which is often used to transliterate words from other languages. The second is hiragana which is an ordinary syllabic script used most often for native words. Finally, there is kanji, a form of text that derives from Chinese Han characters and often is ascribed several, more complicated meanings.

For the term “One Piece” we see the katakana used most often, the transliterated term for One Piece, ワンピース is literally wan pīsu. This is the text we see on the cover of every single One Piece volume in Japan. When Whitebeard said that “the One Piece does exist” [Volume 59, Page 54], One Piece is expressed in a combination of hiragana and kanji: “hito-tsunagi daihiho” (ひとつなぎの大秘宝), which translates to “the great treasure in one piece” and also includes a small katakana reading next to it in the familiar ワンピース (wan pīsu). Most Japanese speakers would read this phonetically using the hiragana for One Piece, the homonym: “hito–tsunagi” (一つなぎ).

However, there is another viable reading Oda has not yet used which would include Kanji instead of what Whitebeard said: “hito-tsunagi” (人繋ぎ) with the hiragana “hito-tsunagi“ (ひとつなぎ), or “the one that connects them all.” The power of the One Piece, therefore, may be the power to connect all things, in all places, with all people across time and space.

Gol D. Roger, the former King of the Pirates, had the power to “hear the voices of all things in the world.” For the future King of the Pirates, that gift is essential. It has been said time and time again that Monkey D. Luffy has the power to bring people together, as the title of the series may imply. Through each arc, Luffy turns enemies into allies and rivals into friends.

Gol D. Roger and Monkey D. Luffy have been shown to both posess this power to both “bring all people together” and “hear the voices of all things.” In Fishman Island, the sea kings talk amongst themselves and claim, “that human with the hat seemed to notice our voices … but it did happen once before.” [Volume 66, Page 31]. We find out that both Roger and Luffy have the same gift in their ability to hear the sea kings. This is the most apparent manifestation of the will of Roger that Whitebeard mentioned at the end of the Paramount War.

Inherited Will

Monkey D. Luffy possesses an “inherited will” that will connect the ancient kingdom’s struggles of the past to the present. This power has been passed down to him from the “enemies of the gods,” as the Celestial Dragons have dubbed those with the initial “D.” This inherited will is what brings the people of the past and the present together. The inherited will may even be from the ancient kingdom or the moon kingdom.

This kind of power is something Luffy has also demonstrated time and time again. He answered the will of Kalgara and Noland from 400 years ago. He answered the will of the Riku dynasty that had been overthrown in Dressrosa, he answered the will of the ancient kingdom when he declared war on the World Government and stormed Enies Lobby for the first time in 800 years. He possesses the Haki of the Conqueror’s King, something only one in millions possess.

The dreams of those from the past live on to this day. This will is so strong that even the sea kings await “chosen day.” [Volume 66, Pages 32-33].

The One Piece is something that connects now to then. It is something that connects us to the stars and the moon. It is something that can reveal the past and open the future to us.

We may not know quite what the One Piece is, but we know Luffy is going to get it. We know that Luffy not only has the power to become the pirate king because he connects people today, but also because he has an incredible ability to connect people across time. Whatever the One Piece is, I feel assured that it brings the king of the pirates the power to bring together all things from all times and all places.

EPILOGUE

The Straw Hat Pirates now make their way through the New World in a plot that is tangled and increasingly complex. Luffy sets out to defeat the Four Emperors: Kaido, Big Mom, Shanks, and Blackbeard. He seems poised to clash with Fleet Admiral Sakazuki and others from Navy Headquarters. At the same time, Luffy has been quickly accumulating a military alliance the likes of which has never been seen and the scope of which is unpredictable. As the final war approaches, and as a real revolution seems poised to take place, the Straw Hat Pirates will undoubtedly find themselves at the center of everything. This war will likely bring all of the characters we have seen in some capacity back to the fore, including Eneru and his army. It will also bring this ancient conflict to a head.

This war, as Whitebeard said with his final breath, will turn the world upside down. It is possible that the cataclysm that occurred during the Void Century, or even prior to that, created the One Piece world we know today. Further, it could be Luffy in his role as the Pirate King that reshapes the world. This ultimate battle may rid the world of the Calm Belt, the Grand Line, and all the current infrastructure that makes sailing a giant survival tournament. It may destroy the Red Line and Mariejoa along with Fishman Island below it, as Madame Sharley predicted. This final war may present a whole new journey for future generations to embark on. It will leave the world with a new governance, a new geography, and limitless possibility.

The final war promises to be something far greater than the Paramount War, as Whitebeard said. This war, at the very least, will finally settle the ancient conflict between the World Government and those of the ancient kingdom.

When Robin asks Rayleigh what happened during the void century, Rayleigh replies:

“Take it one step at a time as you travel on your ship. It seems that we and those at Ohara were too hasty. Even if I told you everything in history right now, there is nothing you could do about it! The answer you will arrive at may be different from ours, even after you see the world in its entirety at your own pace.” [Volume 52, Page 206-207]

The puzzle that Eiichiro Oda has laid out is far more complex and detailed than I had ever realized. Trying to go through the entire manga, which still has a decade or so to go, has opened my eyes to a world buried beneath the surface. At the same time, we are stuck in time, waiting to learn more about this world. There are so many more potential clues and stories just under the surface. As the adventure continues to unfold, I remain curious and excited as to just how big and incredible the One Piece universe really is.

I look forward to going on the rest of this adventure with all of you.

Acknowledgements

This article took a little over one month to put together, and it’s all thanks to the One Piece Podcast crew! Special thanks to Sai for putting together some of the images and inspiring the ideas behind several sections of this article. Thanks to my co-host Ed for taking the time to go through everything with me and who came up with the ideas about the angel races/world government potentially effecting the climatology and geography of the One Piece world. A huge thanks to Bryan Newton for inspiring or providing many of the ideas in this article. Thank you to our editors and authors including Kyle and James for their edits and notes. A huge thanks to Jammer for taking the time to read through this article several times and providing me important notes that gave real direction to this article. Thanks to Greg for walking me through the true meaning of “One Piece.” You have been an inspiration and the frontiersman for many of these topics. Finally, thank you to Stephen for his guidance and always-impeccable translations.

All images from VIZ Media. Subscribe to Weekly Shonen Jump and buy the volumes in print or digitally to experience what One Piece is really all about!

Listen to The Great One Piece Readthrough to hear our thoughts on each story arc from the very beginning, and make your own judgments about what the One Piece really is. Please keep an eye out for future updates to this article as more information is provided in the One Piece story. Do you have your own thoughts about these theories or any others? Please share them in the comments below! Until next time, keep watching the skies!

Copyright 2015 by The One Piece Podcast, Raftel Productions and Zach Logan. All rights reserved. Please ask permission prior to using any of the content in this article.