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With all of that said, the adaptation does have some wins. The story surrounding the elders is rather half-baked. Their influence seems watered down, as they specialize in assassinations and tracking narcotics with the ability to take down members that fail them. The Red Dragon Crime Syndicate also once seemed ominous and powerful, but now, they seem like they’re used to fill space for the newly revamped plot. If the major villain is boring, there’s a problem. He’s no longer a formidable antagonist but more of a child with unresolved issues who happens to have a lot of henchmen. Additionally, with over-the-top angry faces, Vicious is more comical than menacing. Spiegel and Black are wonderfully cast while Pineda’s Valentine is missing the sultry style and badassery of her predecessor.
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Some of their performances hit the ball out of the park, but others feel like failed DIYs. Perhaps because new and old storylines are unintentionally competing with each other, it doesn’t mesh. When it all comes together, it’s kind of weird.
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Maybe those who never watched the anime will find a more significant plot buildup, but seasoned fans will spot how the adaptation both closely follows the original in some places but decides to do its own thing in others. Yet the live-action seems to quickly serve all the details up on a silver platter, and it’s only sort of interesting. Additionally, audiences were interested in Valentine and Black’s pasts. Unraveling Spiegel’s past is a major hook in the original anime, and there is an immense sadness at its core. Spiegel is still a former member of the syndicate, Black is still an ex-cop, Valentine’s foggy past still reigns true, and Vicious is still vicious, but what once felt like a deeply intriguing puzzle to solve is kind of obvious and comical. The backstories of the main characters are fleshed out more in the live-action, which in theory seems like a smart move yet feels less immersive. However, the differences are immediately apparent. Refugees living on other planets experience a great divide between the haves and the have-nots, as class, race, and corruption impact their place in society.
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It brings viewers to the familiar yet different post-apocalyptic universe filled with dirty bars and scandalous casinos, where a combination of cultures and skin colors are represented.įollowing in the original anime’s footsteps, this version also introduces an Earth in the year 2071 that has gone to ruin. The new Cowboy Bebop takes aim at the pedestal that the original sits on. The upcoming Netflix show is led by showrunner André Nemec, written by Christopher Yost, and stars John Cho (Spike Spiegel), Mustafa Shakir (Jet Black), Daniella Pineda (Faye Valentine), Elena Satine (Julia), Alex Hassell (Vicious), along with beloved corgi, Ein. With a lot of poorly made, white-washed, and visually dull live-actions, their hesitancy isn’t without good reason. However, when it comes to live-action anime adaptations, many fans of the cult classic aren’t as enthusiastic. Cowboy Bebop reached American audiences in 2001 when Cartoon Network added it to the Adult Swim lineup.Īfter 26 episodes and the film, Cowboy Bebop: Knockin’ on Heaven’s Door, the franchise would garner a following just as fierce as their favorite space cowboys Spike Spiegel, Jet Black, and Fay Valentine. From staples like Samurai Champloo and Kids on the Slope, Yatate has a unique combination of jazz, diversity, and overall swagger.Īnimated by Sunrise, the original 1998 Cowboy Bebop anime was born through the combined labor of screenwriter Keiko Nobumoto, composer Yoko Kanno, and more. Without a doubt, Hajime Yatate is known for paying homage to Black culture in his anime series.