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dying-suffering-french-stalkers · 3 years

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Finally watching Goodbye Partner! I’m watching the dub, but I have the subs on so I can read the date/location popups and signs, so I’m getting a bit of dialogue comparison. I’ll probably go back and watch a few scenes with the original audio as well (Kiyoshi Kobayashi my beloved).

Here begins the liveblog, but all in one post and under a cut so it’s not as insufferable:

Starting strong with a heist escape sequence as per usual! As far as openings go, it’s hard to go wrong with that.

Oh, hello, literal actual Chopin courtesy of a timeskip/flashback.

What are these RWBY-ass CGI piano hands?? Y’all warned me and you were not kidding. Traditional rotoscoping would never hurt me in this way.

CUSTODY_OF_CHILD.JPG

Lupin playing in those see-through inflatable “hamster” balls skdfjskjdflsl

Intricate Rituals. Jiglup gunplay confirmed

Epcar’s delivery here was so much more aggressive than Kobayashi’s.

“Area 61, Colorado” just say Cheyenne Mountain

EDWARD ZNOWDEN

Fujiko really is terrible with kids

Listen, I love a good Dutch angle, but I’m starting to feel like I should set up a CinemaSins counter at this point. I’m glad to have some shot variety but there are other compositions, you know.

Motorcycle Jigen returns!!

Loving this little Morricone shoutout, which I unfortunately cannot seem to find on YouTube.

[strangled Goemon voice] “MISTAKE.”

God. GOD. Tony Oliver’s delivery in the betrayal scene is so good. Lupin is clearly not buying it at all and is quite willing to play along with whatever the hell this is - until Jigen shoots him right in the heart. That’s going to hurt a lot more than literally when he wakes up, though 1) given that the movie’s barely begun, I’m guessing he’s still not completely buying it (rightfully so) and is gonna look into this and 2) unfortunately this franchise isn’t known for actually digging into all the delicious angst and implications it likes to sling around. Cowards.

Also, I like that Lupin seems to be wearing a navy shirt and pink tie like he had in early Part 2 instead of the blue shirt/yellow tie he has in the other Red Jacket movies. Not sure why that’s what they went with but I’m down.

Okay, I went back and watched the betrayal scene in Japanese and OOF, it hits DIFFERENT to hear Kiyoshi Kobayashi deliver those lines. He’s so utterly casual about it and it’s all the more angsty since he’s, y’know, a million years old, so here his Jigen sounds much more tired/resigned compared to Epcar’s brasher gunman.

The way that the shots focus on not only Jigen, but also Fujiko when the boss asks about the betrayal...nice. Fujiko doesn’t know for sure if Jigen killed Lupin, but I imagine such a possibility would shake her at least a little - not just because she cares for that silly monkey man, but because that partnership has been a surprising constant in her life. If even that could finally crumble, her natural cynicism is about to get a whole lot deeper. Morbidly, she wants to know if Jigen had the balls to do it. It’d be a hell of a lot more kindred spirit between them than she ever expected if so. It’s a shame this plot wasn’t used in a Koike movie; it would’ve been great to see the deliberate parallel/foil from TWCFM continue.

“Why don’t we talk about your future?” the boss says as Jigen’s whole demeanor screams What future? Even though Lupin isn’t dead and Jigen has his reasons for why he did this, Jigen hardly expects forgiveness after all this. Lupin may be alive but Jigen has just killed the best thing he ever had and he can never get that back (except he can, because movie and long-running franchise, but y’know, Watsonian vs. Doylist).

The Dark Crystal (1982)

HATSUNE MIKU??? ACTUAL HATSUNE MIKU????? (just her voice but aksdjfkajsdkfjaklsjdfljasjdflajsdf)

Ohhhh, the Lupin & Clarisse / Jigen & the kid’s mom (still haven’t heard her name lmao) parallel was just uncalled for, my heart

Let Jigen wear burgundy more often

...Mr. Epcar, I love and respect you, but is it too much to ask that you vary your inflection a little more? Where’s the PATHOS?

Slightly cried instantly, “The Wendy lady lives.” Then Peter knelt beside her and found his button. You remember she had put it on a chain that she wore round her neck. “See,” he said, “the arrow struck against this. It is the kiss I gave her. It has saved her life.”

BLACK JACKET

Burgundy suit + round glasses Goemon!!!

There’s no way Pops is getting his job back after this one

Goemon: [turns his usual hot girl swordsmanship up to 11]

Lupin: Well mark me down as scared AND horny! dot jpeg

Again with the CGI hand crimes.

Wow he straight-up said Jigen was cheating on him

Ah, see, that “waste of oxygen”/“huge mistake” bit of dialogue is the kind of inflection I like to hear.

WarGames (1983)

It took me entirely too long to realize the president was supposed to look like H.illary.

Goemon: [slices open a door for Fujiko]

Fujiko: “Oh, you.” <3

This is all very action-heavy and surprisingly decent for a Lupin film so far, but uh. why is Jigen once again a side character in his own movie?

Ayyyy, nice reference to Zantetsuken’s composition from Part 1. Still insane that they melted down three awesome swords to make a different sword though.

Goemon snarks back to robots confirmed. Not that Lupin would ever be stupid enough to buy an Al3xa/etc. but can you IMAGINE

JAZZ PIANIST FUJIKO! Fujiko having actual interests and hobbies!!!

Comrade Emilka

TRIPLE PARALLEL WITH JIGEN & ALISA NOW

They just?? left Jigen in the middle of the desert after the absolute minimum discussion of All That???? That’s...on-brand actually but give me the angst this plot device deserved >:(

Michelle Ruff I would die for you

This variation on the main theme is my favorite. I’ve probably listened to it about a thousand times at this point but I finally got to hear it in context.

Welp, that was one of the better Lupin movies I’ve seen, but I do wish they’d done more with the whole Jigen betrayal thing that ended up being more of a subplot. Thank goodness for fics that do the work.

