For all the problems postskip has, Luffy beating Katakuri and "soloing" Kaido aren't one of them. Their execution (especially for the latter) is another issue all together.
This might actually be something Oda has difficulty with later in the story. If it's really going to be eos and Zoro's last fight it has to be an extremely high-tier fight, even if it means a yonko level character was fucking around at the baratie.
The shadows in Thriller Bark don't need to be explained: their only value lies on their mystery itself as that's their narrative purpose, anything else would feel lacking. The mentality that everything ambiguous must be dissected and fully explained is a vice of the contemporaneous consumer that has been consistently spoiled with prequels telling the traumatic past of villains and authors turning their magic into pseudoscience.
Some mysteries work better as such. Hardly any explanation will satisfy the expectations behind the shadows in Thriller Bark.
It first justifies why Florian Triangle was considered a cursed place even before Moria arrived with Thriller Bark. Secondly, it plays with naval legends and the mythical figure of the Umibozu; the shadows whole purpose is to emphasize that oceans are mysterious places, and therefore explaining them would take away what made them interesting in the first place.
If you explained them as giant natural pillars you'd be instantly taking the mystery from them, and therefore what made them interesting in the first place. Giant natural pillars have no romance behind them; unknown shadows do.
It first justifies why Florian Triangle was considered a cursed place even before Moria arrived with Thriller Bark. Secondly, it plays with naval legends and the mythical figure of the Umibozu; the shadows whole purpose is to emphasize that oceans are mysterious places, and therefore explaining them would take away what made them interesting in the first place.
If you explained them as giant natural pillars you'd be instantly taking the mystery from them, and therefore what made them interesting in the first place. Giant natural pillars have no romance behind them; unknown shadows do.
Take Lord of the rings for example. Tom Bombadil is consciously created as a mystery, nobody really knows who nor what he truly is, but that's totally what Tolkien intended and trying to explain him would erase the charm. I get what you mean with "wonder how many 'mysteries' in One Piece are also like that", but here's where the author's intent is relevant: one thing is willingly creating a mystery with no answer because that's exactly the logic behind (no resolution the author may think of can beat our wildest imagination and what's interesting about such mystery is that it remains unsolved; e.g.: the Umibozus in Florian Triangle are only there to stress how mysterious Florian Triangle truly is), but another thing is doing like J. J. Abrams and his "mystery box", which is basically about baiting with questions he never thought an answer for but serve to hook the public (Lost is quite a known example of this technique: tons of mysteries and almost none decently solved plus many others left unanswered).
My unpopular opinion is people take One Piece too seriously. Hours spent analysising every little bi, trying to draw comparison and small hints, only to be wrong 99.9% of the time. People should just realise that One Piece it's a comic - shonen manga, with an intricate and fantastic world, of course, but still a comic manga. And as such it shoul be treated.
Even expectation, stuff like "nobody dies" are completely the opposite of what One Piece is, and after >100 volumes people getting surprised that nobody dies makes me wonder what do they think they are reading.
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