1998 anime telly series

Cowboy Bebop
Cowboy Bebop key visual.jpg

Central visual of the series, featuring the entire Bebop crew
カウボーイビバップ
( Kaubōi Bibappu )
Genre
  • Neo-noir[a]
  • Space Western[b]
Created by Hajime Yatate
Manga
Cowboy Bebop: Shooting Star
Illustrated by Cain Kuga
Published by Kadokawa Shoten
English publisher

NA

Tokyopop
Magazine Monthly Asuka Fantasy DX
Demographic Shōjo
Original run September eighteen, 1997 – June xviii, 1998
Volumes 2 (Listing of volumes)
Anime television set series
Directed by Shinichirō Watanabe
Produced by Masahiko Minami
Kazuhiko Ikeguchi
Written by Keiko Nobumoto
Music past Yoko Kanno
Studio Sunrise
Licensed by

AUS

Madman Amusement

NA

Funimation

UK

Anime Limited
Original network TXN (TV Tokyo), Wowow
English network

AU

ABC2, Sci Fi Channel (Animax)

AUS

Adult Swim

CA

Razer (Kamikaze)

PH

GMA Network, TV5, Hero, TeleAsia Filipino

SA

Animax

Body of water

Animax

SG

Arts Central

UK

CNX, AnimeCentral, Showcase Tv, Viceland

US

Adult Swim (Toonami)[c]

Original run Television set Tokyo circulate
April three, 1998 – June 26, 1998
Wowow circulate
October 24, 1998 – April 24, 1999
Episodes 26 (Listing of episodes)
Manga
Illustrated by Yutaka Nanten
Published by Kadokawa Shoten
English publisher

NA

Tokyopop
Mag Monthly Asuka Fantasy DX
Demographic Shōjo
Original run October xviii, 1998 – February eighteen, 2000
Volumes three (List of volumes)
Anime moving-picture show
  • Cowboy Bebop: The Picture (2001)
Wikipe-tan face.svg Anime and manga portal

Cowboy Bebop (Japanese: カウボーイビバップ, Hepburn: Kaubōi Bibappu ) is a Japanese neo-noir science fiction anime[12] television series created and blithe by Sunrise, led by a production team of manager Shinichirō Watanabe, screenwriter Keiko Nobumoto, grapheme designer Toshihiro Kawamoto, mechanical designer Kimitoshi Yamane, and composer Yoko Kanno, who are collectively billed as Hajime Yatate. The series, which ran for twenty-six episodes (in half-dozen "sessions" of 4 to five episodes each), is gear up in the yr 2071, and follows the lives of a traveling bounty-hunting crew aboard a spaceship, the Bebop. Although it incorporates a broad variety of genres, the serial draws most heavily from science fiction, western, and noir films. Its most prominent themes are existential ennui, loneliness, and the inability to escape one's past.

Cowboy Bebop was dubbed into English by Animaze and ZRO Limit Productions, and was originally licensed in North America by Bandai Amusement (and is at present licensed by Funimation) and in United kingdom past Beez Amusement (now past Anime Limited); Madman Entertainment owns the license in Australia and New Zealand. In 2001, the series became the first anime title to exist broadcast on Adult Swim.

Since its release, Cowboy Bebop has been hailed equally one of the greatest animated television serial of all time. It was a critical and commercial success both in Japanese and international markets, most notably in the United States. It garnered several major anime and science-fiction awards upon its release, and received unanimous praise for its style, characters, story, phonation acting, animation, and soundtrack. The English dub was peculiarly lauded, and is regarded as one of the best anime dubs.[13] Credited with helping to innovate anime to a new wave of Western viewers in the early 2000s, Cowboy Bebop has also been called a gateway series for anime in full general.[14]

Plot [edit]

In 2071, roughly fifty years after an accident with a hyperspace gateway which made Earth nigh uninhabitable, humanity has colonized about of the rocky planets and moons of the Solar System. Amidst a ascent crime rate, the Inter Solar System Police (ISSP) gear up up a legalized contract system, in which registered compensation hunters (too referred to every bit "Cowboys") chase criminals and bring them in alive in render for a advantage.[15] The serial' protagonists are bounty hunters working from the spaceship Bebop. The original crew are Fasten Spiegel, an exiled former hitman of the criminal Ruby-red Dragon Syndicate, and Jet Blackness, a former ISSP officer. They are subsequently joined by Faye Valentine, an amnesiac con artist; Edward, an eccentric child skilled in hacking; and Ein, a genetically-engineered Pembroke Welsh Corgi with homo-like intelligence. Over the grade of the series, the team become involved in disastrous mishaps leaving them without coin, while often against faces and events from their past:[16] these include Jet's reasons for leaving the ISSP, and Faye's past equally a immature woman from Earth injured in an accident and cryogenically frozen to save her life.

