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crimson-amarone · 2 months

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Fancasting for a Trigun live-action tv series/movie!! I know we got just Trigun Stampede, but we can’t let Cowboy Bebop get a live action and not Trigun right??

For all my selections I would say about 75-80% are actors I have seen in one or more of their most well known roles. For anyone else I narrowed down to 2-4 options and I did extra research into their filmography, interviews to hear their voices and general vibe, etc. And I also looked at what kind of roles they trended towards—sci-fi/fantasy and superhero media giving them bonus points.

See below for info about the actors and my runner up choices for each character. I included tidbits like their age, height, and notable roles.

For Vash and Knives I wanted to first look for real life identical twins. After some research, I believe I found a fitting pair. Cole and Dylan Sprouse, best know for their childhood roles in the Suite Life of Zack and Cody. Although I don’t think I knew their adult roles as well as their Zack and Cody days, that real twin dynamic just adds that extra layer.

Of the two, I found Cole having a softer look, and lately it appears he’s been going with black hair which seemed fitting if we think about black-haired Vash at the end of TriMax. Dylan’s look has just that different sharpness and edginess that I slotted him to Knives.

Ruby Cruz (Kit Tanthalos, Disney+’s Willow) is a very talented young woman and recently made a feature length movie debut as Hazel Callahan in Bottoms (2023) and will be starring in an upcoming rom-com The Threesome. (See notes about edit below.)

Milly was a tricky one for me. I have a couple of runners up below. My current pick is Mina Sundwall, especially for her role as Penny Robinson in Netflix’s space family drama Lost in Space.

Although I’m on board with the HC that Wolfwood is Latinx, I had to go with famous werewolf Jacob Black from Twilight, Taylor Lautner. I got a couple other choices below too.

Liam Hemsworth (or Chris idkkkk). Nuff said?

Rem was a bit hard to choose. I had to go with Candice Patton as a personal big fan of her role as Iris West in The Flash as a DC fan. She has just the right oh-crap-I-have-kids-I-am-not-prepared-at-all motherly acting vibe down pat that is essential for Rem.

Despite the fact that Christopher Daniel Barnes is always smiling in photos, his breath of filmography makes him such a good fit for wise Drunkle Roberto.

Being so effing hyped about Nicholas playing Lex Luthor in Superman Legacies (2025) he has the perfect mix of heroic and villain roles for Legato’s psychotic righteousness. And he’s already had blue hair (and fur all over his whole body) as Hank “Beast” McCoy, c’mon too easy.

Zazie Beetz… that couldn’t have been a coincidence? Like Studio Orange must have know about this actress when they worked on the Beast’s revamped design. For a second option I’d probably pick a child/adolescent actor but Zazie can pretty much take whatever form they want, so why not both? Edit: I’m going with Scarlett (Trixie from Lucifer). Very very talent young woman. She’s funny, smart, sassy.

Role: Vash the Stampede

Actor: Cole Sprouse

Age: 31

Height: 6’0”

Best known role: Cody Martin ( The Suite Life of Zack & Cody)

Runner-up Actor: Mason Dye (Jason Carver, Stranger Things)

———

Role: Millions Knives

Actor: Dylan Sprouse

Age: 31

Height: 6’0”

Best known role: Zack Martin ( The Suite Life of Zack & Cody)

Runner-up Actor: Christopher Lowell (Sebastian “Bash” Howard, GLOW and Jess, How I Met Your Father)

———

Role: Meryl Stryfe

Actor: Ruby Cruz

Age: 23

Height: 5’3”

Best known role: (Kit Tanthalos, Disney+’s Willow)

Edit: I swapped Ruby Cruz in for Bex as I learned how far along Bex was in their gender journey. As much as I respect Bex’s journey and the gender representation is important, I still want to pick someone I feel leans more feminine for Meryl.

Runner-up Actor: tbd, maybe Christine Lee or Ana Yi Puig

———

Role: Nicholas D. Wolfwood

Actor: Taylor Lautner

Age: 32

Height: 5’8”

Best known role: Jacob Black (Twilight movies)

Runner-up Actor: David Castro (Raphael Santiago, Freeform’s Shadowhunters)

———

Role: Roberto De Niro

Actor: Christopher Daniel Barnes

Age: 51

Height: 5’11”

Best known role: Spiderman (Spider-Man 90s), Prince Eric (The Little Mermaid 89)

Runner-up Actor: Edgar Ramirez (Bourne Ultimatum 2007, Carlos the Jackal, HBO’s The Undoing)

———

Role: Milly Thompson

Actor: Mina Sundwall

Age: 22

Height: 5’6”

Best known role: Penny Robinson (Lost in Space, 2018)

Runner-up Actors: Liana Liberato, Kennedy McGann, Ellie Gall, Luna Wedler

———

Role: Rem Saverem

Actor: Candice Patton

Age: 35

Height: 5’4”

Best known role: Iris West (CW’s The Flash)

Runner-up Actor: Lyrica Okano (Nico Minoru, Hulu’s Runaways)

———

Role: Legato Bluesummers

Actor: Nicholas Hoult

Age: 34

Height: 6’3”

Best known role: Nux (Mad Max Fury Road), Hank “Beast” McKoy (X-Men movies), Lex Luthor (Superman Legacies, 2025)

Runner-up Actors:

2. Samuel Larson (Joe Hart, Glee) 3. Charlie Heaton (Jonathan Byers, Stranger Things) or 4. Brenton Twaites (Dick Grayson aka Nightwing, DC’s Titans)

#trigun stampede #trigun #tristamp #trigun maximum #trimax #vash the stampede #millions knives #meryl stryfe #nicholas d. wolfwood #milly thompson #roberto de niro #legato bluesummers #zazie the beast #rem saverem #fancast #live action #anime live action #manga live action #actors

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scarlet-ancunin · 1 year

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I'm so happy that your Ask Box is open again, and I hope your elbow feels better. <3

Maybe I want all three... Convincing a very stubborn Reader to go to sleep at reasonable hour because, I am kind of sleep deprived lately, haha ^^"

Mini fic time hehe

~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~

Telling Their S/o To Rest

Desire of the Endless

You and Desire been together long enough to know each others bad habits and unfortunately yours was currently becoming overwhelming.

You was lacking more and more sleep and it was a serious problem to desire seeing as it may lead you to not think rational or so.

So Desire finally approached you about it.

"You need to start sleeping better y/n its becoming irritating to see you wasting your sleep for tedious things"

You pout looking up at Desire "im not harming anyone and i do fine with little hours of sleep besides i have coffee to keep me going to"

"No i don't want to see you suffering in silence any longer understand"

You was suffering in silence with headaches and sometimes body aches.

Desire picked you up suddenly, you cling to them and closed your eyes opening them to see you was inside Desire chambers where they laid you down on the bed and placed your head on their chest. You could hear their heart beat steady and that steady thump slowly lulled you to sleep.

They said nothing while you rested but they made sure when you woke up next time you was way better and more focused so much so that you would ask Desire if they can do this until you have a normal sleep pattern again.

You both knew it was a lie you just wanted Desire close to you and they wouldn't have it any other way.

Dr. Ian Wright

Ian walked in on you once again on the computer working.

"You talk about me over working but at least i know when to go to sleep y/n this is becoming to much and i can tell your not really focusing at this point."

They noticed your sleeping schedule was screwed up worse then when they were troubleshooting Ziggy.

"Im fine beside all my work gets done on time plus i have my energy smoothie and such-"

"Love your look tired and your very stubborn what will it take to get you to finally get some sleep or at least go to bed at the same time i do?"