Edit: “There are about four different plots going on at once in this movie, and they forgot to focus on the one that’s in the actual title.” - @theimpossiblescheme

#lupin iii #goodbye partner #jigen #long post

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medea10 · 4 years

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My Review of Rinne

(a.k.a. Kyoukai no Rinne)

How did I get into this anime? Let’s just say the creator of this series, I’m a fan of. Rumiko Takahashi is the creator of this series as well as several other well-known anime series including Ranma ½, Urusei Yatsura, Maison Ikkoku, and my personal favorite InuYasha. That alone was reason for me to get heavily interested from the get-go. But because of the time it came out, I had too much on my plate to pick up one more anime, so I put it on the back-burner for a few years. And despite the mediocre score and listless hype over this, I’m still interested to see what Rin-ne is all about.

As a child, Mamiya Sakura has been different from other children. When she was a child, Sakura ended up in the afterworld and returned to the world of the living after a day of wandering around. After that incident, she gained the ability to see ghosts/spirits. Fast-forward to the present where she’s a high school student and meets a Shinigami named Rinne Rokudou. Rinne is a half-human (which is rare in the afterworld) and works as a Shinigami like his parents and grandmother before him. He can be seen by regular humans, but if he wears a special cloak, he becomes invisible to everyone. This makes it easy to put spirits to rest without being seen by humans!

Both Rinne and Sakura are able to see what others cannot and this often helps Rinne when he takes on a mission. Throughout the series, Rinne ends up taking on random spirits every episode with a cute mascot that often helps him (Rokumon), a love rival (Tsubasa Jumonji), a girl who likes him (Ageha), and several other colorful characters in the human and afterworld. Check out the afterlife. Just be sure to bring your checkbook, nothing’s for free!

BETWEEN THE SUB AND THE DUB: Sentai Filmworks is the licensor of this series and by the looks of it, this series has already been released in video formats and has no dub to speak of. So I’m going to assume there will be no dub to this in the future. This is kind of a blessing to me! Because if I’m watching a Rumiko Takahashi series, I would highly prefer hearing the voice actors of Vancouver! That’s right, if this series doesn’t contain Richard Ian Cox, Kelly Sheridan, Brad Swaile, or Brian Drummond, the dub will be scum.

Okay, I admit that’s mean. I grew accustomed to the other Takahashi classics that if this got a dub, I would have flipped if I saw the Texas voice actors on this.

As for the sub…where oh where could Kappei Yamaguchi be? Oh where, oh where could he be? One way or another, we are going to hear him. And we do! BUT, he’s not a main character this time. That honor goes to Kaito Ishikawa. Everything in the last three years has gone to this guy. And who am I to complain? I friggin’ love him in nearly everything he’s in. Yeah, this series does have a lot of familiar voices, including several that have been memorable characters in Takahashi’s other series. Kappei Yamaguchi (who is well known for InuYasha and Ranma) is featured as well as Satsuki Yukino (well known for Kagome on InuYasha) Here’s what you might recognize these folks from.

*Rinne is played by (known for Kiawe on Pokemon SM, Genos on One Punch Man, Mitsuo on Golden Time, Urie on Tokyo Ghoul :re, Sakakibara on Assassination Classroom, and Naofumi on Shield Hero)

*Sakura is played by Marina Inoue (known for Sonia on Pokemon Journeys, Armin on Attack on Titan, Yoko on Gurren Lagann, Jessica on Umineko, Kyouko on Skip Beat, Wataru on Hayate, and Rei on H.O.T.D.)

*Rokumon is played by Hitomi Nabatame (known for Serena’s Mother on Pokemon XY, Yukiji on Hayate, Margery Daw on Shakugan no Shana, Saori on Oreimo, Nanao on Bleach, and Raynare on High School DxD)

FAVORITE CHARACTER: I have a guilty pleasure for Kain’s cat, Suzu. She’s just so care-free that she fucks up at least 98% of the time she’s shown on this show. And I gotta admit that she makes me laugh whenever she’s on the screen.

DISLIKED CHARACTER: You would think I would pick that snot-nosed brat (Shouma) introduced in season two for this list. Or Kain for that matter! Both of these boys annoy the living fuck out of me whenever they’re in an episode. But then Rinne’s father peaks his douchey head in.

Oh wow, horrible parent alert! Sabato Rokudou is Rinne’s father and holy shit what a bloody scumbag. He’s on the same tier as the parents from Hayate the Combat Butler. Yeah, that bad! As we all know, the after-world is a capitalist society and everything has a price. This guy has been stealing his own son’s money since he was a little boy. Add to that, Sabato fills his son with false promises (including meeting his own mother). Even in his current age, Sabato finds ways to steal money from his son when he’s trying to earn means while living in the world of the living. Even putting him in a million yen in debt! And just causing life to be miserable for Rinne whenever he comes by! Tamako, how could you birth such an inconsiderate bastard into being?

Nice to see my prediction from when I wrote my Worst Father’s of Anime list over a year ago came true. Sabato remained a dick-head throughout all three seasons. Amazing! I guess the only nice thing about him is that he’s not going to be in a relationship with Ichigo while she’s still a child.

SHIPPING: So Kyokai no Rinne is following the same protocol as a lot of Rumiko Takahashi’s other animes. So we have the male and female main protagonist that’s going to be the main ship (even though it seems more friend-zoned most of the time). There will be a reoccurring girl character to cause friction between this main ship because she loves the male protagonist. And we have to add several boys after the main female’s heart too.

And just for good measure, let’s add a boy interested in the male lead and a couple of secondary ships that may or may not happen.

Hey, InuYasha and Ranma ½ had the same setup. Rinne is just following suit!

Rinne x Sakura has pretty much setting sail since the end of season two even without a full-on confession from either one of them. Rinne has had feelings for Sakura since season one. Sakura on the other hand, I can’t get a grip on what she wants in terms of a romantic partner. I want to say she’s oblivious to the advances of Jumonji or Ageha’s jealousy, but on the other hand, I feel like Sakura just doesn’t care what happens romantic wise. But the fact that she’s constantly helping Rinne might be a big, fat clue.