While much of the bear witness is episodic in nature, the main story arc focuses on Fasten and his deadly rivalry with Vicious, an ambitious criminal affiliated with the Red Dragon Syndicate. Spike and Cruel were once partners and friends, just when Spike began an affair with Vicious'due south girlfriend Julia and resolved to leave the Syndicate with her, Vicious sought to eliminate Spike past blackmailing Julia into killing him. Julia goes into hiding to protect herself and Fasten fakes his death to escape the Syndicate. In the present, Julia comes out of hiding and reunites with Spike, intending to complete their plan. Cruel, having staged a coup d'état and taken over the Syndicate, sends hitmen after the pair. Julia is killed, leaving Spike alone. Spike leaves the Bebop after proverb a final goodbye to Faye and Jet. Upon infiltrating the syndicate, he finds Vicious on the top flooring of the building and confronts him after dispatching the remaining Red Dragon members. The concluding battle ends with Spike killing Vicious, only to be seriously wounded himself in the ensuing confrontation. The series concludes as Spike descends the main staircase of the edifice into the rising sun before eventually falling to the ground.

Genre and themes [edit]

Watanabe created a special tagline for the serial to promote it during its original presentation, calling information technology "a new genre unto itself". The line was inserted earlier and after commercial breaks during its Japanese and US broadcasts. Later, Watanabe chosen the phrase an "exaggeration".[17] The bear witness is a hybrid of multiple genres, including westerns and pulp fiction.[18] : 113 I reviewer described it as "space opera meets noir, meets comedy, meets cyberpunk".[19] It has as well been called a "genre-busting infinite Western".[xx] [21]

The musical mode was emphasized in many of the episode titles.[22] : 79–80 [23] [24] Multiple philosophical themes are explored using the characters, including existentialism, existential boredom, loneliness, and the effect of the by on the protagonists.[sixteen] [25] Other concepts referenced include environmentalism and commercialism.[26] The series besides makes specific references to or pastiches multiple films, including the works of John Woo and Bruce Lee, Midnight Run, 2001: A Space Odyssey, and Alien.[23] [27] [28] The serial besides includes extensive references and elements from scientific discipline fiction, bearing strong similarities to the cyberpunk fiction of William Gibson.[22] : 81 Several planets and space stations in the serial are made in World'south prototype. The streets of angelic objects such as Ganymede resemble a modern port city, while Mars features shopping malls, theme parks, casinos and cities. Cowboy Bebop 's universe is filled with video players and hyperspace gates, eco-politics and fairgrounds, spaceships and Native American shamans.[27] This setting has been described every bit "i part Chinese diaspora and two parts wild westward".[18] : 113

Characters [edit]

Principal cast from left to correct: Jet Blackness, Spike Spiegel, Faye Valentine, Edward, and Ein

The characters were created by Watanabe and character designed by Toshihiro Kawamoto. Watanabe envisioned each character as an extension of his own personality, or every bit an opposite person to himself.[29] Each character, from the main cast to supporting characters, were designed to be outlaws unable to fit into gild.[30] Kawamoto designed the characters so they were easily distinguished from one another.[17] All the main bandage are characterized by a deep sense of loneliness or resignation to their fate and past.[17] From the perspective of Brian Camp and Julie Davis, the main characters resemble the primary characters of the anime series Lupin Iii, if only superficially, given their more than troubled pasts and more than complex personalities.[22] : 81

The show focuses on the character of Fasten Spiegel, an iconic infinite cowboy with green hair and ofttimes seen wearing a bluish suit, with the overall theme of the series existence Fasten'south past and its karmic effect on him.[31] Spike was portrayed as someone who had lost his expectations for the future, having lost the woman he loved, so was in a near-constant languor.[17] Fasten's artificial heart was included as Watanabe wanted his characters to have flaws. He was originally going to be given an eyepatch, but this decision was vetoed by producers.[30]

Jet is shown as someone who lost confidence in his one-time life and has become cynical about the state of society.[17] [31] Spike and Jet were designed to be opposites, with Spike being thin and wearing smart attire, while Jet was bulky and wore more casual clothing.[30] The wearable, which was dark in colour, too reflected their states of mind.[17] Faye Valentine, Edward Wong, and Ein joined the crew in subsequently episodes.[31] Their designs were intended to contrast against Spike.[xxx] Faye was described by her voice extra as initially being an "ugly" woman, with her defining traits being her liveliness, sensuality and humanity. To emphasize her state of affairs when first introduced, she was compared to Poker Alice, a famous Western figure.[xxx]

Edward and Ein were the only master characters to have real-life models. The former had her behavior based on the antics of Yoko Kanno equally observed past Watanabe when he beginning met her.[xxx] While more often than not portrayed as carefree and eccentric, Edward is motivated by a sense of loneliness later on beingness abandoned by her father.[31] Kawamoto initially based Ein's design on a friend's pet corgi, subsequently getting one himself to use as a motion model.[33] [34]