You wanted to ask Ian but you was to nervous to ask. "Um....can you....can you hold me?... maybe i can sleep better knowing your close to me" you said softly looking away and blushing deeply.

Ian chuckles "you could have just ask to cuddle Y/n i wouldn't have minded i love having you close to me."

So thats what you did, you hug Ian and rested your face at the crook of their neck their scent leading you to sleep immediately.

Ian promised to give you proper cuddles until death do you part.

Gren - Cowboy Bebop

You and Gren had a set system to help each other if they become to stubborn and right now you was being very stubborn about you sleeping habits and Gren wasn't having it.

Gren called you over one leg crossed over the other sitting at a table. You smile coming over and your eyes fall to their legs.

"Eyes up here love we need to talk about you and your sleeping habits."

You scoff "nothing is wrong with my sleeping patterns besides im awake now" you complained

"Yes you are up now but don't think i didn't notice you never performed today when you was supposed to ana told me you almost lost your balance and i know your heads been hurting because you ask one of the girls to give you something for your head pain so"

Gren raised a brow and you fold "okay i haven't had the best sleep but love i promise im trying.....okay im not really trying but im fine really"

"No dear im going to change my work hours so that me and you finish at the same time and ill make sure you get the proper rest"

You blush lightly. You would love it if Gren sleeps beside you again so you hoped Ana would agree.

Luckily for you she did and you was able to have Gren beside you kissing you softly and lovingly before watching you pull away turning around and smiling when they pulled you close to their chest resting their head against your own feeling you wrap your leg around one of theirs.

"Night baby" you said softly

"Good night sweetheart"

~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~

Taglist: @justaproudslytherpuff , @sherazyjade , @the-masked-scorpio , @sugakookieswithacupoftae16 , @happilydangerousworld , @harlekin6 , @supermegapauselouca

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vctrangel · 4 months

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INTRO

name : angel

age : 16, 17 this year, so I'm a MINOR!!!! so don't be weird

prns and orientation and shit : he/they, testing out xe, ftm trans male and I'm gay/demiromantic

tw for this account : I mean if you've found me you've gotta be on the ed side of tumblr or something LMAO. tws are just ed content and sh (I'm not posting pictures or body checks, and I'm not putting my stats anywhere yet)

disorders things : adhd and possible autism? ana and depression

IM PRO RECOVERY!!! RECOVER WHILE YOU CAN, GET HELP, IM ALL FOR RECOVERING

INTERESTS

• video games (more specifically things like splatoon, sonic, animal crossing, pjsk, dbh, gta, genshin, rec room, things like that)

• reading (specifically Stephen king) (i have like over 90 of his books)

• tv shows/anime (like hxh, devilman crybaby, cowboy bebop, trigun, voltron, akira, jjk, haikuu, sk8)

• music (I play guitar, piano and drums)

• music taste (the artists I listen to most atm are people like Alex g, pinegroveband, the front bottoms, modern baseball, dandelion hands, car seat headrest, pavement, salvia path, TV girl)

• film (I love movies, like fight club or Carrie or IT. I'm also a film student and work on my own short films as education)

WHAT TO EXPECT OUT OF MY ACCOUNT

like i said with the tw's it's an Ed blog mostly. kinda like a diary/vent space. I'll probably just talk about how my days going, vent about shit in my life, kinda things like that. my dms are open for anyone who wants to be mutuals/friends :))

(more updated intro since my old one was kinda shit and also I changed my theme LOL)

#notprojustusingthetags #pro for me not for thee #ftm ed #trans ed #ed trans #ed male #male ed #tw ana diary #ana trigger #ed not ed sheeran #4norexi4 #ed not sheeren #ed not sherran #⭐️ving #i want to ⭐️ve #i hate my body

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graveofbunnies · 1 year

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Cowboy bebop character playlists

Spike

- r u mine by Arctic monkeys

- Portuguese knife fight by cage the elephant

- jealous by eye dress

- Судно (Борис Рижий) by molchat doma

- 505 by Arctic monkeys

- unforgiven by Metallica

Faye

- Arabella by Artic monkeys

- stay with me by Miki Matsubara

- oh Ana by mother mother

- plastic love by Miki Matsubara

- do I wanna know? By Arctic monkeys

- washing machine heart by mitsuki

Jet

- unforgiven too by metlica

- black Madonna by cage the elephant

- what I’m becoming by cage the elephant

- four out of five by Arctic monkeys

- nothing else matters by metlica

Ed (sad)

- smells like teen spirit by nirvana (remix)

- bang bang by shoho girls

- view from the afternoon by artic monkeys

- lost umbrella by inabukamori

- creep by Radiohead

- sweetie little Jean by cage the elephant

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niaking · 8 months

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Bebop Thoughtz, part five

If you don't want Cowboy Bebop spoilers, stick with part one.

I just finished rewatching the cartoon. I thought I'd make a list of things the anime does better, and things the live-action version does better.

Things the anime does better:

humor - The humor of the anime version largely comes from visual gags like people having animals on their heads. (They go back to this well three times, and it works every time.) The humor in the live-action version mostly comes from Spike's dry wit and Faye's use of oddly childish obscenity, which largely fell flat for me.

characters - The characters of the cartoon manage to be charming, at least at times, despite their obvious flaws. For example, Faye reveals herself to be pretty amoral (stealing from Spike and Jet, lying/breaking promises to Ed), and yet her tragic backstory makes her compelling and somewhat sympathetic in my view.

racism/sexism/homophobia/transphobia - The caricatures of Native Americans, Black people, and Latinos in the anime are wildly racist. I personally think the episode Mushroom Samba takes the cake for racism, but Heavy Metal Queen is a close second. Jet and Spike are constantly talking trash about women. (Spike also hates children and dogs. This is our hero!) The homophobia and transphobia mostly comes out in Gren's two-episode story arc, which I'll get into later.

fatalism - The ending of the series is BLEAK. [Major spoilers coming] Ed and Ein leave the crew, possibly to reunite with Ed's dad who can't seem to remember her name, gender, or the fact that he left her in an orphanage. Faye leaves in search of her childhood home, finds it destroyed, and returns to the Bebop. Spike basically commits suicide by storming the HQ of his enemies, after watching the alleged love of his life die. I say alleged because their love story is not developed at all in the anime.

Things the live action does better:

make sense - The episodes of the live-action show all have fairly linear, easy-to-follow storylines, whereas some of the anime episodes feel more like fever dreams.

provide an overarching plot that tied the episodes together - Some of the anime episodes feels like the creators came up with an idea for a villain, and based the whole episode around that, rather than trying to build a coherent narrative. I like how, in the live-action version, Spike and Vicious' relationship is the through-line, and each development brings us closer to their final confrontation. Knowing that we are always moving forward, to the resolution of the overall conflict, gives you something to hold on and a reason to pay attention.

family dynamics - Though I found the live-action versions of the characters charmless, we like them because they are willing to risk their lives for each other. Each has lost a family. Spike is an orphan. Faye was frozen, lost her memory, and the closest thing she has to a family is a woman who scammed her into believing she was Faye's mom. Jet is divorced or separated from his wife, and his daughter, who he has minimal contact with, now calls one Jet's cop ex-buddies "daddy." The members of the Bebop represent a chosen family, and even though they are often not honest or kind with each other, they always seem to show up for each other when most needed. What the live action lacks in charming characters, it makes up for in heartwarming vibes.