Rinne x Ageha is that one-sided ship that you know is never gonna happen (along with Sakura x Jumonji), but it doesn’t stop die-hard shippers from supporting it until their final breaths. I am actually impressed that Ageha doesn’t hold a grudge against Rinne because his father kinda brain-washed Ageha’s sister into giving Sabato money all the time. Several other characters hate Rinne for that alone, yet Ageha is still devoted to loving Rinne.

I do wonder that once Rinne x Sakura are a sure-thing if Jumonji and Ageha are going to hook up.

Rinne x Matsugo was one of the wildest ships I could have imagined. First of all, Matsugo’s debut episode came with a hint of love-hate. But by the end, Matsugo went from hating Rinne over a misunderstanding to going all “Bros before Hoes” on us! After that Matsugo stopped at nothing to get Rinne. Even blowing off the one girl that actually likes this obsessed freak!

Kain x Renge is actually the one ship that doesn’t revolve around Rinne because both Kain and Renge hate Rinne’s guts. Renge likes Kain, but also has to hide some pretty heinous things from him like working for Rinne’s father as a Damashi-shinigami. And as we all know, Kain has a vendetta against Sabato, his family, and anyone affiliated with Damashis due to his own family situation. Kain unfortunately sees Renge as an ally or a friend. He wants her to continue her studies since Kain can’t go to school. Dude ain’t got time for a side-chick! He’s gotta work for a living because his mother gives all their money away to Sabato.

That guy seriously grinds my gears.

RUMIC WORLD EASTER EGGS: Rumiko Takahashi has been around for quite some time and many of her creations have become quite well-known. That’s why when Rinne came in anime form, fans took to the forums to gab about how Ageha is the spitting image of a one-shot villain from InuYasha or that Sakura’s mother has a resemblance of Lum or that Jumonji looks like a modern-day Miroku (minus the perverted charm). Every now and then, we get a special little easter egg shown from Takahashi’s other works. Most notably, Lum shown on the currency and carnival prizes that have a lot of figures from Ranma ½!

My favorite easter egg was of course during a next episode preview where Sabato and Tamako (who are voiced by Kappei Yamaguchi and Satsuki Yukino) end up doing some dialogue that’s…

…You all know what this is…

END OF SEASON ONE: So the final episode, Sakura was able to have something she hasn’t been able to obtain in over 10 years. Three days of peace without having to be bugged by a spirit. As a reminder, Sakura as a child visited the other world and after that experience, she’s been able to see spirits. Tamao gave Sakura some candy to eat so that she would be like every other human around her and not see spirits every waking second.

This couldn’t have come at a worse time for Rinne as he had to take out over 5,000 spirits in the middle of an A-1 run. And because Sakura accidentally opened the barrier containing these spirits, they were trying to come after her. So Rinne had to get rid of all 5,000 (and lose money in the process with special tools). It took three days, but Rinne was able to do that. And because Rinne had his special coat on (where normal humans are unable to see him), Sakura wasn’t able to see him until the candy wore off. Even though Sakura got a whole bag of those candies, she hasn’t used them again.

At the end of the episode, Rinne and Sakura break the fourth wall by announcing that a second season was coming!

SEASON TWO: Oh thank you Jesus, the opening and ending themes aren’t bland bags of genericness like the previous season. Great improvement, especially when you get one of the best singers from Love Live to do the opening theme! Good on you!

Music ranting aside, this season we are introduced to a lot of new characters in the human and spirit world that are going to be seen more often than not. Starting things off, apparently Ageha has a cat employee (much like the relationship between Rinne and Rokumon). Except Ageha and Obero’s relationship is a lot more dysfunctional. Kain also has a cat employee named Suzu. She’s more spazzy compared to Kain’s serious demeanor. Actually, there are several cat characters introduced this series and even a few episodes dedicated to them later on.

One more thing I should mention about this particular season is that we got to see Sakura have a little more growth here. For a while I found her too plain for my taste, but this season we see her become a Shinigami (for a day) and we even get possible love interest with the finale. Now let’s head over to that part.

END OF SEASON TWO: The final two episodes consisted of Rinne being invited to a high school mixer in the Afterworld by a former friend, Matsugo. The thing is Matsugo used to hold a vendetta against Rinne due to a misunderstanding from their childhood. But unlike every other misunderstanding from this series, this one was resolved within an episode or two and Matsugo’s buddies with Rinne again. Actually, Matsugo’s feelings are teetering from childhood friend to full-blown bromance.

How do you get rid of a nuisance who can’t take a hint? Bring Sakura with you to the mixer and have her pretend to be your girlfriend! The big problem here is that Rinne is putting food and money over Sakura. And if you were in Rinne’s shoes, you can see that these two are more important than a girl. Rinne is poor as fuck! If he gets a chance at winning some money or food, absolutely fuck everything else! Unfortunately, Sakura caught wind of all of these ulterior motives and started to question her own relationship with Rinne. And I gotta hand it to Sakura, because if this were an old-school Rumiko Takahashi female protagonist like Akane or Kagome, Rinne would have been destroyed in a matter of seconds. Sakura doesn’t cuss him out or show a resting bitch-face. Actually, she never does! But by the end of this two-parter, Rinne realized that Sakura is pretty important to her, maybe even more than other things.

At the end of the episode, Rinne and Sakura break the fourth wall again by announcing that a third season was coming!

SEASON THREE: Much like the previous season, we’re continuously introduced to new characters that serve some sort of purpose, a new love triangle involving the main or supporting cast, and 2-3 filler stories an episode. However, in the mid-point, we get introduced to 2 new characters that answer some questions that have plagued many of us since the beginning.

