The One Piece is finally helping me overcome my fear of One Piece
Over 1,160 episodes? No thanks. One Piece always felt too big, too long and too intimidating to me. Until now. This remake could be just the introduction I’ve been waiting for over the years.
This isn’t the first time I’ve admitted it: One Piece, the anime, has always been a huge, awe-inspiring thing on the horizon that I never dared to approach. Too long (over 1,160 episodes!), too much filler (something even the biggest fans will admit) and too many episodes that were artificially dragged out.
That last point in particular is typical anime nonsense that really annoys me, even in Dragon Ball Z and Captain Tsubasa.
But then, during Jump Fiesta 2024, a remake was announced – one that aims to improve on all those downsides: The One Piece. With a «The» in the title. Very important. To me, it’s as good a reason as any to finally give the anime a try.
After all, The One Piece isn’t meant to be a hastily cobbled-together rehash for nostalgic fans. They’ve simply been working on it too long for that. Three years have passed since the initial announcement, and another eight months will go by before it launches on Netflix in February 2027. And this first trailer assures me that time wasn’t wasted.
I’m so ready. Not just because the trailer hypes me up way more than the stuff we usually see. Primarily, WIT Studio – the company behind the anime remake – has me so excited.
In the best hands
You should know, WIT Studio isn’t just any Japanese animation studio. It’s one of the most renowned in the entire industry.
The company was founded in 2012 as an offshoot of Production I.G. It gained international recognition through Attack on Titan, Vinland Saga and Spy x Family. Even back then, the studio often demonstrated just how ambitious it was, especially in terms of style. They possess a penchant for rich visuals and extraordinary action choreography, blending 2D and 3D animation more seamlessly than anyone else.
To this day, «Kenny-eeeh!» is still one of my go-to curses whenever I get really upset with someone or something.
Things are looking promising for The One Piece, produced under the watchful eye of Masashi Koizuka. He was still a mere assistant director on Season 1 of Attack on Titan before being promoted to director for seasons 2 and 3. And when you hear him talk about the project, you quickly realise it isn’t just a job to him. He cares deeply about his craft.
Koizuka was a high school student himself when One Piece first appeared in Shonen Jump. In the interview, he still remembers how he felt vividly: picking up the new issue week after week, wondering what would happen to Luffy next. He wants to bring back that thrill – for a new generation. And, let’s be honest, even for people like me who have avoided the anime so far.
But what moves me the most is how much respect Koizuka has for Eiichirō Oda, the creator of One Piece. Or Oda-Sensei – Master Oda – as Koizuka reverently calls him. Before the team even began animating, they first pored over Oda’s sketches to understand how he thinks. How he composes characters, what colours he chooses and what details are important to him. Only after this did the team begin to develop its own animation style based on Oda’s work, Koizuka explains.
Source: Netflix
And then there’s the issue of length. Originally, the first season of the remake was supposed to be much shorter. But during production, Koizuka apparently realised time and again that certain moments needed more screen time than originally planned, so he fought with Netflix for more time. In the end, it turned out over 300 minutes long.
Yep, The One Piece definitely seems to be in good hands.
A much-needed revival
As much as I respect the original anime, and as much as it has its unique charm, especially in newer, visually impressive episodes, early ones clearly show their age. The original East Blue Saga was largely animated in the old 4:3 aspect ratio, with all the clunky visual stylings that entails. This was standard practice in 1999. Today, it feels like you’re watching through a porthole.
This is exactly where The One Piece comes in. On top of bringing fresh animation techniques to the table, WIT Studio also adds exactly the visual refresh the oldest story arcs so desperately need. Shigenori Hirosumi is in charge of 3D direction. Among other projects, he has worked on Frieren and Spy x Family, two shows that demonstrate how seamlessly 2D and 3D can be combined today when you know what you’re doing.
Which brings me back to the 300-minute total runtime for the first season. It’ll cover the first 50 manga chapters – everything from Luffy’s departure to his first encounter with Sanji. In the original anime, the same story was covered in just under 29 episodes, each 24 minutes long. That comes to just under 700 minutes total. The One Piece will cover the same material in less than half the time.
Source: Netflix
This isn’t mere coincidence; it’s part of the plan. Ever since the original announcement, it was clear that filler episodes and artificially stretched-out scenes would be strictly off-limits in the remake. It was the main reason I never got into One Piece: this constant feeling that a scene would stay in a holding pattern for three episodes before anything finally happened.
The One Piece promises the opposite – a fast pace without sacrificing those important moments.
A remake fit for a newcomer
Like I mentioned, I’m no One Piece expert. I only skimmed the original, and I’ve never read the manga. But that’s exactly what makes The One Piece so interesting: it’s an opportunity to experience one of pop culture’s greatest stories the way it was meant to be told. Compressed. Carefully animated. And taken seriously.
Let’s hope the remake turns out as good as the trailer promises. If WIT Studio lives up to its status as one of Japan’s best animation studios, then The One Piece will bring back more than just fans of the original series when it drops in February 2027. It’ll create new fans.
Including me.
I write about technology as if it were cinema, and about films as if they were real life. Between bits and blockbusters, I’m after stories that move people, not just generate clicks. And yes – sometimes I listen to film scores louder than I probably should.
This is a subjective opinion of the editorial team. It doesn't necessarily reflect the position of the company.
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