Production [edit]

Cowboy Bebop was developed by animation studio Sunrise and created by Hajime Yatate, the well-known pseudonym for the collective contributions of Sunrise'south animation staff. The leader of the series' artistic team was managing director Shinichirō Watanabe, nearly notable at the time for directing Macross Plus and Mobile Adjust Gundam 0083: Stardust Retentivity. Other leading members of Sunrise'due south artistic team were screenwriter Keiko Nobumoto, character designer Toshihiro Kawamoto, mechanical fine art designer Kimitoshi Yamane, composer Yoko Kanno, and producers Masahiko Minami and Yoshiyuki Takei. Most of them had previously worked together, in addition to having credits on other popular anime titles. Nobumoto had scripted Macross Plus, Kawamoto had designed the characters for Gundam, and Kanno had composed the music for Macross Plus and The Vision of Escaflowne. Yamane had non worked with Watanabe withal, but his credits in anime included Bubblegum Crisis and The Vision of Escaflowne. Minami joined the project as he wanted to practice something different from his previous work on mecha anime.[23]

Concept [edit]

Cowboy Bebop was Watanabe's showtime project equally solo director, as he had been co-director in his previous works.[35] His original concept was for a movie, and during production he treated each episode as a miniature film.[36] [37] His main inspiration for Cowboy Bebop was Lupin III, a law-breaking anime series focusing on the exploits of the series' titular grapheme.[23] When developing the series' story, Watanabe began past creating the characters first. He explained, "the showtime prototype that occurred to me was i of Spike, and from there I tried to build a story around him, trying to make him absurd."[35] While the original dialogue of the series was kept clean to avoid any profanities, its level of composure was fabricated appropriate to adults in a criminal surroundings.[23] Watanabe described Cowboy Bebop as "80% serious story and xx% humorous touch".[38] The comical episodes were harder for the team to write than the serious ones, and though several events in them seemed random, they were carefully planned in advance.[30] Watanabe conceived the series' catastrophe early on, and each episode involving Spike and Fell was meant to foreshadow their final confrontation. Some of the staff were unhappy about this approach equally a continuation of the series would exist difficult. While he considered altering the catastrophe, he somewhen settled with his original thought. The reason for creating the ending was that Watanabe did non want the series to become like Star Trek, with him beingness tied to doing it for years.[xxx]

Development [edit]

The project had initially originated with Bandai'south toy partition equally a sponsor, with the goal of selling spacecraft toys. Watanabe recalled his only instruction was "And then long as in that location's a spaceship in it, you can do whatever yous want." But upon viewing early footage, it became clear that Watanabe'southward vision for the serial didn't match with that of Bandai's. Believing the series would never sell toy merchandise, Bandai pulled out of the project, leaving information technology in evolution hell until sis company Bandai Visual stepped in to sponsor it. Since there was no need to merchandise toys with the property any more, Watanabe had free rein in the development of the series.[35] Watanabe wanted to pattern not simply a space adventure series for adolescent boys but a programme that would too appeal to sophisticated adults.[23] During the making of Bebop, Watanabe often attempted to rally the animation staff past telling them that the bear witness would be something memorable upwards to three decades later. While some of them were hundred-to-one of that at the time, Watanabe many years later expressed his happiness to have been proven correct in retrospect. He joked that if Bandai Visual hadn't intervened then "you lot might be seeing me working the supermarket checkout counter correct now."[35]

The metropolis locations were generally inspired past the cities of New York and Hong Kong.[39] The atmospheres of the planets and the ethnic groups in Cowboy Bebop mostly originated from Watanabe'southward ideas, with some collaboration from set up designers Isamu Imakake, Shoji Kawamori, and Dai Satō. The animation staff established the item planet atmospheres early in the product of the serial earlier working on the ethnic groups. It was Watanabe who wanted to have several groups of ethnic diversity appear in the series. Mars was the planet about ofttimes used in Cowboy Bebop 'southward storylines, with Satoshi Toba, the cultural and setting producer, explaining that the other planets "were unexpectedly hard to use". He stated that each planet in the series had unique features, and the producers had to take into business relationship the characteristics of each planet in the story. For the final episode, Toba explained that information technology was not possible for the staff to have the dramatic rooftop scene occur on Venus, so the staff "ended upwards unremarkably falling dorsum to Mars".[40] In creating the backstory, Watanabe envisioned a earth that was "multinational rather than stateless". In spite of certain American influences in the series, he stipulated that the country had been destroyed decades prior to the story, later maxim the notion of the Us as the center of the world repelled him.[41]

Music [edit]

The music for Cowboy Bebop was composed past Yoko Kanno.[42] Kanno formed the blues and jazz band Seatbelts to perform the series'south music.[43] According to Kanno, the music was one of the first aspects of the series to brainstorm production, earlier most of the characters, story, or animation had been finalized. The genres she used for its composition were western, opera, and jazz.[30] Watanabe noted that Kanno did not score the music exactly the style he told her to. He stated, "She gets inspired on her ain, follows upward on her own imagery, and comes to me maxim 'this is the song nosotros demand for Cowboy Bebop,' and composes something completely on her ain."[38] Kanno herself was sometimes surprised at how pieces of her music were used in scenes, sometimes wishing it had been used elsewhere, though she also felt that none of their uses were "inappropriate". She was pleased with the working environment, finding the squad very relaxed in comparison with other teams she had worked with.