You know how nearly every male protagonist of Rumiko Takahashi has a missing mother? Whether it be due to premature demise or she’s a crazy-bitch like in Ranma ½, the mother figure is usually M.I.A. Otome was Rinne’s mother, but she disappeared when he was a baby. Only now, her scythe returns suddenly. Add to that, a mysterious little girl named Ichigo moves into the area (and just like Sakura, she can see spirits).

Long story short, Ichigo is the reincarnation of Otome (Rinne’s mother). I can get over this whole Kikyo/Kagome crap because this is a Rumiko classic. But I just feel ewwie whenever I see Ichigo and Sabato. Thankfully Sabato has no intention of doing anything creepy to Ichigo. He has some standards, so he gets a point with me there. The reason why Otome disappeared was because she wanted to hide her old yearbooks from Sabato, which lead to her being caught up in a stampede of wild animals that lead her to the wheel of reincarnation. And the reason why she was trying to hide these old yearbooks was because she didn’t want Sabato to know the ugly truth.

That she is really two years younger…than her mother-in-law.

Dude…I know Tamako looks extremely young to even be a grandmother…but damn, Otome goes to these lengths to lie about her age.

ENDING: We don’t really get any kind of monumental moment or climax until the very final episode since all of the episodes between Ichigo’s reveal and the finale were mostly just side-stories involving spirits/demons of the day. The final episode had Rinne, Sakura, Renge, and Jumonji taking part of a school festival at Matsugo’s school. But it mostly takes place in a test of courage cave. Apparently this feature is notorious for causing many couples to break up and people can’t turn around otherwise they’re disqualified. But if you make it all the way through, free food! And you know Rinne is not going to turn down a chance to get free food.

But we get another moment much like the end of season two where Rinne has to choose between food and/or money or Sakura. Actually, Rinne ended up choosing Sakura. And unlike a bunch of other pissed off couples, Rinne and Sakura’s relationship (or lack there of) is doing pretty well.

So we end with no love confessions on any front, no happy ending for Rinne in hitting a Shinigami lottery or some crap like that, and no hope in a fourth season.

*sighs*

This was…just an okay anime. I can see why people just think this is okay or mediocre. With me, there were several things that bugged. First of all, I found several things in the anime that felt very inconsistent. Especially when it came to the spirits plaguing the human world! There are some scenes where something out of the ordinary happens and it plays out like you would expect like people freaking out. But then you get these moments where, okay, why are regular humans seeing this? The annoying narrator likes to point out the obvious in literally every episode. Why, didn’t we establish the obvious earlier?

Speaking of the narrator, could you be any more annoying?! How many times are you going to remind us of things in the series? I know there are useful moments with the narrator like when he’s describing all the different items Rinne and other Shinigami use to put a soul to rest. But then there’s this repetitive nature to the narrator where he constantly reminds you of shit you’ve known since episode 1. It’s useful when you want to remind the audience at the beginning of each season, but not every couple of episodes. WE ALL KNOW RINNE CAN’T BE SEEN BY HUMANS IF HE’S WEARING HIS CLOAK! SHUT UP ALREADY!

I’m not sure if the anime covered everything in the manga as I have not picked up the books…yet. I’m sure the manga has gotten a little further with many of these potential ships like Rinne x Sakura to hope that maybe one day we’ll get something from them. I’ve spent a good year and a half trying to grasp at what I really think of Sakura Mamiya. First of all, she’s a huge improvement in the main female role. When you compare her to the other girls from Takahashi’s works like Kagome or Akane (who eat Carnation Instant Bitch every morning), Sakura is quite pleasant.

But then you see Sakura showing no other emotion besides satisfied, meh, and let me put on my surprise face. She hardly ever gets mad. I’m not saying go on a rampage like Kagome when she yells at InuYasha, but for fuck’s sake, tell Rinne off every now and then. Christ-balls, he’s put food and money over you so many times you’ve earned a few yells. And he constantly borrows money from you and you know he’ll never pay you back!

The story is mostly the spirit of the day trope. In later seasons however, we get two or three mini stories an episode dealing with some sort of spirit with no personal growth involving any of the main characters. Rinne gets ahead during the episode, but gets smacked back to where he began and we repeat the same thing in the next episode. So yeah, it got boring when we’re stuck in a slump like that. I even had high hopes in season two when we got that one episode where Sakura was a Shinigami for the day. I thought Sakura was going to evolve a little bit after that, but alas that was not the case. We go right back to the spirit(s) of the day trope!

But I always felt drawn back with several of the colorful characters. I always enjoy Rinne’s grandmother, Tamako. Kain’s cat, Suzu is the silliest thing ever and I love her dearly. Masato will always suck and it’s a joy to watch him fail at everything. And call me a sucker for boys fighting over the girl, but whenever I see Rinne and Jumonji get jealous at each other, I enjoy it. Not on levels like Inuyasha and Koga, but good enough here.

So, I would give it a couple of episodes to make your own decision if you want to drop it or continue watching Rinne.

In the meantime, I’m gonna wait patiently for that InuYasha sequel that’s coming out in October. Thank Arceus Rumiko Takahashi gave us something in 2020.

If you want to check out Rin-ne, all three seasons are available on Crunchyro…

Uh-oh! As of this date and time, Rin-ne is removed (along with 76 other titles) from Crunchyroll’s site. Glad I finished before they got rid of it! Just watch it on HI-DIVE.

Now then! That took a good 18 months to get through. Hopefully the next anime is a lot shorter than that one. What’s next on my Sentai block?

Suffering!

Huh? Does that mean Re:Zero? Or Akame ga Kill?

Nope.

Oh, Made in Abyss! But this looks cute and innocent, how could this possibly be…?! Almost had you all fooled! Looks can be deceiving. Yeah, this anime is gonna hurt.

#Kyoukai no Rinne #rinne #sabato rokudou #sakura mamiya #ageha #kain #renge #rinne rokudou #jumonji tsubasa #anime review #obero #suzu #rokumon

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smashpanda · 3 years

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Ani-Me #13: Groovin’ To That COWBOY BEBOP (Ep. 1-13)

Welcome to Ani-Me! The Series Where You Make Me Watch Anime! To be clear, you aren’t making me do anything because I have enjoyed every bit of this so far.

