Cowboy Bebop 21st Anniversary Post

Cowboy Bebop is more than a Gateway Series

Obviously, I won’t be able to add anything new to discussion of a series that folks have been talking and writing about for 21 years but I still wanna mark the occasion on the blog because I’ve really enjoyed Cowboy Bebop.

To dip but swiftly into the category of ‘things already said about the show’ I’m sure words and phrases like bounty hunters in space, gateway series and trailblazing or greatest anime of all time and genre defying would be on that list and for me, most of those things feel true but one of them is also reductive.

It probably is a pretty good introduction for Western (sceptical) audiences looking to trial the genre of anime, a genre which is just as varied, in terms of content and quality, as any other. The show largely works as an introduction because both the cultural references and aesthetic tend to be very recognisable to western audiences – creator Shinichirō Watanabe mentions Dirty Harry, Bruce Lee and John Woo among his influences, and of course the OST is a veritable library of US and UK-influences.

But I still fear the words ‘gateway series’ are too often used to suggest that Cowboy Bebop is a creation of a certain depth and value only, a stepping stone toward works that are either better or more ‘difficult’. It can feel as though the series is ‘merely’ an entry point into an unfamiliar art form, the way that maybe you start with Miles Davis’ Kind of Blue before trying Bitches Brew or Agharta. Yet that accessibility common to both Kind of Blue and Cowboy Bebop belies a depth and complexity that – like all great art – is better revealed during subsequent encounters.

I believe part of what makes the show so rewarding is how heavily intertextual Cowboy Bebop remains but also the episodic structure, which invites repeated viewings. Obviously, I won’t present any sort of exhaustive list here but I still want to mention a few things at least. Sometimes that intertextuality is more overt – like the similarities between Spike’s costume (and his frame for that matter) and Lupin the III or our hero’s Jeet Kune Do fighting style and the famous ‘water’ speech he gives in Episode 8 (Waltz for Venus) which Bruce Lee fans will certainly recognise. Another episode that many viewers often single out to demonstrate this is the Star Trek/Alien tribute, Toys in the Attic – but which I won’t spoil here 😀

Sometimes the references, depending on any given viewer’s cultural literacy, become subtler like the Spike/Vicious weapon swap a la John Woo, or the setting recreated from Desperado in Episode 1, Asteroid Blues, (which I didn’t pick up on at first but felt like I should have when I did finally put it together). Later in the series, as the oppressiveness of the odds stacked against the Bebop crew really starts to build we’re given session 20: Pierrot Le Fou. In this episode the colour palette becomes far more muted as greys and shadows really start to dominate in a way that evokes both film noir (without Jet this time however) and Gotham City. The Batman references won’t be surprising to folks who are aware that members from CB’s production team Sunrise also worked on Batman the Animated Series prior to Cowboy Bebop. Antagonist Tongpu himself clearly evokes (at least) both the Penguin and the Joker and much of the imagery throughout the episode brings Batman to mind (and it’s one of the more harrowing episodes in the series).

There’s a lot more to love about Cowboy Bebop but I also want to quickly mention another aspect that I’ve always enjoyed about the series. Blessedly, CB isn’t one of those shows that just keeps going and going until the character and story arcs are rehashed in an endlessly sad cycle of diminishing returns and contradictions. No, it actually presents a complete story – it has an ending! In part because of this, viewers are treated to some great character development, none perhaps more striking than that of Faye Valentine. Now, my personal favourite character remains Jet but Faye has the better character arc, I feel. Considering where she begins the series emotionally and where she ends up, it’s pretty grand. Again, I don’t want to offer spoilers in this post but Faye’s fear and her quest for belonging really plays out in a touching way – though there’s a certain montage involving other characters that’s probably just as moving, damn thing nearly gets me every time!

Now, I’m aware that I’ve only really offered three points to support my assertion that Cowboy Bebop is far more than a gateway series but they were the first ones that came to mind. If you’d like to read other folks’ exploring the depth of the show, there’s a series of posts available at Overthinking It which are pretty ace 🙂

Spirited Away (Sen to Chihiro no Kamikakushi)

For the first post here at the Review Heap, I wanted to jump back to a write up I did a fair few years ago – because if I’m going to review/highlight anime (amongst the other things I’ll ramble on about here) then I should start with the studio that really had an impact on me (though as a kid of the 80s I remember mostly Astro Boy :D).

So, up first it’s Spirited Away!

Miyazaki’s work as a director seems so warm and I guess I naturally gravitate toward his films. That isn’t to say that I don’t enjoy Takahata’s work, or the films of the other directors from Studio Ghibli, but I’ll probably end up reviewing the Miyazaki ones first.

Spirited Away (Sen to Chihiro no Kamikakushi)
2001

Perhaps like many Western audiences, this was my first exposure to Studio Ghibli and its wonderful films – though I didn’t see this movie until about three years after it’s English-language release.

I was actually at uni and had recently borrowed the impressive 1001 Movies You Must See Before You Die. Inside, I noticed Spirited Away and went straight to the university library where I borrowed the DVD and that was it. I was hooked.

Written and directed by Hayao Miyazaki, Spirited Away is the story of a young girl who has to work in a spirits’ bathhouse in order to save her parents, who’ve been transformed into pigs by their own greed.

A pretty simple description of the plot, right?

But it gives an idea of the main source of tension, I hope. What it fails to show is the stunning attention to detail found in the animation (common to Ghibli of course) and the great character arc at its heart.

The way protagonist Chihiro goes from being basically an annoying child to a person of resolve, and one who can turn those around her into friends, is one of my favourite aspects. It also provides an emotional core that’s a big part the reason I’ve watched the film a fair few times now.

But perhaps my favourite element of Spirited Away is the setting.

The bathhouse is located in an abandoned amusement park and it’s beautiful, detailed and vivid, both in terms of its social and physical structure. And part of that colour definitely comes from the variety of spirits who visit it, among the most memorable being the close-mouthed Radish Spirit and the old River Spirit, who also embodies the environmental themes Miyazaki often includes in his films.

Another stand out aspect of the movie (and most Ghibli films) is the music.

Provided by Joe Hisaishi, it’s a moving score, I reckon with so much of it feeling both magical and familiar.

An Academy Award winner and an amazing film, Spirited Away isn’t quite my favourite Ghibli movie, but I’m kicking off with it because it’s where I started and if on the off chance you’re looking to see what Studio Ghibli is like, you probably couldn’t find a better starting place.

5 Stars