Watanabe farther explained that he would take inspiration from Kanno'south music afterwards listening to information technology and create new scenes for the story from it. These new scenes in turn would inspire Kanno and give her new ideas for the music and she would come up to Watanabe with even more music. Watanabe cited equally an instance, "some songs in the 2nd half of the serial, nosotros didn't even ask her for those songs, she but made them and brought them to u.s.." He commented that while Kanno's method was normally "unforgivable and unacceptable", information technology was ultimately a "big hit" with Cowboy Bebop. Watanabe described his collaboration with Kanno as "a game of take hold of betwixt the ii of us in developing the music and creating the TV series Cowboy Bebop".[38] [44] Since the series' broadcast, Kanno and the Seatbelts take released seven original soundtrack albums, two singles and extended plays, and 2 compilations through characterization Victor Entertainment.[45]

Weapons [edit]

The guns on the show were called by the managing director, Watanabe, and in discussion with set designer, Isamu Imakake, and mechanical designer, Kimitoshi Yamane. Setting producer, Satoshi Toba said, "They talked well-nigh how they didn't want common guns, because that wouldn't be very interesting, and so they decided on these guns."[46]

Distribution [edit]

Broadcast [edit]

Cowboy Bebop debuted on Television receiver Tokyo, one of the chief broadcasters of anime in Japan, airing from April 3 until June 26, 1998.[47] Due to its 6:00 PM timeslot[48] and depictions of graphic violence,[49] the show's first run but included episodes 2, 3, 7 to 15, 18 and a special. Later on that year, the series was shown in its entirety from October 24 until April 24, 1999, on satellite network Wowow.[50] The full series has besides been circulate beyond Japan by anime television network Animax, which has likewise aired the series via its respective networks beyond Southeast Asia, Southern asia and E Asia.

The commencement non-Asian land to air Cowboy Bebop was Italia. At that place, it was first aired on October 21, 1999, on MTV, where it inaugurated the 9:00–ten:30 PM Anime Night programming cake.

In the U.s., Cowboy Bebop was one of the programs shown when Cartoon Network'south late nighttime block Adult Swim debuted on September 2, 2001, being the commencement anime shown on the block that dark at midnight ET.[51] During its original run on Adult Swim, episodes 6, 8, and 22 were skipped due to their violent themes in wake of the September 11 attacks. By the third run of the series, all these episodes had premiered for the start time. Cowboy Bebop was successful enough to be circulate repeatedly for four years. It has been run at least in one case every yr since 2007, and Hd remasters of the testify began broadcasting in 2015. In the United Kingdom, it was commencement broadcast in 2002 on the adult-oriented channel CNX. From November 6, 2007, it was repeated on AnimeCentral until the channel's closure in Baronial 2008. In Commonwealth of australia, Cowboy Bebop was first broadcast on pay television in 2002 on Adult Swim in Commonwealth of australia. Information technology was broadcast on Sci-Fi Aqueduct on Foxtel. In Australia, Cowboy Bebop was get-go broadcast on gratuitous-to-air-TV on ABC2 (the national digital public boob tube channel) on Jan ii, 2007.[52] Information technology has been repeated several times, about recently starting in 2008.[53] [54] Cowboy Bebop: The Film as well aired over again on February 23, 2009, on SBS (a hybrid-funded Australian public broadcasting television network). In Canada, Cowboy Bebop was first circulate on December 24, 2006, on Razer.

In Latin America, the series was first broadcast on pay-TV in 2001 on Locomotion. It aired again on Jan 9, 2016 on I.Sat.[55] [56]

Domicile media [edit]

DVD proper name Content Release engagement
Session One

Episodes 1–5

April 4, 2000
Session Two

Episodes vi–10

May ii, 2000
Session Three

Episodes xi–xiv

July 13, 2000
Session Four

Episodes 15–18

April 4, 2001
Session Five

Episodes 19–22

May 2, 2001
Session 6

Episodes 23–26

July 13, 2001
The Perfect Sessions
  • Episodes 1–26
  • Cowboy Bebop OST i
  • Collector's Fine art Box
 November half-dozen, 2001
Best Sessions

Various

November 19, 2002

Cowboy Bebop has been released in four separate editions in North America.