develop the backstory for Spike and Vicious' relationship - Episode 9 is one of my favorite eps, and it's one of the ones that strays the most from the source material. This ep is pure backstory and it gives us a reason to care about Spike, Vicious, Julia and their weird love triangle, which was barely perceptible in the anime. It also tries to humanize Vicious by giving him an abusive father, but... I'm not sure that justifies his impulsiveness or bloodlust.

bigger roles for Ana/Annie and Gren - These are extremely minor characters in the original who get much better developed in the live action. In the anime, Annie owns a... porn store? Liquor store? Corner store? Unclear. Her and Spike clearly have an affinity for each other, but we only really see her once before she gets murdered. In the live-action version, Ana is a powerful Black disabled woman: a jazz club owner, a spy of sorts, a liaison between rival parties within The Syndicate. In the original, Gren is a man who grew breasts due to a hormone imbalance. In the live action, Gren is trans femme without breasts, and also Ana's right hand in running the club and keeping the troublemakers at bay. Ana and Gren were my favorite characters, and least to have to least-compromised moral compasses of all the characters. I loved Tamara Tunie as Ana. She and Spike have a cute flirtation going, but I never understood, in either version, why this character was so loyal to Spike.

surprise betrayal - One of the major plot points of the live-action version is Vicious' scheme to overthrow the Elders. In the anime, the scenes of the actual betrayal are pretty confusing, and involve, I believe, an exploding bird? In the live-action version, Vicious overthrows the Elders in a surprise twist that really got me, so I don't want to spoil it for you.

give women agency - In the anime, no one really cares what Julia wants. She's just "the girl," a prize to be won by either the "hero" or the villain. In the live-action version, she claims her power in a way that I, as a viewer, did not at all see coming. She's a much more well-developed character: smart and manipulative.

The humor of the original and and charm of its characters carried it a long way. Perhaps remakes are destined to disappoint, but this one did some cool things with casting, storylines, and of course, fight scenes. The fact that John Cho was almost 50 when he filmed them makes it all the more impressive.

#cowboy bebop

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chiwitss · 11 months

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the sexualities and gender identities of my entire muselist, per pride :

primaries, animanga + comics

aki hayakawa ( chainsaw man ) : bisexual, cisgender man

byakuya kuchiki ( bleach ) : bisexual, transgender man

jason todd ( dc ) : lesbian, transmasc nonbinary

maki ( jujutsu kaisen ) : bisexual, nonbinary

rimuru tempest ( that time i got reincarnated as a slime ) : bisexual, nonbinary / genderless

primaries, video-games

adrian fahrenheit tepes / alucard ( castlevania ) : bisexual, nonbinary

ana amari ( overwatch ) : bisexual, cisgender woman

bayonetta ( bayonetta ) : bisexual, nonbinary

niran 'bua' pruksamanee : pansexual, cisgender man

ciri ( the witcher ) : lesbian, nonbinary

estinien 'wymblood' varlineau ( final fantasy xiv ) : gay, nonbinary

cheryl 'heather' mason ( silent hill 3 ) : lesbian, nonbinary

kain highwind ( final fantasy iv ) : bisexual, nonbinary

kaine ( nier ) : bisexual, fem identifying ( intersex )

claire ' lightning ' farron ( final fantasy xiii ) : bisexual, nonbinary

goro majima ( yakuza ) : bisexual, cisgender man

moira o'deorain ( overwatch ) : lesbian, nonbinary

nero ( devil may cry ) : bisexual, cisgender man

sephiroth ( final fantasy vii ) : gay, nonbinary

vincent valentine ( final fantasy vii ) : bisexual, nonbinary

a2 ( nier : automata ) : bisexual, genderless / nonbinary

zack fair ( final fantasy vii ) : bisexual, cisgender man

zagreus ( hades ) : bisexual, nonbinary

zero ( drakengard 3 ) : bisexual, nonbinary

zero ( final fantasy xiv ) : lesbian, nonbinary / genderless

secondary muses, animanga + comics

akira vasily ignatov (psycho-pass) : bisexual, cisgender man

kei mikhail ignatov (psycho-pass) : bisexual, cisgender man

hiiro (that time i got reincarnated as a slime) : bisexual, cisgender man

renji abarai ( bleach ) : bisexual, cisgender man

sinon / shino asada ( sword art online ) : lesbian, nonbinary

sun jing ( tamen de gushi ) : lesbian, nonbinary

uryu ushida ( bleach ) : bisexual, nonbinary

quanxi ( chainsaw man ) : lesbian, nonbinary

secondary, video-games

eve ( nier ) : gay, genderless / nonbinary

genji shimada ( overwatch ) : bisexual, cisgender man

shanoa ( castlevania ) : lesbian, nonbinary

sice ( final fantasy type-0 ) : bisexual, nonbinary

sidurgu orl ( final fantasy xiv ) : gay, nonbinary

yuna ( final fantasy x ) : bisexual, nonbinary

y'shtola ( final fantasy xiv ) : bisexual, cisgender woman

the request line

ada wong ( resident evil ) : bisexual, nonbinary

ayato kamisato ( genshin impact ) : gay, cisgender man

diluc ragnvindr ( genshin impact ) : gay, nonbinary

elizabeth comstock ( bioshock ) lesbian, nonbinary

frederica hanashiro ( psycho-pass ) : lesbian, cisgender woman

laguna loire ( final fantasy viii ) : bisexual, cisgender man

naoto fuyumine ( dogs: bullets & carnage ) : bisexual, nonbinary

vicious ( cowboy bebop ) : bisexual, nonbinary

zhongli ( genshin impact ) : bisexual, nonbinary

lucyna kushinada ( cyberpunk : edgerunners ) : lesbian, nonbinary

yin ( darker than black ) : bisexual, nonbinary

claire redfield ( resident evil ) : bisexual, cisgender woman

giselle / the maid ( the house in fata morgana ) : bisexual, cisgender woman

lady maria ( bloodborne ) : lesbian, nonbinary

takayuki yagami ( judgement ) : bisexual, cisgender man

toji fushiguro ( jujutsu kaisen ) : cishettie :/

miguel o'hara ( spiderman / marvel ) : bisexual, cisgender man

#ooc * oh brother，this guy stinks!#do i get a colorized #lgbt

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forgloryforhonor · 2 years

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Can you explain your last post

There’s a tendency of other fans to equate gintoki with spike spiegel from cowboy bebop

And mugen from samurai champloo

Both of them are the main characters from shows directed by Shinichiro Watanabe.

And while the similarities between gintoki, spike and mugen are there (mavericks with heart of gold, gambler, devil-may-care attitude, traumatic past) some fans go to the extent of insisting on their headcanon that the preferences in life partners of these three characters are all one and the same

...that their type is a “woman that could kill them.”

(Yes this is a shipping thing too... eugh)

................................................

Iirc only Mugen explicitly said that his ideal woman was “one that could kill him.” That was from the money counterfeiting episode.

While it was true that he and that ninja had excellent banter and sexual tension, diehard samurai champloo fans will tell you that the true heroine (and potential love interest) was Fuu all along.

I am aware of this because I have followed the samurai champloo tag for almost 10 years now. This point had been repeated many times even in official pamphlets and interviews.

I did ship mugen and that kunoichi btw. However mugenfuu, jinfuu and mugenjin dynamics ran deeper than mugen x kunoichi ever could.

...........................................................

As for Spike, yeah he and Faye had chemistry but Spike had only one soulmate and that was Julia, who he had a really complicated thing going on with. (I wont even touch that with a stick. Spiegel truly loves Julia whether we like it or not.)

Edited: yeah spike did say to Elecktra “I love a woman that could kick my ass.” Does that change anything? Actually no, since Mugen/Spike were basically from the almost the same creators.

............................................................