And surprise, nerds! Look what I’m doing! Haha, I actually had this whole fun plan to do the anime poll and then Ozymandias-style be like “I already WATCHED THE WHOLE SHOW!!!” But it would take too long to finish watching all of it (it’s been a busy as hell month). Besides, I got half way through the show and decided that was definitely enough space to really dig into how I was feeling about the start. So without further ado, it’s time for…

Today’s Entry: COWBOY BEBOP (1998-1999)

So, I’m doing this because I felt like I needed to have reckoning with this show.

That’s because I actually tried watching it once before. This was about 10 years ago. An old friend thought it was positively insane that I had never seen it before. He wasn’t the first to sing its praises either. Even at the time I was open to the idea and gave it the old college try for a bunch of episodes, but… it didn’t take. I think I was mostly crashing up against the proverbial rocks of all those tangible details I was not prepared for. Which were really just the kinds of things that had kept me out of anime for so long. Like the facial contortions being so different from western animation. Or the way this particular story seemed to fixate on cool posturing in a way that likely would have more appealed to me during my teenage years. Heck, I was even wondering why there was a romantic, emotional pop song at the end (again, I had REALLY not seen a lot of anime). Then there was that very complicated issue of “fan service,” because I was watching with someone who was like WHY ARE HER BOOBS ALL OVER THE FUCKING PLACE!?!?! Simply put: they were really not having it. Plus the fact that we were watching the dubbed version, which felt like it played into a number of sexist tropes. So much of this was the problem with my initial experience.

But I imagine anime fans are so fucking tired of these kinds of complaints from outsiders, no? Hell, even just a year into this column series, I’m tired of them, too. But here’s the thing: these complaints are the common obstacles for outsiders and some are not without merit. And as much the casual dismissal from outsiders about anime can rankle, it’s also important to remember how it is for the outsiders - to realize how much of that anime-fan tiredness manifests online in the forms of equally-casual dismissals (mostly from toxic white dudes) for “not getting fan service,” etc. Point is, misunderstanding and excuse-making can go in a lot of directions. And honestly it was all part of the system of why I think I stayed away from anime for so long?

Thankfully, everything’s about timing.

So much of this column series has been about throwing myself in the deep end, getting used to the cinematic language, knowing the filmmakers, and growing comfortable with the cadence of a particular form. But honestly, I think so much of it has to do with just being much older, too. Basically, I calmed the fuck down. The previous things that bothered me are still there, but it just feels like so much less of a big deal. Even “the rules” of what I tend to believe about storytelling are so much more expansive. As they say, finally “I’m not young enough to think I know everything.” Along with that, there’s the popular online joke that something “hits different,” but coming back to Cowboy Bebop after a decade… it hits different. Like I said, timing is everything. Which brings us to another reason I really wanted to do this now…

So John Cho goes to my grocery store a lot.

A little while ago I saw him in full Spike hair and it was rad as hell.

So I’ve also been thinking a lot (read: too much) about how to cover Anime TV. Ideally, I like the idea of doing one giant essay about a series, but sometimes 1) overall thoughts don’t take on essay-like form the way they did with, say, Evangelion. And 2) that sometimes takes out the fun of talking about little things in each episode. But at the same time, I don’t want to feel the need to do the FULL RECAP thing with every episode, which sometimes bogs down the more important thoughts / gets repetitive (I felt like I ended up doing that with a lot of Korra recaps). So really, it’s going to be a case by case basis. And for Cowboy Bebop, I decided on a sort of “fly casual” approach with no plot recapping - just the evolution of my thoughts along with some other random passing ones. And it will all likely crest into big overall thoughts that will come with the end of the series.

Cool? Cool.

1. ASTEROID BLUES

“Oh, this is good, isn’t it?”

I said this to myself while watching and I simply cannot explain the difference the subs make for me personally when it comes to this show. Like I know the dub has a lot of fans and history, but everything about hearing the show in Japanese just plays stronger to me. The rhythm, the cadence, and most of all the timing of jokes. There’s just this way each of their voices better line up with the droll affectation of the show. Combine that with me finally being used to a lot of anime’s particularly cinematic language? The show just plays so FUNNY now. Like I’m laughing out loud four times an episode. But that’s not the only thing that’s changed.

When I tried watching a decade ago, there was also this funny thing where I was having a very different relationship to the cinematic affectations of the late 90’s. Like how much of this episode reflects the El Mariachi / Desperado machismo that defined a certain kind of posturing coolness. Back then I worried a lot about that specific brand of indulgence. But now it all feels so silly and playful (as if, at the time, I wasn’t so much reacting to the worry of that coolness as how much the me of TWO decades would have eaten it up). Like I was the perfect age when this show came out the first time.

But I think that’s the real thing that hits me now with the episode: how playful it all feels. Like the absurd shot of the woman leaning on the counter to drink beer, the cat drinking all the crap on the ground, the sole motive of wanting beef, and Spike fitting a whole sandwich in his mouth. It takes none of these things seriously - except when it takes them seriously, of course. The episode’s structure is really built around the two bait and switches. The first is the fun fake pregnancy where it turns out that’s where she keeps the vials. And the second - tragic, with her death. Fast. Brutal. Forlorn. From minute one it’s sort of spelling out the tonal nature of this show: the fast loose hijinks > serious comeuppance > the Sisyphean process of bounty hunting without success… But hey, at least they got that beef.

It’s an apt metaphor.

2. STRAY DOG STRUT

In my original go round, I remember this being the episode liking this enough to stick with it longer. But now it plays even better. It’s kind of a classic fun and games episode, with the great set-up for the dog reveal - and the classic “lose but kinda win” ending a la Santa’s Little Helper (along with the dramatic irony that the dog is worth millions). I think I actually referenced this two columns ago, but there’s this kind of “kafka-esque’’ funny edge to the show. That “there is hope, but not for us” sentiment that populates a show of lovable losers trying and failing to navigate life’s absurdity.