The kickoff release was sold in VHS format either every bit a box set or as seven individual tapes. The tapes were sold through Anime Hamlet, a division of Bandai.[57]

The second release was sold in 2000 individually, and featured uncut versions of the original 26 episodes. In 2001, these DVDs were collected in the special edition Perfect Sessions which included the first half-dozen DVDs, the start Cowboy Bebop soundtrack, and a collector'south box. At the time of release, the art box from the Perfect Sessions was made bachelor for purchase on The Right Stuff International as a solo item for collectors who already endemic the serial.[58]

The 3rd release, The Best Sessions, was sold in 2002 and featured what Bandai considered to be the all-time six episodes of the serial remastered in Dolby Digital 5.1 and DTS surround audio.[59]

The fourth release, Cowboy Bebop Remix, was likewise distributed on vi discs and included the original 26 uncut episodes, with sound remastered in Dolby Digital 5.i and video remastered under the supervision of Shinichiro Watanabe. This release likewise included diverse extras that were not present in the original release.[60] Cowboy Bebop Remix was itself collected as the Cowboy Bebop Remix DVD Collection in 2008.

A fourth release in Blu-ray format was released on Dec 21, 2012 exclusively in Japan.[61] [62]

In December 2012, newly founded distributor Anime Express announced via Facebook and Twitter that they had acquired the home video license for the U.k.. Office ane of the Blu-ray collection was released on July 29, 2013, while Function 2 was released on October 14. The standard DVD Complete Collection was originally meant to be released on September 23, 2013 with Part 2 of the Blu-ray release merely due to mastering and manufacturing errors, the Complete Collection was delayed until November 27.[ citation needed ] Following the closure of Bandai Entertainment in 2012, Funimation and Sunrise had appear that they rescued Cowboy Bebop, along with a handful of other one-time Bandai Amusement properties, for home video and digital release.[63] Funimation released the series on Blu-ray and DVD on December xvi, 2014.[64] [65] The series was released in four separate editions: standard DVD, standard Blu-ray, an Amazon.com exclusive Blu-ray/DVD combo, and a Funimation.com sectional Blu-ray/DVD philharmonic.[64] [66]

Streaming [edit]

Netflix acquired the streaming rights to the original anime, with all 26 episodes available worldwide as of October 21, 2021.[67] The series is also available on Hulu and Funimation[68] in the United states.

[edit]

Manga [edit]

Two Cowboy Bebop manga series adaptations have been released, both published by Kadokawa Shoten and serialized in Asuka Fantasy DX.[69] [70] The first manga series, titled Cowboy Bebop: Shooting Star and illustrated by Cain Kuga, was serialized from October issue 1997, before the anime series' release, to July issue 1998.[69] [71] It was collected into two volumes in 1998, the first one in May and the 2nd one in September.[72] [73] The second manga series, simply titled Cowboy Bebop and illustrated past Yutaka Nanten [ja], was serialized from Nov result 1998 to March outcome 2000.[70] [71] It was collected into three volumes, the starting time ii in April and October 1999 and the third one in Apr 2000.[74] [75] [76] Both manga serial were licensed past Tokyopop for release in Due north America.[77] [78]

Video games [edit]

A Cowboy Bebop video game, adult and published by Bandai,[79] was released in Nihon for the PlayStation on May xiv, 1998.[80] A PlayStation 2 video game, Cowboy Bebop: Tsuioku no Serenade, was released in Japan on August 25, 2005,[81] and an English version had been set for release in Due north America. However, in January 2007, IGN reported that the release had likely been cancelled, speculating that it did not survive Bandai's merger with Namco to Bandai Namco Games.[82]

Film [edit]

An anime film titled Cowboy Bebop: Knockin' On Heaven's Door,[Jp. 1] known in English equally Cowboy Bebop: The Movie, was released in Nippon in September 2001 and in the Usa in August 2002.

On July 22, 2008, If published an article on its website regarding a rumor of a live-action Cowboy Bebop movie in development past 20th Century Fox. Producer Erwin Stoff said that the film's development was in the early stages, and that they had "simply signed it".[83] [84] Keanu Reeves was to play the function of Spike Spiegel.[85] [86] Diversity confirmed on Jan 15, 2009 that production company Sunrise Animation would be "closely involved with the evolution of the English language-language project". The site also confirmed Kenji Uchida, Shinichirō Watanabe and serial writer Keiko Nobumoto every bit acquaintance producers, series producer Masahiko Minami every bit a production consultant, and Peter Craig as screenwriter. This was lauded by various sources as a promising motility for the potential quality of the moving picture.[87] At the time it was slated to release in 2011, but bug with the budget delayed its product. The submitted script was sent dorsum for rewrite to reduce the price and piffling has been heard about it since an interview with producer Joshua Long on Oct 15, 2010;[88] the project currently languishes in evolution hell. On Oct 25, 2014, series director Watanabe was asked about the live-activeness film at the MCM London Comicon. He stated: "I'g afraid I don't know what they're thinking in Hollywood. Apparently the project hasn't come to a terminate simply I don't know how it's going to progress from here on. I hear that there are a lot of 'Hollywood' problems."[89]