Gintoki meanwhile has one canon celebrity crush (and one clear love interest, like he genuinely wants to marry them and etc.): Ketsuno Ana, a gentle yet powerful soul (and also divorced but still very unavailable). He had never said that he was interested romantically/physically in people/women that could kill him/kick his ass. In fact his type seems to be the ones whose smiles and kindness can get him thru the day no matter the weather and the circumstance. (Diviner arc)

...........................................................

I mean... finding similarities across various pop culture is all enjoyable and good. That is fan behavior and it’s valid. However if people do it to the point where even canon is becoming more obscure and obsolete? When canon is starting to be forgotten? To the point of turning vastly different characters from different series into one type of dude? I think that’s the time we have to take a step back and really look into the source materials. Come on.. At least take the time to know what kind of info you are twisting for your fandom needs before making it your own or smth.

#onions #like yeah fiction isnt real and ofc u can twist anything however u want as long as its nonprofit

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propheticpotato42 · 2 years

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So I finished the Live Action Cowboy Bebop, and I have some opinions I’m gonna dumb here because my friends deserve better. So anyway, I do like it a lot. The actors for the crew are great they have amazing chemistry and body their roles. The costumes are great, and the fight scenes are beautiful. Also the humor is top notch. Speaking of the chemistry the crew interactions are the absolute highlight of the show. Spike and Faye talking about a loofah is amazing.

The only problem-which isn’t really a problem-is that the characters don’t really line up with the anime. Faye is funnier and more humorous than in the anime, she really isn’t a femme fetalesque character like in the anime, which is fine because she is still great. Jet isn’t as chill and nostalgic, but him having a daughter is great. Spike feels off, he isn’t as self centered as in the show. So the characters are all different from in the Anime but I like them regardless.

There are things I don’t like, mainly relating too Vicious. In the Anime, Vicious is just that Vicious. He is cold, unemotional, driven, and cut throat. He is also very mysterious and that’s fine, it makes him more menacing. In the adaptation he is kinda whiney and pathetic, like the daddy issues are a choice and it doesn’t work. He’s not scary, he doesn’t seem like a real threat to Spike. Julia is very different, we know so much about her, when in the show we barely see her. And what we see is kinda boring, like she is a club singer who gets wrapped up in a crime syndicate. In the anime though she was mysterious she seemed powerful and capable, she was a member of the syndicate not just someone who was in a relationship with a member. Also her flipping to wanting to control the syndicate felt incredibly out of left field. Ana is great, but Gren just being a bartender instead a drug dealing sax playing vet with a score to settle is boring though. Overall Spike’s backstory is way more hit than miss.

Now Jet having a daughter is great, and has a lot of potential that the show couldn’t explore. And honestly I would like to see that dynamic explored with the characters from the anime, and in some of those stories. I do miss the original Alisa story though. Chalmers was cool, and the Udai story was done interestingly.

Some of the more superficial decisions, like Jet using a sci-fi revolver, Faye wearing pants, the new phones, and most importantly Ein’s abilities are really great. I do have this want to see those things and stuff like Ana’s bar, Jet’s daughter, and Faye’s knives used with the anime characters and stories.

I do still prefer the anime, but liked the show on its own especially the core cast. I wish it had more seasons. But now I also want like a reboot of the original as an anime. So yeah. Sorry for the info dumb.

Also John Cho is like unfairly handsome.

#cowboy bebop #cowboy bebop netflix

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gamerbulten · 3 months

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David Bowie, kült klasik bilim kurgu filmi The Man Who Fell to Earth'ün komik bir uyarlamasında başrolde. Titan Comics, David Bowie'nin başrolde ...

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iibrvkenlxng · 6 months

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Bir Dış Hip-Hop Elementi Olarak: Anime

Epeydir bu konuda bir yazı yazmak aklımdaydı, fakat açıkçası ortaya bu kadar kapsamlı bir yazı çıkacağını düşünmüyordum. Araştırmalarım sırasında ben de birçok yeni şey öğrendim ve yazım sürecinin de büyük bir kısmı oldukça eğlenceli geçti. RZA‘nın The Tao of Wu kitabındaki okumalarım biraz keyfimi kaçırdı sadece, onun da tek sebebi kitabın basılı olarak elimde bulunmuyor oluşuydu.

Kültüre ön ayak olmuş ya da kültürün sürekli gelişimi sırasında eşlik etmiş bazı dış elementler var. Bunlardan ilki şüphesiz 1970'lerde, New York'da, özellikle siyahi gençler arasında çok popüler olan sinemalar ve içeriği. O zamanlar New York sinemalarında bol bol Kung Fu filmi, uzakdoğu dövüşleri ve tabii ki porno gösteriliyordu. Çin'den bu filmlerin getirilmesinin sebebiyse, Hollywood filmlerinin sürekli yükselen fiyatlarının New York ghetto'larında pek sökmemesiydi. Bu hiphop'ın oluşumunda nasıl önemli bir rol oynadıysa, aynı şekilde 1990'larda Toonami'nin Cartoon Network'e girmesiyle ve animelerin ABD'de popülerleşmesiyle de; animeler kültürün gelişimindeki dış elementlerden birisi hâline geldi. Zira bu animeleri izleyerek büyüyen çocuklar, kaçınılmaz olarak animeleri ilerde müziklerine de yansıtacaklardı.

İnsanların sürekli bir umut arayışında oluşu ve bunun doğal olarak rapçiler için de geçerli bir durum olduğunu göz önünde bulundurduğumuzda, anime seven ve bunu yaptıkları işe yansıtan rapçiler/prodüktörler olması da kaçınılmaz oluyor hâliyle. Zira animeler, genellikle dışlanmış veya diğer insanlardan farklı olan ana karakterlerin başından geçen olaylarla ilgili oluyor; hâliyle de empati kurmak çok daha kolay oluyor. “Me against the world” misali bir duruş söz konusu, bu rap müzik için de animeler için de böyle.

Animelerin bir diğer ortak noktası da; duyguları uçlarda yansıtıyor olmaları. En ufak bir hissi bile abartarak, günlük hayatta asla yapmayacağımız ifade yöntemlerini kullanarak yansıtıyorlar. Bu da izleyiciyi bu hisler hakkında daha derin bir düşünce ağına girmeye sevk ediyor. Rap müziği, zihindeki düşüncelerin diğer müzik türlerine kıyasla çok daha derin bir içerik altında derlenerek dinleyiciye ulaştırılması olarak yorumlarsak da aradaki bağlantıyı otomatik olarak kurmuş olacağız sanırım.

Peki Amerikan kültürüne nasıl giriş yaptı bu animeler? Sadece çocuklara değil, yetişkinlere özgü içerikler de olduğu bilinci topluma nasıl anlatıldı? En büyük yardımcıları şüphesiz ki 1960'larda ABD'de gösterilen ilk animelerden olan, Speed Racer ve Astro Boy oldu. Devamında ise 80'lerde Voltron geldi. Voltron Amerikan yapımı olsa da, Beast King GoLion ve Armored Fleet Dairugger XV adlı animelerden uyarlanmıştı. Bu yapımlar sayesinde, animelerin “Japon yapımı, çocuklara göre çizgi filmler” gibi sığ bir tanımı olmadığı bilinci yavaştan oluşmaya başladı.

Speed Racer'ın kullanıldığı en bilindik ve belki de rap kliplerindeki ilk örneklerinden birisi Ghostface Killah'nın 1996 çıkışlı Daytona 500 klibi.

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Şimdi gelin bazı anime örnekleri altında bu etkilerden biraz bahsedelim.