But what I also like is that it’s not from a complete lack of competence. The gag where they both look up from the aquarium and Spike’s already got the gun drawn? That’s perfect stuff. Same goes with Spike absent-mindedly missing Abdul because he has shit on his foot. Both help establish this incredibly enduring character that thrives on both confidence and a genuine lack of awareness (which is often how he is able to pull a fast one on the audience, too).

The episode also helps clarify the show’s setting of an American Cultural Diaspora, filtered through the lens of Japanese culture. Could the Abdul stuff read as problematic? Oh absolutely, but the Game of Death / Way of the Dragon reference is also so singular to Kareem Abdul Jabbar’s influence that I’m not sure how much intention exists from the creators outside of it. And for an episode that delivers hijinks like Spike stealing the “just married” car and the incredible sound cue / animation of the corgi slapping onto the hood of his ship… I can’t help but smile.

3. HONKY TONK WOMAN

Ahhhhhh Faye Valentine. It’s funny, I wont say that I’m “used” to fan service at this point, nor really have any interest in excusing its extreme nature… I’m just sort of not letting it stop me from engaging everything around it? Does that make sense? But once again, I can’t explain just how much original language helps her character specifically. Megumi Hayashibara has this kind of wonderfully bored, disinterested tone that fits the characterization better.

The other thing that really hit with this episode was the James Bond-ness of the series (I mean in this gambling-centric episode drrr). But it’s the riff on the silhouettes in the opening titles, the pastiche of cool, and again, I keep coming back to that late 90’s disaffection that falls in line with Bond’s unruffled ethos. To wit, there’s a reason young men like disaffected characters, of course. In that it’s just as much of a power fantasy as so many other things are. They have all these budding, confused emotions and life feels so uncontrollable, so it becomes easy to grasp onto characters who play it cool, who show suaveness and are unbothered by the ups and downs going around them. Of course they want to be like that.

Which would normally be a possible “indulgence problem” if this show wasn’t also so keen on taking the piss out of Spike and company. That’s the thing: it’s just so damn playful at the same time. Unlike something Bond-esque, it’s always looking to make Spike the punchline. And the twisty, confusion-laden plots of chip-swapping and rubes and one one-ups-man-ship? I cackled constantly. And I have to say the fight in this one is so, so good. And the last line?

“Bye” … chef’s kiss… is… is that thing the kids still say?

insert grandpa face

4. GATEWAY SHUFFLE

It’s probably weird that THIS is the thing that most stands out to me, but it’s weird how much Twinkle reminds me of “Mom” from Futurama, right down to her large adult sons. I also like how much the episode plays with the dramatic irony of Spike and company being totally oblivious idiots (which will be a running gag), especially them on the verge of killing themselves with the virus. Also also, it establishes the sheer volume of problems that Spike fixes with sleight of hand. Also also also, there’s the fact that this episode is where Faye joins the team for good, thus setting up the fun larger team dynamics.

Is it weird that I don’t have much more to say about this one? It sort of reflects the way some Bebop episodes just feel slight in a way, which isn’t to say they aren’t fun or don’t have good gags. It’s just sort of the nature of this show, sometimes. Cause you’ll get an episode like this and then the next time you’ll get… Well, you’ll get an episode like…

5. BALLAD OF FALLEN ANGELS

“Who is this Sephriroth mother fucker?!?!?”

Such is the way I noted the entrance of Vicious. Given the overlapping timeline, I’m guessing there was something about long gray haired evil dudes with big swords in the water? Either way, the far more obvious influence on this one is John Woo. There’s the gunplay. The cathedral. The operatic posturing. It all brings me back to a place and time so vividly. That place and time being a teenager in the 90’s with a camcorder, boy, I can’t tell you how often we ran around with toy pistols diving off to the side and putting it in slow motion (we could never seem to find doves, but were always on the hunt for a group of pigeons to run through). This instinct also highlights the potential problems with these tropes. It would be SO easy for this to be nothing more than juvenile posturing / copying an en vogue aesthetic, but - as I’m learning is common for this show - Cowboy Bebop kind of hits this different note entirely…

Mostly thanks to the score. Because it all comes back to that ending with the haunting chorus of Green Bird, which gives me an array of complex feelings (along with it being a song I’ve had in my head for weeks now). On a pure aesthetic level, the scene is perfect. The pure combination of image, sound, and symbolism to hit an emotional response so squarely. A decade ago I felt this moment was more about hiding the story in a way - as if teasing backstory instead of even showing it - which isn’t entirely wrong, but now it feels more economical than anything, merely touching a lot I can have patience that will be dealt with . And more important than the specifics is understanding what it means to Spike emotionally - how much Vicious is part of his life and lost love and injury and pain, the cycles of opera and birth death rebirth death that all fit the same lyrics to the song…

“Spring has come

Worms are showing their faces

Little birds are eating them

Spring has come

Children are going to school

Farm dogs are giving birth to puppies

Spring has come

Women are looking in mirrors

Egg pies are baking”

In short, I understand why it’s a classic.

6. SYMPATHY FOR THE DEVIL

It’s here I realize that writing about Cowboy Bebop is a bit counter to my general instincts. For I’m someone who likes digging into problems because it helps me understand things. With Korra or Falcon and The Winter Solider or something, I can stop, dig into the structural problems of a given episode, talk about approach, and feel like everyone was coming out the other side with a bigger understanding. I get that sense of purpose. But what’s odd about this show is everything is incredibly sound on the writing front. Every weekly “session” gives us a contained, thoughtful, playful little story with little differing nuances (it actually reminds me a lot of the Lone Wolf and Cub story structure, which yes, I’ve read all of by the way). And it’s no different with this episode (which also reminded me a bit of the ventriloquist dummy episode of Buffy?). There’s even so many really great things that stand out. Like this is the first episode where Faye really clicked for me (the gag where she casually eats the dog food is an all-timer). I also loved the kid getting Last Crusade-ed at the end.