Live-action serial [edit]

In 2017, information technology was announced that an American live-action adaptation of the series was beingness developed by Tomorrow Studios, a partnership between Marty Adelstein and ITV Studios, with executive production by Sunrise Inc.[90] Christopher Yost was to write the serial,[91] and Netflix announced that it would distribute it.[92] [93] On Apr 4, 2019, Diverseness reported that John Cho, Mustafa Shakir, Daniella Pineda and Alex Hassell had been cast.[94] Production was shut down in October 2019 due to a knee injury sustained past Cho, setting production back past more than than six months.[95] On April 17, 2020, information technology was revealed that the episodes would be an 60 minutes long.[96] On May 19, 2020, Adelstein revealed that at that place were three finished episodes and that they had shot at least vi episodes before Cho's human knee injury. In the same interview it was revealed that the director of the anime series, Shinichirō Watanabe, had been hired as a creative consultant.[97] Production, in New Zealand, resumed on September 30, 2020, following a COVID-19 lockdown in the state.[98] The offset season was released on November 19, 2021 to mixed reviews.[99] On December 9. 2021, it was appear that the serial would non exist renewed for a second season, with Netflix cancelling it entirely.[100]

Other media [edit]

An official side story titled Cowboy Bebop: UT tells the story of Ural and Victoria Terpsichore (V.T. from the session "Heavy Metallic Queen") when they were bounty hunters. The story was available in its ain official site, however the website was closed and is currently available at the site mirror.[101]

Reception [edit]

Critical reception [edit]

Cowboy Bebop received unanimous acclaim, offset at the fourth dimension of its initial broadcast. Beginning in 1998, Japanese critic Keith Rhee highlighted the series every bit a standout in an otherwise "run-of-the-factory" season, praising its overall production values, and singling out Kanno's soundtrack every bit "a much-welcome change from all the sugary J-pop tunes of most anime features". Rhee also highlighted the show's Japanese "all-star cast",[48] which his colleague Mark L. Johnson described as being filled with "veteran voice talent", turning in even greater performances than those of their "to a higher place average" US counterparts.[102] In 1999, Australian magazine Hyper reviewed the anime and rated it 9.5 out of x.[103]

Anime News Network'south Mike Crandol gave the series an 'A+' rating for the dubbed version, and an 'A' rating for the subbed version. He characterized the series equally "one of the most popular and respected anime titles in history", earlier adding that it was "a unique boob tube show which skillfully transcends all kinds of genres". Crandol praised its characters equally "some of the most endearing characters to always grace an anime", and commended the voice acting, especially the "flawless English language bandage". He as well complimented the serial' "movie-quality" blitheness, "sophisticated" writing, and its "incredible" musical score. Crandol hailed Cowboy Bebop every bit a "landmark" anime "that will be remembered long afterwards many others have been forgotten", and went on to call it "one of the greatest anime titles always".[104] Additionally, Michael Toole of Anime News Network named Cowboy Bebop as one of the most of import anime of the 1990s.[105]

T.H.Eastward.M. Anime Reviews gave the unabridged series a perfect score of 5 out of 5 stars, with reviewer Christina Carpenter believing Cowboy Bebop as "one of the all-time [anime]" and touting it equally a masterpiece that "puts most anime...and Hollywood, to shame". She described it as a "very stylish, beautifully crafted serial that deserves much more attention than information technology gets". Carpenter praised the blitheness as "a rarity and a curiosity to behold" and that information technology was "across superb", and the plot and characterization every bit having "a sophistication and subtlety that is practically one-of-a-kind". She besides praised the soundtrack, and hailed the opening theme as ane of the all-time intro pieces she had ever heard. Carpenter went to say that Bebop was a "must-have for whatsoever serious collector of Japanese animation".[106]

In his article "Asteroid Blues: The Lasting Legacy of Cowboy Bebop", The Atlantic writer Alex Suskind states, "On paper, Cowboy Bebop, the legendary cult anime serial from Shinichirō Watanabe, reads like something John Wayne, Elmore Leonard, and Philip K. Dick came up with during a wild, all-night whiskey bender." He goes on to write, "The response from critics and fans may have sounded hyperbolic—the word 'masterpiece' was thrown around a peachy deal—but the praise was justified. First-time solo manager Watanabe had created a gorgeous tale of morality, romance, and violence–a dark look at the lives of outlaws that's shot like an independent film."[107]