Samurai Champloo & Cowboy Bebop: Nujabes

Samurai Champloo aslında Japonya'daki hiphop kültürüyle ve 2010'da hayatını kaybeden efsane Japon hiphop prodüktörü Nujabes'le doğrudan alakalı olan bir seri. Zira serinin OST'lerinde, bir diğer rap prodüktörü Ohio/ABD'den Fat Jon ve Japon prodüksiyon duo'su Force of Nature ile bir araya geliyor. Nujabes'in huzurlu prodüksiyonunun ardında jazz ve blues sample'ları ve bunların günümüzde dahi hâlâ geçerli olan bir hiphop prodüksiyon stili üzerinden harmanlanışı görüyoruz. Günümüzde “lo-fi hiphop” olarak bilinen tarz aslında prodüktörlerin, J Dilla ve Nujabes seviyesine ulaşma çabalarının bir sonucu olarak bu kadar popüler oldu. Youtube'da artık sayısız “lo-fi hiphop study” türevi radyolar, yayınlar yer alıyor ve tüm bu yayınların ortak noktası(lo-fi içeriği dışında tabii ki); görsel olarak Japon çizimlerine yer vermeleri. Aradaki bağlantıyı kurduysanız, bu sub-genre'nın özellikle animelerle bağdaştırılması artık o kadar da enteresan gelmeyecektir size. Bu da serinin açılış müziği mesela:

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Samurai Champloo'nun 18. bölümünde görünen graffiti:

Samurai Champloo'dan bahsetmişken, serinin soundtrack'lerinden biri olan Shiki No Uta adlı Nujabes eserinin sample olarak kullanıldığı şu şarkıya da bakmanızı öneririm.

Bu kadar lo-fi diyip de Cowboy Bebop'dan bahsetmemek olmaz. Eğer bu animenin tek bir bölümünü bile izlediyseniz, giriş müziğinden mutlaka büyülenmişsinizdir. Yalnızca girişte değil, seri boyunca jazz müzik bize eşlik ediyor. Fakat giriş müziğinin yeri apayrı: “Tank!”. Trampet, saksafon, bas, trombon, bongo… Ne ararsanız var. Latin esintileri olan muazzam bir hard bop eseri. Bir prodüktör olarak bir yandan hiphop'la büyürken, bir yandan da televizyonda ve VHS teyplerde bu tür içeriklere maruz kalarak büyüdüğünüzü düşünün bir. Bu çocuklar ilerde büyüdüklerinde, müziklerinde anime görmemeyi beklemek ne kadar mantıklı olurdu?

Cowboy Bebop'ın İngilizce dublajında Spike'ı ve Samurai Champloo'daysa Mugen karakterini seslendiren Steve Blum, Logic'in The Incredible True Story ve YSIV albümlerinde Thomas karakterine ses veriyor; Ki Logic'in en sevdiği anime Cowboy Bebop. Lil Yachty'nin Offset düetli DipSet adlı şarkısında da Cowboy Bebop sample'ı görüyoruz.

Dragon Ball & Afro Samurai: RZA + Naruto

Evet, geldik hiphop sahnesindeki mihenk taşı animelerden birine. Rapçisinden prodöktörüne, piyasanın çoğunluğu üzerinde etkileri olan Dragon Ball.

Bazı Dragon Ball referanslarının seneler boyunca liriklerde kullanım sıklığına dair şöyle bir grafik bırakayım önce:

Hip-hop sahnesinin favori animelerinden Dragon Ball Z hakkındaki söyleyeceğim her şeyi bir kenara bırakıp, RZA'nın The Tao of Wu adlı kitabında bu konu hakkında ilginç bir yorumuna yer vermek istiyorum. Tam olarak şöyle diyor RZA:

Dragon Ball Z'yi ele alalım mesela. Bu sadece bir çizgi film, ama tarihteki en derin çizgi filmlerden bir tanesi. Kahramanımız Son Goku, tıpkı San Te(The 36th Chamber of Shaolin filminden) gibi, çocukluktan dövüş sanatları öğrenmeye başlıyor ve bir yolculuğa çıkıyor. Yolculuğunda, amacı 7 adet ejder topunu bir araya getirmek, çünkü bunu yapanın dileği kabul olacak. Tüm bunlar fantastik, bu bariz, çocuk masalı bunlar. Ama aynı zamanda da bu hikaye 16. yüzyıla ait bir Çin romanından uyarlanmış. Romanda, Budist bir rahip, Budist sutralarını bulmak üzere Hindistan'a seyahat ediyor. Bu yolculuğun temsil ettiği şey “aydınlanma”. Ama bana kalırsa, Dragon Ball Z'nin temsil ettiği bir diğer şey de “Siyahların Amerika'daki yolculuğu”.

Hikayenin devamında biraz daha netleşiyor bu durum. Son Goku'nun antik bir ırka mensup olduğunu öğreniyoruz: Saiyanlar. Bunlar uzaktaki bir gezegenden gelmiş, galaksinin en acımasız savaşçıları olarak biliniyor. Hâliyle Son Goku'nun da süper güçleri var fakat bunun farkında değil, çünkü bir kafa travmasıyla hafızasını yitirmiş, yani kendi ilminden mahrum bırakılmış. Sonra bir gün, aşırı stresle limitlerini aşıyor ve alter egosu boy gösteriyor: Super Saiyan – Rasta örgüleri olan bir zenci. (Anladınız mı?)

Bu tarz hikayeler dünyanın her yerinde vardır, İncil'de bile: İbrahim'e kendi soyunun 400 yıl boyunca yabancı bir ülkede gurbette, kim olduklarını ya da nereden geldiklerini bilmeden yaşayacağı söylenmiştir. Bu, Yahudilerin hikayesidir; ama aynı zamanda Amerika'daki siyahların da hikayesidir.

Demem o ki, BİZLER Saiyanlarız; Goku ismini tag olarak bile kullandığım oluyor benim. Saçlarımın da Afro olduğunu hesaba katarsak? Aynen öyle: Ben Super Saiyan'ım.

İlginç bir yorum değil mi? Bu sözlerin üzerine, siyah bir Goku düşünecek olsaydık ne olurdu peki? Sizi hemen şu videoya alalım, ufak bir fikriniz olması adına.

Dragon Ball ve hip hop referansları için Genius'ın şu videosuna da bir göz atmanızı öneririm.

Yine Dragon Ball ve hip hop başlığı altında, şu şekilde kronolojik sıralama olan bir grafik var(Genius imzalı yine).

Ha Goku demişken, şu klibi de bırakmadan olmaz:

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Afro Samurai adlı animenin ise OST'si tamamen RZA'ya ait. Animede -adından da anlaşılacağı üzere-Afro bir samuray, gözlerinin önünde öldürülen babasının intikamını almak üzere bir yolculuğa çıkıyor. Anime esasında bir Japon mangasına dayansa da, seslendirmeler İngilizce. Hatta ana karakterimizi Samuel Jackson seslendiriyor.

Naruto da, özellikle Soundcloud rap camiasında ve bu rapçilerin giyim kuşamlarında büyük bir esin kaynağı olarak yer alıyor.

Akira & Lupin III & InuYasha

Kanye West'in Stronger klibini tekrar izlerseniz ve eğer Akira adlı kült animeyi de izlediyseniz, Akira referanslarını görmemeniz imkansız(başta hastane sahnesi). Hayalperest bir düşünceyi canlandırıyor klibinde Kanye ve bunu yaparken de Akira'nın o cyberpunk distopik atmosferinden esinleniyor.