But the “what makes us care” is a whole other ball of wax. Because this was the last episode I watched in my initial trial a decade ago. There wasn’t any big reason I stopped, just that simple lack of interest. And I think it speaks to the trouble of telling stories about disaffected characters. The whole idea is that they’re often hiding pain or interest or backstory or whatever else. Then the idea is you’re slowly supposed to peer in (and I’m far enough into the show to know how they do that). But if you’re not really all in on a character’s emotional journey from those critical starts? Sometimes it’s hard to work up that investment. If I was watching this as a teenager in the 90’s? I would likely have a whole different feeling because I’m watching in more of an aspirational sense. But watching an episode like this, from where I am now? I understand why it’s easy to feel a lack of connection, even when the boy is giving all the tears about the release of death… It feels like an emotion on display, a thing I’m looking at, but kept a distance from - and thus a harder thing to certainly feel.

7. HEAVY METAL QUEEN

For shits and giggles I watched this one with dub. It’s interesting because it instantly reminded me that part of the reason I like subs so much is it needs your undivided attention. With the dub? Suddenly my eyes could wander, sometimes to twitter sometimes and then I’d realize I missed something and rewind a second. In that capacity the subs are actually allowing for more distraction? Which is why 1) I worry that most shows seem designed to be watched with someone half paying attention and 2) I tend to watch things sans phone as much as possible. Look, it’s not that this multitasking activity is “bad” inherently. I love listening to podcasts as I cook or clean. It’s just with cinema it’s so easy to do and miss out on what I really want to be doing. Which is being enveloped in a story.

Anyway, I’m more or less good with this episode. I wish I had more to say than that. But once again I feel like I’m coming out of an episode with an “okay, that was solid” feeling. Perhaps because also plays into 90’s dated-ness in a way where all the things that should feel modern feel just so… heteronormative? I dunno. It’s like VT feels like a character I should be adoring, but with 20 years she feels like a half-measure. And even at the time, it’s really hard to get past the dude in the sombrero ogling the waitress who looks like lady liberty. Like, the gross metaphor is utterly clear, and not in a way where it’s countering it on any level. But there’s always those moments of elation, like Spike firing his space gun to better direct himself back - that make the show still feel special.

8. WALTZ FOR VENUS

So this is the first episode I unequivocally loved.

Perhaps it’s just because it does some of my absolute favorite writing things. Like, hurray! They finally got paid! But true to understanding their ethos, it happens almost immediately in the opening, thus setting up proper expectations for what is to follow. And then it does my absolutely favorite thing, which is make you absolutely care for a character you hate without realizing that’s what it’s doing. Roco at first comes off as annoying, jealous, brash, etc. But with time and perspective, the eagerness ends up being motivated. And the way it all crests into him using the “like water” teachings of Spike’s supernatural reflexes? Perfect moment!

And then he gets fucking shot.

I literally screamed NO in my living room. But that’s what good writing does, it takes you through journeys subtlety then knocks you on your ass with whiplashing emotion (I also realized this entire beat, right down to the thumbs up in the middle, happens in Mad Max: Fury Road). And what’s more is that even on death’s door stop, all his eagerness and wonder could be summed up in that youthful question: “Hey, if I knew you earlier, would we have been friends?” Gah, it’s just gutting. And so absolutely perfect in its dramatic articulation.

With this kind of competent writing on the “fun / plot” level, it’s also funny how much I remember the little details that the show is so good at. Like the use of the Hagia Sophia on Venus. Or the way the rich guy shouts to save himself and then gets his toupee knocked off.

… And then there’s those super gay panic 90’s details like shoving the gun in gay man’s throat that make my skin fucking crawl. As good as things can be, those ugly shadows loom large.

9. JAMMING WITH EDWARD

I love that they finally get around to explaining why earth sucks and everyone is in space in episode 9! This is also one of those episodes where the cyberpunky-ness of a rogue A.I. would play more fresh back in the late 90’s? By now it’s just hard to grab onto, given how many times we’ve seen this plot done again and again. But thankfully, the show has the complete dignity to continue its tradition of being playful instead of serious, in that MPU is a little freaking weirdo whom I am glad escapes.

I sort of don’t know what to make of Ed yet? I like certain affectations and weirdness, but I’m hoping it crests into something interesting. Otherwise, most of my notes cater around very specific reactions to moments. Like how Nazca lines were just in my trivia league! Or how the episode had huge Android: Netrunner vibes! Also a Summer Wars-like internet world! And great quotes like “there’s nothing made on earth that’s good” and paying it off with the cheap missile firing a dud.

But I also just want to mention lines like, “I hear that that hacker is gay hahaha” which I want to come back to because I don’t think is just a “Japanese culture” thing. That’s a “90’s gay panic” thing. And what’s important to talk about with these moments is that I don’t handwave them now as being dated and in the past. Because they weren’t “the past” for me. They were what I lived in. And revisiting it all from where I am now makes me FURIOUS. That’s because they were all part of a gay panic culture of the 90’s than gave me so many internal complexes and fears about being bisexual (I didn’t understand that’s what I was, really, I was mostly terrified I was gay and thought it would literally get me killed) and bunch of other stuff. It was just brutal. And I spent that entire decade around all this kind of media being like “hahahhahaha no big deal, right guys?” and I didn’t realize inside it was just tearing me apart - in the worst sense of making me deeply afraid in myself. It wasn’t the past, it was hell.

Anyway!

10. GANYMEDE ELEGY

I was wondering when we’d get to a Jet episode. So far he’s been the kind of character I don’t know much to make of. He mostly exists to be a no-nonsense foil to Spike’s irreverence. But even in this episode, a lot of his gruffness comes off as harmless, but then there’s the “be strong for her” ggRrrRRrrr pRoTeCt wOmAn philosophy just rubs me the wrong way. Though I think there’s a lot of valid reasons people gravitate toward characters like Jet? Even if I hesitate to get all pop-psych with it, I think characters like this remind a lot of people of their dads? I dunno, more curious what others think.