In January 2015, television author Kyle Mills of DVD Talk awarded the series 5 stars upon review. He stated, "Regardless of the medium, be it live action boob tube, picture show, or blitheness, Cowboy Bebop is just ane of the finest examples of storytelling ever created." In his review, he describes the finale as "one of the best in idiot box history", referring to it equally a "widely revered" catastrophe that "still sparks fan conversation, resonating with viewers fifteen years on". He closes by writing, "Cowboy Bebop ends with a bang."[108]

In his 2018 review of the series, Paste critic John Maher wrote, "It feels like a magnum opus produced at the pinnacle of a long career despite existence, almost unbelievably, Watanabe'due south beginning series equally a director. Information technology is a masterwork that should justly rank amongst the best works of television set of all time." Information technology was also placed at #1 on the publication's listing of the "fifty All-time Anime Series of All Time".[109]

On review aggregator Rotten Tomatoes, the serial has an approval rating of 100% based on 22 reviews, with an average rating of 8/10. The website'south disquisitional consensus reads, "Blending a head-spinning array of genres and references, Cowboy Bebop is an anime boob tube classic that must be experienced."[110]

In an April 2019 interview with Diego Molano, creator of Victor & Valentino, he said that Cowboy Bebop was the first anime he "obsessed over", as he spent time tracking down VHS tapes of the testify in high school.[111] He also argued that this serial showed him "how cinematic and emotional blitheness can exist".

Accolades [edit]

In the 1999 Anime Grand Prix awards for the anime of 1998, Cowboy Bebop won two 1st identify awards: Spike Spiegel was awarded the best male person grapheme; and Megumi Hayashibara was awarded the best vocalization actor for her role as Faye Valentine. Cowboy Bebop also received rankings in other categories: the series itself was awarded the 2nd best anime series; Faye Valentine and Ed were ranked the fifth and 9th best female characters respectively; "Tank!" and "The Existent Folk Dejection" were ranked the 3rd and 15th best songs respectively; and "Ballad of Fallen Angels", "Speak Like a Child", "Jamming with Edward" and "Mish-Mash Dejection" were ranked the 2nd, eighth, 18th and 20th best episodes respectively.[112]

In the 2000 Anime Grand Prix awards for the anime of 1999, Cowboy Bebop won the same two 1st place awards once more: best male character for Fasten Spiegel; and best vocalisation histrion for Megumi Hayashibara. Other rankings the series received are: 2nd all-time anime series; 6th best female person character for Faye Valentine; seventh and twelfth best song for "Tank!" and "Blue" respectively; and third and 17th best episode for "The Real Folk Blues (Role two)" and "Difficult Luck Woman" respectively.[113] In the 2000 Seiun Awards, Cowboy Bebop was awarded for All-time Media of the Year.[114]

A 2004 poll in Newtype Us, the Us edition of the Japanese mag Newtype, asked its readers to vote the "Top 25 Anime Titles of All Fourth dimension"; Cowboy Bebop ranked second on the list (after Neon Genesis Evangelion), placing information technology as one of the about socially relevant and influential anime series ever created.[115] During that same yr, Cinefantastique listed the anime as one of the "10 Essential Animations", citing the serial' "gleeful mix of noir-way, culture-hopping inclusiveness and music".[116] In 2007, the American Anime magazine Anime Insider listed the "50 Best Anime Ever" by compiling lists of industry regulars and mag staff, and ranked Cowboy Bebop as the #1 anime of all fourth dimension.[117] In 2012, Madman Entertainment compiled the votes of fans online for "The Top twenty Madman Anime Titles" and ranked Cowboy Bebop at #7.[118]

Cowboy Bebop has been featured in several lists published by IGN. In the 2009 "Top 100 Blithe Tv Series" list, Cowboy Bebop, labelled equally "a very original – and arguably one of the best – anime", was placed 14th, making it the second highest ranking anime on the listing (after Evangelion) and one of the most influential series of the 1990s.[119] In 2011, Bebop was ranked 29th in the "Peak 50 Sci-Fi Television set Shows" listing, once again being the second highest ranking anime on the listing (later on Evangelion).[120] In 2006, Cowboy Bebop 's soundtrack was ranked #1 in "Top Ten Anime Themes and Soundtracks of All-Time" list, with the series being commented as "one of the best anime e'er and certainly is tops when it comes to music."[121] Spike Spiegel was ranked 4th identify in the "Height 25 Anime Characters of All Fourth dimension" commodity.[122] IGN Movies also placed Cowboy Bebop in their list of "ten Cartoon Adaptations We'd Similar to Run across".[123]

Assay [edit]

