‘The work, which becomes a genre itself, will be called… COWBOY BEBOP.’
Welcome to the 21st century. Mankind has now reached up towards the stars and developed an interplanetary society. Here are the lawless and dangerous worlds of our Solar system, a new breed of ‘cowboy’ bounty hunters pursuing the outlaws and crime families who strive to make a dishonest buck.
The motley crew of the spaceship Bebop are all cowboys of some description – Spike Spiegel, a dangerous, idiosyncratic man with a hidden past and charm to boot; Jet Black, the pragmatic ex-police officer turned bounty hunter; Faye Valentine, a beatutiful, quirky female on the run; Ed, the hyperactive, technical wiz-kid; and Ein, the Welsh Corgi with a smart I.Q. All are ready for crime-fighting adventures and collecting a bounty to fill their aching belly…even if they don’t always achieve it. Lethal and funny, cool and romantic – the space cowboys of the Bebop take on all kinds of scum to prevent those stomachs from rumbling.
Once in a blue moon there comes an animated series that stands head and shoulders above the rest, a series that encompasses every area of quality production, which, in my opinion, rivals and even betters most live action films and television series out their today. Perfection is a rare thing within any medium and Cowboy Bebop, much like Batman: The Animated Series, are certainly a prime example. They are the best of their breed; faultless in their execution and treated with such panache and flawless detail – where BTAS is, for me, the strongest adaptation of the Dark Knight and greatest Western animated series to date, Bebop is certainly the greatest example from the East. Anime has a style that stands on its own, even within the medium of animation; a unique look that separates the Eastern influences and styles from the West, yet Bebop is so postmodern in terms of its structure, there is no connection to its routes other than its distinctive character design, typical of anime.
Without making further comparisons, both series utilise a postmodern mix all style and flavour, however, where BTAS is tied to the DC universe, Bebop has no restrictions within the worlds it inhabits. This is the grander canvas that Blade Runner eluded to where there is an entire universe to explore. With subtle references to the aforementioned film, that pay more of a homage than connecting the two directly. This is the universe you imagine when Roy Batty gives his moving speech where we can see the things we wouldn’t have believed – ‘C-Beams glittering…’ and the journey from one world to another.
But amongst the geek references and sci-fi tropes, Bebop more than stands on its own. This is a series that has everything and, like most postmodernist science fiction, throws everything in the blender while still retaining a consistency in its vision. The music – five albums worth composed by Yoko Kanno – moves you as much as the animation and superb storytelling that delivers original characters who inhabit a surprisingly downbeat world. Lead creative and Director, Shinichiro Watanabe set out to produce an animated series that would also appeal to adults, where it would explore philosophical and existential themes throughout that would deliver a layer of sophistication most associated with film noir, yet maintained the clean approach of the classic Western genre. There is no doubt when watching the series that both Joss Whedon’s Firefly and the reimagined Battlestar Galactica have been more than influenced by its dynamics and believable universe. There have been many solid anime series over the years, but nothing with the scope and magnitude of Cowboy Bebop. It delivers John Woo / Tarantinoesque action sequences that give it a 90s edge – there is bad language and brief nudity, but none of it gratuitous. They simply support the story – one of which is aimed at those who appreciate a good film and artistic flare accompanied by knockout camera tricks and eclectic music – jazz, blues, opera, rock, hip-hop, you name it…it’s all thrown in there for good measure.
(Left to Right) Faye Valentine, Jet Black, Spike Spiegel, Ed and Welsh Corgi, Ein.
Originally only 12 episodes of the series were broadcast in Japan. Only after this was the entire series shown uncut on their satellite channels. There is a distinct style that is reminiscent of the pulp Sixties shows, with its stylistic intro and jazz music that help make the series one of the most human and involving dramas you will ever see. Although it is set against a futuristic backdrop, you almost forget you are on another planet, due to the sophisticated storylines and subtle environmental designs – each planet closely resembling a different city and its society, instead of out-of-this-world concepts. There are no aliens, no robots – which helps keep the universe more grounded, despite man having visited all the surrounding planets in our solar system via the highways of space. Rest assured, this future is very close. Plot construction and characters are highly developed and showcase surprising depth, which can be rare in anime and the voice talents, both in the original Japanese and, surprisingly, in the dubbing, are solid throughout.
Every episode is a mini movie in itself, yet an overarching story runs throughout that races to its dramatic conclusion. After the series’ success, the Cowboy Bebop movie, Knockin’ On Heaven’s Door followed in 2001 along with the Perfect Sessions DVD box set and Collectors Edition Blu-ray released in July. As with the best in film, Bebop has universal appeal that helps to define personal tastes while at the same time transcending cultures. This is an anime which will continued to be remembered amongst those so easily forgotten – this is a true masterpiece that has more than helped to define a genre with supreme confidence.