Logic'in ilk izlediği anime Akira ve bazı konserlerinde filmdeki sahneleri arkaplanda görsel olarak kullanıyor. Lupe Fiasco'yu Lupe Fiasco yapan ismin Kanye West olduğunu düşünürsek, Lupe'nin de Akira'dan epey bir ilham almış olması şaşırtıcı gelmeyecektir muhtemelen. 2015 çıkışlı albümünün ismi bile Akira'daki ana karakterlerden birinin adını taşıyor: Tetsuo & Youth. Fiasco, bir röportajında bu konudan şu şekilde bahsediyor:

Tetsuo kulağa güzel geliyor, albüm adında kullanmamım sebebi bu. Akira'ya gelince; Tetsuo'dan yaptıkları için nefret edebilirsiniz ama yaptıklarını “Şerefsiz işte ne beklersin…” diyerek bir kenara atamazsınız. Animenin bana yansımasıysa, “yanlış yönlendirilmiş öfke” de diyebileceğimiz o duygunun, o hissin bir şarkıya yansımasını sağladım.

Yine Kanye West'in Touch the Sky adlı şarkısının 3. verse'ünde, Lupe Fiasco'nun verse girişine baktığımızda başka bir anime referansı daha görüyoruz. Bu referans ise doğrudan bir manga serisi olan Lupin III hakkında. “Yes, yes, yes, guess who’s on third? Lupe steal like Lupin the 3rd” diye giriyor Lupe verse'e. Ki kendisinin samuray yeteneklerini de şu Instagram gönderisinden görebilirsiniz.

Lupin III'e bir diğer örnek olarak da J. Cole'un 4 Your Eyez Only adlı şarkısı verilebilir. Şarkının sample'ı, Lupin III OST'sinden Yuji Ohno imzalı To The Oasis adlı şarkıdan.

Yine Lupin III ile alakalı olarak doğrudan şu şarkıya da bakabilirsiniz.

InuYasha da kendisine sahnede önemli bir yer bulan animelerden birisi. Direkt MF DOOM örneği verecek olursak, DangerDoom - El Chupa Nibre şarkısını söyleyebiliriz. Şöyle diyor:

He said “Djamn! Act like you know me Even with the mask on, show me what you owe me” Tell her brush her grill and wash her face and pussy, homey Dumile got her like Inuyasha got Kagome

Yine bir diğer örnek de XXXTentacion - Inyuasha. Fakat XXXTentacion’un favori animesi One Piece idi.

Diğer Animeler ve Bazı Referanslar

Soulja Boy’un Death Note adlı klasik animenin adını taşıyan bir mixtape’i var: Death Note Mixtape.

XXXTentacion - Curse şarkısı Elfen Lied OST sample’lı, benim de en sevdiğim anime soundtrack olan Lilium sample’ı hatta. Yine aynı sample’ı kullanan şu şarkıyı da önerebilirim.

XXXTentacion’un anime referansları oldukça kabarık, Ski Mask’in de öyle. #PROUDCATOWNER’da One Piece referansları görebilirsiniz mesela. Off The Wall’a da bakabilirsiniz.

Denzel Curry - SUPER SAIYAN SUPERMAN

Chris Brown’ın favori animeleri: Dragon Ball Z, Astro Boy, One Piece

Pharrell Williams'ın It Girl klibi de Pokemon referanslarıyla dolu:

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Denzel Curry, Childish Gambino, Wiz Khalifa & Snoop Dogg ve daha nice örnek daha verilebilir fakat Xavier Wulf ve Scarlxrd’dan bahsetmek istiyorum biraz da.

Şarkılarında anime referanslarına sürekli yer veren bir rapçi de Xavier Wulf. Örneğin, Wulf Titan adlı şarkısı tamamen Attack on Titan animesi üzerinden şekillendirilmiş.

Bir diğer örnek olarak Scarlxrd'un maskesini ve persona'sını ele alırsak, Tokyo Ghoul'daki ana karakter olan Ken Kaneki doğrudan. Kendisi Japonca ve anime sample'larını, referanslarını da şarkılarında sıklıkla kullanıyor. Özellikle Chain$Aw şarkısında görsel olarak da görmek mümkün bunu:

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Tokyo Ghoul ve Scarlxrd arasındaki bağlantıyı daha iyi anlayabilmeniz için Tokyo Ghouldan kısaca bahsedelim. Anime, Tokyo'nun kurgusal bir versiyonunda geçiyor. Ghoul denilen insanvari yaratıkların, insanların arasında yaşadığı ve yalnızca insanları yiyerek hayatta kalabildiği bir dönem. Ana karakterimiz Ken Kaneki ise hoşlandığı kız Rize tarafından saldırıya uğruyor fakat kurtuluyor. Kurtulması için de kendisine ghoul organları naklediliyor. Böylece yarı insan – yarı ghoul oluyor Ken. Seri boyunca Ken, insan arkadaşlarının yanında ghoul kimliğini gizlemeye çalışıyor fakat hayatta kalmak için insan yemek zorunda aynı zamanda. Bu çatışmayı Scarlxrd'un müziğinde de sıklıkla görüyoruz. HXW THEY JUDGE, BERZERK ve DEMXNS & ANGELS adlı şarkılarında mesela. BERZERK şarkısında şu 2 bar geçiyor mesela: “Why does the devil try pick on my soul?/He still hits like a bitch I can kill him and eat him”. Doğrudan ghoul temalı anlayacağınız.

Got Dragonballs like my name was Vegeta. - Joey Bada$$

I hit the booth and I just went super saiyan – Big Sean

Yine Lil Uzi Vert'in Ps & Qs klibini izlerseniz de Lil Uzi'nin klipte tamamen bir anime karakterine dönüşmüş olduğunu göreceksiniz.

Kısacası; Akira ve Ghost in the Shell gibi yapımlar nasıl zamanında Matrix'e, günümüzde ise Stranger Things gibi yapımlara ilham kaynağı olduysa; hiphop içinde mevzu farklı değil aslında. Hatta Rick and Morty'nin 4. sezonunun 1. bölümünü izlerseniz, başlı başına Akira'ya atfedilmiş bir bölüm olduğunu görürsünüz.

Atlanta çıkışlı rapçi Father diyor ki:

Zenciler her daim ninjaları sevmiştir. Samurayları da aynı şekilde, ve tüm bunların bir anlamı var. Mesela Naruto'daki ninja takımları, nerdeyse sokak çeteleriyle birebirdir. Gerçek çete işi bunlar.

Lil Uzi Vert – New Patek:

Throw up gang signs, Naruto Put metal in my nose like Pain

SahBabii – Anime World:

Orochimaru, snake a nigga Just like Gaara, can’t play with niggas

Logic – Upgrade:

I got that Akira on the wall I just can’t follow they law

MellowHigh ft. Remy Banks & Earl Sweatshirt:

In my borough, feelings unstoppable like Tetsuo Akira in the membrane, Queens get the money

Robb Bank$ - Flex(City):

Yeah boy I got cha’ bike like Kaneda And I got it all in separate jars like Akira.

Lil Peep – Beamer Boy:

I got Death Notes, where my list at?

Hatta epey bir underground olmalarına rağmen, “anime rapper/producer” olarak etiketlendirilen rapçi/prodüktör sayısı da son zamanlarda oldukça arttı. Birkaç örnek vermek gerekirse: Trey Skies, Knives56k, GF Retro, Kill Bill: The Rapper, GlimmerXP, Negative, Braxton Knight, CRIMEWAVE, Kamiyada, nappy 01’ ve daha nicesi…

Diğer dış elementlerde ve hip-hop kültürünü etkileyen & yönlendiren bazı mihenk taşlarında, umarım tekrar görüşmek üzere. Pace!

