One Piece's yet another inspiration for Blackbeard's Devil Fruit may hide a connection to Buggy

Eiichiro Oda frequently conceals complex, multi-layered ideas for his characters and plot twists in the expansive One Piece universe. Nothing is off limits, from history and mythology to obscure music and old movies. "The Yama Yama Man," a song from the vaudeville era of 1908, may be one especially underappreciated allusion.

It doesn't seem relevant at first. However, beneath the surface, it might allude to an improbable familial bond between Blackbeard and Buggy in addition to echoing the ideas of Blackbeard's Devil Fruit, Yami Yami no Mi. Let's explore the peculiar coherence of clowns, twins, and gloom.

Disclaimer: This article is a speculative theory and reflects the writer's opinion.

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The Yama Yama man and the twins of darkness in One Piece

Blackbeard (Image via Toei Animation)

One of the most enigmatic Devil Fruits has long been thought to be Blackbeard's Devil Fruit, Yami Yami no Mi, or "Dark-Dark Fruit." Its name contains “Yami,” meaning darkness in Japanese, but also ties into broader mythologies. Yama is the deity of death and a judge of souls in Hinduism, and Ymir is a primeval figure in Norse mythology.

It's interesting to note that Yama has a twin sister named "Yami." Could the Yami Yami no Mi represent just half of a greater cosmic duality, and Oda be alluding to a heavenly twin concept? When this hypothesis is linked to a song called "The Yama Yama Man" from 1908, it takes on an odd momentum.

The character she played, originally played by Bessie McCoy, was a clown who was regarded as cunning and enigmatic, qualities that eerily resemble Buggy the Clown. Buggy and Blackbeard may have been inspired to have a circus performer mother by McCoy's portrayal of a female clown.

The clown imagery, coupled with the death motif of “Yama,” spins a compelling narrative: what if both pirates are sons of a traveling circus performer who held secrets of the world? Adding to the mystery, the song was later recorded by Ada Jones, a prominent phonograph artist with a name strikingly similar to Ida, a known associate of the Rocks Pirates in the manga.

Jones worked for Edison Records, founded by Thomas Edison, an inventor of sound recordings. If Joy Boy left behind a “recording,” as many fans speculate, could this all be part of Oda’s long game? Perhaps One Piece is more musical than we realize, and the “Will of D” contains more harmony and rhythm than just raw ambition.

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Clowns, circuses, and the legacy of Davy Jones

Buggy (Image via Toei Animation)

The symbolism of Davy Jones, a fabled sea creature associated with death and the depths of the ocean, is another level worth investigating. Ada Jones’ name alone might suggest a loose connection, Ada and Davy, female and male echoes. If “Davy Jones’ Locker” represents the sea’s final resting place, and Joy Boy’s treasure is hidden within it, then perhaps the “Will of D” is literally the Will of Davy.

The three “twins” who produced The Yama Yama Man were part of a company called the “Three Twins,” which may reference Blackbeard’s peculiar body (or soul) structure, said to be that of more than one person. Was Blackbeard originally meant to have twin sisters, or could he be a fusion of twins?

The constant recurrence of twinning, Yama and Yami, Blackbeard’s multiple selves, and even Buggy’s “split” body from the Bara Bara no Mi all point toward a larger dichotomy that may be central to the series’ endgame. Could Buggy and Blackbeard really be brothers? Oda often plays with unlikely contrasts, one chaotic but comedic, the other dark and ambitious.

If both were born of the same mother, possibly a circus performer entangled with Rocks D. Xebec’s crew, it could explain their strange fates and unexpected significance in the final saga. One embodies division (Buggy), the other consumption (Blackbeard), perfect opposites, born from the same source.

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Final thoughts

Buggy (Image via Toei Animation)

Ultimately, the clues, hidden in songs, mythology, and history, suggest that the One Piece narrative may echo a forgotten melody, one of light and darkness, division and unity. The Yama Yama Man’s eerie origins, its performance by a female clown, and its connection to vintage recording artists open the door to a musical interpretation of Joy Boy’s legacy.

If Buggy and Blackbeard truly share a past, then the final symphony of One Piece may be as much about inheritance and rhythm as it is about treasure. One thing is certain: music, mythology, and misfits will shape the end.

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