But Jet’s backstory completely fits it with what I’m now calling the C.B.M.O. (Cowboy Bebop Modus Operandi) in that it presents a forlorn, almost classical noir backstory - doesn’t go too deep with it, leans heavy on the pastiche, but at least has the dignity to be fun in the process. And by the time we get to the ending, the final confrontation with Alisa and Rhint still plays emotionally valid, which I think is all you need in this show (including strong thematic gestures of literally throwing the watch AKA your past into the ocean).

But also once again, what’s more burned into my mind is little moments and decisions. It’s trying to light the lighter with the bad memory cooked up in your head. It’s underlining the dramatic irony of tragedy with cutting lines like “this must be because i have good karma.” Also that end song totally sounded a lot like Seal’s “Kiss From A Rose.” Also we got gem lines like…

“I live and wander with a group of weirdos now”

I do, too… I do, too.

11. TOYS IN THE ATTIC

Let’s get right to the plum gag: bahahahahahhahahah the alien being an advanced form of leaving lobster in the fridge is just SO AMAZING. I was cackling like mad.

And honestly, I think the lead up with the entire episode was pretty damn great. It just has a completely different energy, not just in regards to playing with the sci-fi / horror tropes (which it’s not laying it on thick or anything), it’s just this fun verve. You feel it in the energy of how everyone hangs out. Like Faye completely taking Jet for all he’s worth in the strip poker game and his “honorable” reaction (this side of Jet’s gruffness I like a lot more). Which all just serves as the perfect dramatic irony of the encroaching, otherworldly horror. It also sideswipes these great little lines about how humans “quickly forgot the lessons they just learned.” And once again we get an episode where all the highs are in the little details, like the little beat where the alien good wiggles again before it’s fully melted. Even the episode’s overlaid vignette structure about lessons (which could be trite when applied in gauche fashion) instead only exists as a distracting bit of artifice that is only really leading to a sublime gag: “You shouldn’t leave things in the fridge… that is the lesson.”

Five stars. Would rent again.

12.-13. JUPITER JAZZ - PART 1 AND PART 2

I feel like it makes sense to write about these two episodes as a single entity.

First off, I have to say how much I like the pacing of them. Most of the sessions of Cowboy Bebop are lean, mean, and economical, which is all part of the fun. But even though the show has its moments of rest / down time,” it’s often rushing through conflict and rarely milking the drama in a way that lets you sit with the tension. Which just means I rarely feel like we ever have a real chance to just dig into a longer story pace. Which is of course what we finally get in this mid-point two part epic that brings us back to Vicious. Which, of course, we all suspected would happen (I say this like we’re all watching the show live for the first time, haha). But now that we’re finally getting into the story itself…

I’m not sure how crazy I am about it? Like, it’s all coming back to that problem of “how much do I really care about all these characters?” I like them and stuff. Really, I do. And it’s really nice to get moments of genuine emotion, like when Spike gets legitimately angry at being called Vicious. But there’s just this thing where I can’t get the emotional investment in the show to really drive that constant want of engagement. There’s fallibility, but so little genuine vulnerability. So it’s not really the kind of show you “lean into.” Which is all part of the ongoing cool disaffection. But hey, isn’t that just how noir operates?

The thing most people don’t understand about noir is that all that disaffection and hidden emotion always bubbles up by the story’s end, often in the spectacular ways of coming undone. Like, the vulnerability explodes by the end. But with a TV show slowly dolling that out like four times across 26 hours? Yeah, that’s not what the noir structure was built for so it just makes it harder to engage. Particularly when characters like Vicious still feel like cyphers in a way. Same goes for the way Julia feels like that haunting ghost. Like we learned “more” about them, but I don’t feel “closer” if that makes sense.

And it also doesn’t help matters that these episodes do some of my least favorite story tropes. Like when a female character is like, “I’m a girl who can take care of myself!” which seems to position them as not being the damsel, but then the male character saves them anyway, which just makes them EXTRA good at rescuing the kind of super-capable women who think they’re above damsel-ing! The fact it does so on the sly that feels even ickier than that. Same goes for yet more homophobia in the episode. And speaking of LGBT+ treatment…

I have NO idea what the heck to think of Gren? Like did they really say that Gren just got a hormonal imbalance from insomnia from going to prison??? Wut??? I don’t want to google things until I’m done with the show but needless to say I’ll be reading from trans / non-binary writers on the subject because I’m having huge flashbacks to The Crying Game discourse that so radically shaped more 90’s-ness when it comes to this stuff. Speaking of which, of course the character dies. And it’s amazing how many people don’t even recognize the problems of this trope, or even that it IS a trope. The reason the “kill your gays” trope exists is because it’s always written by straight people trying to grab other straight people’s sympathy (look, see now you care about this character because they died and that’s sad!) Meanwhile it only teaches LBGT+ people that they are doomed and should be afraid and that their “sacrifice” only exists to teach the straights lessons or whatever. Again, we’re just back in 90’s tropes that I internalized and have come to resent in much more meaningful fashion.

And yet, despite all the things that stick in my craw, this show always has these little things that seep right into my brain and stay there. Like that moment where Lin dies and Vicious clarifies, “he protected the rules,” which is just a forehead-slapper of a perfect line. And then the last little variation on the end title that really hits you: “Do you have a comrade?” Oof. These little things are what makes me ultimately care about the show. It’s not the drama. It’s the little ingenious moments that stick in there and keep rattling around in my brain.

Speaking of brain rattles, this also finally brings us to why I also felt comfortable stopping halfway through the show to write all this down… The other night I felt inclined to start listening to the soundtrack and it was all just there in my brain already, set in stone.

Point being, I’m in.

<3HULK

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