No preamble here, just two (and a half) reasons on why this short series joined my top ten the other month.
Kids on the Slope is a great romance with very few instances of manufactured drama, which is really nice in a genre that sometimes suffers from such contrivances. In a way, the series is almost about the cruelty of youth, where the sweeter, coming-of-age elements are contrasted with the mistakes that are all too easy to make when you’re trying to figure things out.
I found myself quickly invested in the lives of Kaoru, Sentaro and Ritsuko, and I wanted them all to end up happy. (I was even able to almost remember how it felt to be that young and unsure).
The second reason will probably be no surprise: the music – both literally, and the way it forms part of the storyline and a bond between characters. If you enjoy jazz, especially (but not only) Hard Bop or the Cool sub-genres, along with the piano of Bill Evans, this will definitely appeal. And yep, Kids on the Slope is another collaboration between Shinchiro Watanabe and Yoko Kanno, but the OST isn’t as eclectic as say, their work on Cowboy Bebop.
Instead, I think Yoko Kanno looks after most of the incidental music and motifs, whereas a pair of young (certainly back in 2012) musicians perform the jams and standards. And the rotoscoping really shows fantastic fluidity in the performances – I’ll share one of the highlights at the end, but maybe if you want to see this series skip the youtube clip because it’s far better in context. (Elsewhere, the story really captures what it’s like to play in a group, another memory the anime managed to activate for me.)
And finally the ‘half’ reason!
Most of what I’ve talked about seems to be nostalgia, but it’s not just my own I guess – Kids on the Slope takes in a historical setting: sea-side Japan in the 1960s, and is fairly dripping with a nostalgia that I obviously cannot truly experience, but which seems to be captured so well in the settings.
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.
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.
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.
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 😀
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).
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
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 🙂