The series has been bailiwick to written report and assay since its debut, with the main focus being on its style and mixture of genres. Miguel Douglas, describing the series fashion in a review, said that "the series distinctly establishes itself exterior the realm of conventional Japanese animation and instead chooses to forge its own path. With a setting within the realm of science fiction, the series wisely offers a earth that seems entirely realistic considering our present fourth dimension. Free from many of the elements that accompany science fiction in full general—whether that exist infinite aliens, giant robots, or light amplification by stimulated emission of radiation guns—the series delegates itself towards presenting a world that is quite like to our ain albeit showcasing some technological advances. Certainly not equally pristine a future nosotros would encounter in other series or films, Cowboy Bebop decides to deliver a hereafter that closely reflects that of our ain time. This aspect of familiarity does wonders in terms of relating to the viewer, and it presents a world that certainly resembles our very own."[124] Daryl Surat of Otaku U.s., commenting on the series' appeal, said that it was "that rare brood of science-fiction: 'accessible'. Unlike many anime titles, viewers weren't expected to have knowledge of Asian culture—character names, signs, and the similar were primarily in English to begin with—or have seen any other anime series prior."[125] Michelle Onley Pirkle, in her book Scientific discipline Fiction Film, Television, and Adaptation: Across the Screens, said that "Cowboy Bebop is taking a new take on genre, not by creating unique images and sounds, only by playing 'freely' with, 'remixing', or adapting the images and sounds of other familiar genres in a dynamic way."[126] : 164 Robert Baigent, writing for the Graduate Journal of Asia-Pacific Studies, said that the series' appeal likely stemmed from the tendency in anime to emulate Western fiction.[27]

Legacy [edit]

In March 2009, the print and web editions of The Onion's The A.Five. Club called Cowboy Bebop "rightly a huge striking", and listed it as a gateway series to understanding the medium of anime every bit a whole.[14] Suskind said: "It was dissimilar anything the genre had seen before. Information technology even approached its music differently. The show kicked off with a wormhole of a theme song, and the soundtrack moves so seamlessly through genres, from rock to country to popular to jazz to funk, it's shocking to learn that one set of musicians is behind information technology all". In an interview, producer Sean Akins as well states that the series "created a whole new world". "It's difficult for me to quantify the touch that I think it has had. It inverse anime. I think people began to call up about what shows would exist cool. I think it redefined cool within animation, not merely in Japan simply in u.s.a.".[107] One of the series' main animators, Tensai Okamura, went on to create his own anime in 2007: Darker than Blackness. Okamura used his experience from Cowboy Bebop to write the screenplay of Darker than Black, leading to narratives composed of two episodes similar to Japanese dramas.[127]

American film director, screenwriter, and producer Rian Johnson has cited Cowboy Bebop as a visual influence on his films, nearly notably Brick.[128] Ender's Game writer Orson Scott Card too praised the series. He states that the serial is "better than most sci-fi films out there". He goes on to say that he "found this series brilliant, but what held me was a combination of potent relationship-based storytelling, a moody visual fashion that never got old and really smart dialogue".[107]

Later on the creation of the serial, an interviewer asked Watanabe if he had any plans to create more Cowboy Bebop material. Watanabe responded by saying that he does not believe that he "should just proceed on making Cowboy Bebop sequels for the sake of it". Watanabe added that ending production and "to quit while nosotros're alee when people still want more" is more than "in keeping with the Bebop spirit".[129] In a more recent interview from 2006 with The Daily Texan, Watanabe was asked if there would always be more than Cowboy Bebop. Watanabe'south reply was "someday...maybe, someday".[130]

In May 2020, composer Mason Lieberman partnered with Sunrise and Funimation to produce an official Cowboy Bebop charity rail for COVID-19 relief. This track was released on vinyl and featured the return of original serial composer Yōko Kanno, original recording band The Seatbelts, and a collection of xl other special musical guests.[131] [132]

Notes [edit]

Explanatory
  1. ^ Run into[1] [2] [3] [4] [5] [six]
  2. ^ See[1] [2] [7] [8] [ix] [10] [11]
  3. ^ Earlier its rerun airings on Toonami, Cowboy Bebop aired numerous times as part of Adult Swim's Adult Swim Action branding earlier the block'due south May 2012 relaunch.
Japanese
  1. ^ カウボーイビバップ 天国の扉 , Kaubōi Bibappu: Tengoku no Tobira

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External links [edit]

  • Official website at the Wayback Machine (archived November 22, 2002) (CowboyBebop.org) (in Japanese and English)
  • Official website (Cowboy-Bebop.cyberspace) (in Japanese) (repost of official website)
  • Official Bandai Channel website (in Japanese)
  • Official Developed Swim website
  • Official Funimation website
  • Official Madman Entertainment website
  • Cowboy Bebop at AllMovie
  • Cowboy Bebop at Curlie
  • Cowboy Bebop at IMDb
  • Cowboy Bebop in The Encyclopedia of Science Fiction
  • Cowboy Bebop (anime) at Anime News Network'south encyclopedia

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