Baby Machete is everything to me, I just imagine him running to do an errand in town and clacking a stick against a wood fence and seeing this Lil baby man with his hard earned allowance wanting a treat. (I cannot draw dogs I'm sorry)
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The shipwrights are out shopping!! You just know Franky was the most annoying little brother to do chores with <3
[Image description: A digital drawing of a young Franky and teenage Iceburg from One Piece on a yellow background.
Franky is sitting on Iceburg's shoulders, pointing urgently out of frame, with the other hand resting on Iceburg's head. A large speech bubble is next to his head and shows a bottle of cola, followed by two exclamation marks.
Iceburg has one hand steadying Franky's knee, the other holding up a shopping bag half-filled with oranges. Beside him is a speech bubble with an x-mark, to show his response to Franky's cola demands. His expression is disgruntled and he sweats in reluctance.
They each wear their canon outfits, Franky barefoot in goggles, a patterned shirt and shorts. Iceburg has a bandanna tied on his head, and wears a striped sleeveless purple t-shirt. There are small nicks and scars on both their arms. /End description]
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the first thing minkowski does when she arrives at the hephaestus, before she wakes the rest of her crew up, is get into the role of commander. like she's reciting her lines before she has to go on stage. minkowski's love of musical theater is framed in contrast to the image she presents, but that's just it. it's a carefully cultivated image, the type of person she thinks commander minkowski should be. she's read all the manuals. she's memorized the survival guide. she knows her lines. she's so initially caught up in doing things the "right" way, in playing the role of commander, that she fails to authentically be in command.
there are two things here, both of which cutter uses to manipulate her: 1) minkowski has been outcast and overlooked for her immigrant upbringing, and she desperately wants to prove that she belongs, and 2) she craves certainty and purpose, and wants to believe there's a way to make sense of her misfortune. that's what appeals to her about sunday in the park with george: "the guy who sings it is this famous french painter, and his entire life is kinda falling apart. but he can always turn what's happening around him into these beautiful paintings." at least from a performance perspective, there's a way that her interest in musical theater makes just as much sense as her military career: there's a certainty to it, and an authority to appeal to. a role to perform, a script to follow, an expected way that everything will play out.
(and so maybe it's interesting to consider her application was for writing musical theater, in the creation of her own vision rather than the execution of someone else's, and she was rejected from that.)
there's some resonance between minkowski treating her life as a performance, and eiffel viewing himself as a character in a narrative. he views the world through a pop culture lens, ascribes an archetype to her, which she plays into and reinforces. that distorted perception of each other is at the core of a lot of miscommunication, and so, a lot of their early conflict. the dynamic between minkowski and eiffel is arguably the most central to the entire show, and i think there's something in that progression: of needing to be capable of seeing both yourself and others as full, complex, contradictory people with intricate inner lives before you can really communicate with them.
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