#Youtube

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sonyclasica · 1 year

Text

BANDA SONORA ORIGINAL

COWBOY BEBOP: BANDA SONORA DE LA SERIE ORIGINAL DE NETFLIX

La música de la serie son todas nuevas composiciones de Yoko Kanno y la banda de Kanno SEATBELTS, la compositora original de la serie de anime de los noventa. 23 de los 38 temas son exclusivos del vinilo. Disponible el 16 de diciembre.

Consíguelo AQUÍ

Sinopsis de la serie:

COWBOY BEBOP es un western espacial lleno de acción sobre tres cazadores de recompensas, también conocidos como "cowboys", que intentan huir del pasado. Tan diferentes como mortíferos, Spike Spiegel (John Cho), Jet Black (Mustafa Shakir) y Faye Valentine (Daniella Pineda) forman una tripulación despiadada y sarcástica, dispuesta a dar caza a los criminales

más peligrosos del sistema solar, por el precio adecuado. Pero solo podrán salir a patadas y ocurrencias de tantas refriegas antes de que sus pasados les alcancen.

Créditos de la serie:

Basada en la querida serie de anime, COWBOY BEBOP cuenta con la producción ejecutiva de André Nemec, Jeff Pinkner, Josh Appelbaum y Scott Rosenberg de Midnight Radio, Marty Adelstein y Becky Clements de Tomorrow Studios, Makoto Asanuma, Shin Sasaki y Masayuki Ozaki de Sunrise Inc, Tim Coddington, Tetsu Fujimura, Michael Katleman, Matthew Weinberg y Christopher Yost. Nemec es el director del programa. El director de la serie de anime original, Shinichirō Watanabe, es asesor de la serie, y la compositora original, Yoko Kanno, regresa para la adaptación de acción real. La serie también está protagonizada por Alex Hassell y Elena Satine.

Sobre la compositora Yoko Kanno:

Yoko Kanno es una compositora, arreglista y artista japonesa más conocida por su trabajo en las bandas sonoras de películas de anime, series de televisión, películas de acción real, videojuegos y anuncios publicitarios. Nació en Sendai, Prefectura de Miyagi, Japón. Ha escrito bandas sonoras para Cowboy Bebop y su adaptación de acción real, Darker than Black, Macross Plus, Turn A Gundam, The Vision of Escaflowne, Ghost in the Shell: Stand Alone Complex, Wolf's Rain, Kids on the Slope, Genesis of Aquarion y Terror in Resonance, y ha trabajado con los directores Hirokazu Kore-eda, Yoshiyuki Tomino, Shinichirō Watanabe y Shōji Kawamori. Kanno también ha compuesto música para los artistas pop Maaya Sakamoto y Kyōko Koizumi. También es teclista, y es la líder de los SEATBELTS, que interpretan muchas de las composiciones y bandas sonoras de Kanno.

TRACK LIST + SIDE SPLIT

SIDEA A1. A Day In the Bebop (long)

A3. A hole to the universe

A4. What Planet Is this??

A5. After Image

A6. Ana’s High Class damp 1-2

SIDE B

B1. Ana’s Rouge

B2 Two Detectives

B3 Jet’s Investigative

B5 Faye’s Sky Fall

B6. Time

B7. Teddy’s Ika Pod

B9. Headphone

B10. Ein

SIDE C C3. Respect for Sergio

C7. Kimmie’s Birthday

SIDE D D1. Sad End Fad

D2. Muddy Road

D4. Sushi2

D5. In the Noir

D6. The End of Friendship

D8. Earthland Entrance

D9. El Rey Bar

D10. G blues

#bso #cowboy bebop

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scarlet-ancunin · 1 year

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Maybe I want all three: how would the big three react to their s/o coming up behind them to give them a hug but then s/o licks their neck not even in a sexy way just s/o being like "I licked you so you're mine forever now". Really just s/o being a dork in love

Lol sure buddy

(fluff)

~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~

S/o Claiming Them

Desire of the Endless

Desire was looking at their mirror fixing themselves thinking about all the activities they were planning on doing today.

you were laying on their bed watching them smiling. you always admired how perfect they looked getting ready.

you also loved the fact that they belonged to you and said so even. when they were close to finishing you stood up suddenly and walked over to Desire wrapping your arms around their waist suddenly you leaned over and literally licked Desire's neck

They paused for a moment looking at you from the mirror "what was that just now" they asked turning around to hold you now.

"nothing crazy just wanted to make sure you know your mine is all~"

Desire laughed and kissed you deeply nipping your bottom lip and slipping their tongue past your lips. you moaned softly before pulling away. "Love if you like I can claim you right now I have all the time in the world~"

you giggle "sure love~"

Dr. Ian Wright

you woke up to the sound of Ian on the phone with Magic telling them they will be at the facility in an hour rushing to the bathroom to wash up.

when they come out they got dressed quickly and combed their hair back before looking over when they saw you sitting cutely at the edge of the bed

"yes you can tie my for me love" they smile and you giggled coming over and tying their tie for them once done you leaned in close and licked their cheek.

" i- y/n why did you do that?" they asked surprised wondering why you literally just licked them out of nowhere.

"just to remind you that you belong to me" you smile and they blush lightly and laughed cutely.

"Right, right well then" they leaned close and licked your neck before kissing your cheek "you mine as well love and I plan on showing you how much when I get back"

"I'll be waiting my dear"

you heard the door click and you let a dreamy sigh slip past your lips. "they are amazing"

Gren - Cowboy Bebop

Gren was by the bar watching the performers and smiled when they performed like they practice.

you were at the bar fixing a drink when suddenly you had the urge to do something crazy. so when you slip out of the bar area and sat next to Gren who didn't notice you were there at first.

However, they did notice when you suddenly leaned against them and literally licked their neck to which they looked at you surprised.

"Y/n what's gotten into your love," they said turning in their seat to look at you smiling amusedly.

"I'm sorry I just really wanted to claim you and I believe this was the way to do that," you said honestly to which they leaned close and licked the shell of your ear before nipping it sending shivers down your body.

"well my love I can lick any part of your body you want after my shift but I don't want Ana scolding us so be good for me and wait" you nod of course when you got up they pulled you close and kissed you deeply before letting you go and watching you go back to your station before looking back at the performer.

~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~☆~

Taglist: @justaproudslytherpuff , @sherazyjade , @the-masked-scorpio , @sugakookieswithacupoftae16 , @happilydangerousworld , @harlekin6 , @supermegapauselouca

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misterparadigm · 2 years

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Cowboy Bebop (Netflix): Official Review

I’ve finished the first and only season of Netflix’s live-action adaptation of Cowboy Bebop. As a long-time super fan of the original anime, an illustrator, a writer, and an animation professor, I’ll do my best to account for everything I can.

This has spoilers for both the Netflix series and the original Anime

We’ll start with a quick star rating. For the tl;dr, scroll down to the “Overall” section at the bottom.

4/10 Stars

We’ll start with the more tangible elements: the explicit story. Then we’ll dive into the deep stuff: the philosophy that forms the narrative substructure of the series and how Spike’s dissociation (living in a dream) relates to that. Then we’ll talk about the good, the bad, and the end. Buckle up, cowboys.

THE EXPLICIT STORY:

Spike leaves the syndicate and asks Julia to come with him, but Julia is found out and is given an ultimatum by Vicious to either kill Spike or he’ll have them both killed. She doesn’t go to see Spike, and so he leaves the syndicate alone.

Vicious apparently doesn’t make good on that ultimatum, or is unable to kill Julia. The latter seems more likely, as that was the case with Spike, as well. There’s a bit of cat-and-mouse there. So Spike leaves for three years, and during this time he meets Jet and the two go bounding around as bounty hunters, eventually meeting Ein, Faye, and Ed. At some point, Spike had an accident, though--and this is extremely important, narratively. I’m not sure exactly when that happens chronologically in the story, and I may just be misremembering details. The point is, though, that he loses his eye and receives a false one. He says that in one eye he sees the past and in the other he sees the present.

To briefly conclude the narrative notes, eventually Vicious tries to overthrow the elders of the syndicate, but it “fails” (not really). He’s captured and held prisoner, awaiting his execution. During this time, the elders send out hit men to take down anyone who has ever associated with Vicious and the “new guard,” so to speak. That includes Julia and Annie. The past catches up to Spike and Julia, and they’re brought back together to deal with their ties to the syndicate. Meanwhile, the second phase of Vicious’s plan kicks off, and he slaughters the elders, crowning himself its leader. Spike and Julia find Annie, watch her die, and resolve to take down Vicious. Julia dies in the process, and Spike faces off against Vicious. He “wins,” but is mortally wounded. And then...

“...bang.”

“Life is just a dream you know, never ending... I’m ascending...”

And then we all cry and sob like absolute babies, because the existential underpinnings are too much to bear. Right? Okay, so let’s dive into THAT, and why Nemec and the development team did NOT understand the assignment. What follows this is exploring precisely what the show’s essence was, and these are the things that Nemec and the development team either didn’t understand or didn’t respect--or both.

The Psychology and Philosophy: Themes of Nihilism and Absurdity

The themes of nihilism and absurdity run deep in Cowboy Bebop. I won’t make this torturous to get through--it’s pretty straight-forward, honestly. Spike loses his eye in a violent accident and starts seeing the past in one and the present in the other. He spends the rest of his life feeling like he’s in a dream. This theme of dreaming is the blood of Cowboy Bebop. It’s Spike dissociating and struggling to connect to reality after intense trauma and the despair of heartbreak, losing the one thing (person) he cared about--the thing he tells Jet that he had lost somewhere along the way. That’s what Julia was to Spike. She made him worthy of existing. So Spike spends three years completely unattached, and unable to attach to anything. This is his character and personality throughout the bulk of the series. We catch up to him at the beginning of the anime, but in the middle of his dream. The only thing keeping him connected to reality at all is the hope of seeing Julia again and learning that he isn’t just dreaming. He really isn’t sure if he died during that accident. He wakes up with a false eye and reality looks strange to him. Unfamiliar. But when Julia dies, that totem to reality is gone and he detaches completely.

He tries to explain to Faye why he has to face off against Vicious, but she doesn’t understand. He isn’t going there to die. He’s going there to find out of he’s really alive.

He’s going there for closure, and the only way to get that is to face Vicious. Vicious is the personification of nihilism in Cowboy Bebop.

“There is nothing to believe in. There is no need to believe.”

“There is nothing in this world to believe in.”

Spike, in his dissociative state, is living in absurdity. Unsure if he’s alive, if anything has any meaning, and yet he pushes forward.

“Whatever happens, happens.”

This is absurdity, in the philosophical sense. But it isn’t really enough for Spike. He’s willing to drift until something that ties him back to the reality he once knew strikes him. This is Julia, particularly. Even when it’s Vicious’s name that triggers him, it’s still in reference to Julia’s whereabouts. That is, until she dies. Then it becomes about waking up, and Vicious says multiple times that he is the only one who can kill Spike.

“I’m the only one who can keep you alive. And I’m the only one who can kill you.”

He’s the only one who can set Spike free. The only one who can wake him up from this dream. Death, for Spike, is closure. It’s the release from his hypnagogic post-accident existence. That hypnagogue is the landscape of transience that Cowboy Bebop exists within, as we catch up to the characters. That’s the space of the story that we’re introduced to. We’re on this transient journey with a found family who catch each other in passing as their pasts are catching up to them. Eventually they do, and each of them has to reckon with it. Jet understands this, which is why he doesn’t fight Spike’s decision. He’s an ex-cop, and he knows very well just how peoples’ past actions find them later, always. Spike has a reckoning, and nothing can stop it. And he has to face it.

So he goes to face off against Vicious so that he can wake up. He’s been suffering this dissociation for three years, and he needs to live again. He’s going there to live. To be set free.

That’s Cowboy Bebop. The dissociative disorder, the nihilism, the absurdity. It’s transient and tragic. It’s everything Nemec wanted to avoid, by his own words, and so he was destined to fail by any artistic measure of the story of Cowboy Bebop and what makes it significant. It’s a devastating exploration of lost human beings, and you cannot abandon that without collapsing Cowboy Bebop into something that can never be Cowboy Bebop. Nemec didn’t understand the assignment. He didn’t engage with the story at its depths--or if he did, he didn’t appreciate it and couldn’t respect it as a result.

Cowboy Bebop is more than a stylistic sci-fi western noir. It’s more than superficial fun and aesthetic appeal. It’s a pensive, dissociative, transient dream about a found family that was fated to merely cross paths. Netflix’s adaptation was destined to fail because it failed to engage with the story at its core--at its essence. Nemec didn’t have the wherewithal to accomplish the task. It seems to me that he was woefully ill-equipped as a critical storyteller to translate these elements into live-action. That’s all there is to it.

All right. Let’s talk about the Netflix adaptation a bit more, starting with what it does reasonably well.

THE GOOD:

To start, I’ll talk about what’s working. First, Yoko Kanno’s music is, as to be expected, the show’s biggest saving grace. There’s a fair amount of recycling from the original series, often updated somewhat for better or worse. When it’s not as good as the original tune, it’s still not bad, but often any issue with the music in this adaptation isn’t the song itself but the moments and manner in which they’re used--often feeling forced in like a wrong puzzle piece for the sake of nostalgia and to carry an otherwise poorly directed scene.

One standout performance is Mustafa Shakir, who does by FAR the best of the cast with his turn as Jet Black.

There are moments that are bad, but he does the best he can with what’s been given to him, and often he truly feels like he understood the assignment and channels Jet quite well. Another standout is Tamara Tunie as Ana, who plays a much bigger role in this adaptation than the character in the anime.

This was the most successful change made from the anime to live-action. Tunie brings dignity to an otherwise goofy, melodramatic adaptation--but we’ll get more into TONE later. Another smaller part that stood out to me as particularly memorable, given that he’s a totally new character, is A Martinez as Stax. This character didn’t need to exist in the series at all, but Martinez really sells the character and manages to bear gravity and menace which is sorely missing in the more important villains of the series; I’m looking at you, Vicious.

Ending the first season on Fallen Angels was a very good decision, in general. But that’s to say nothing of its execution, which I’ll get into later.

THE BAD:

We’ll start with the least bad and sort of go from there. Cho is an enjoyable actor, but he struggles as Spike. Sometimes he gets it, but much of the time he’s not able to carry the quiet, brooding, existential gravitas that the character is known for. He’s channeling a bit of the swagger and a lot of the goofball, but almost none of the menace that Spike is capable of, which was carried over from his syndicate days. This isn’t necessarily Cho’s fault, either--at least not entirely. This can also easily be laid at the feet of the writers and, in particular, the director. This adaptation only has a superficial understanding of nearly every aspect of the series, and their portrayal of Spike is no different. Spike has his endearing goofball moments, but this adaptation completely abandons his cold irritability when it comes to Faye, Ein, and Ed. They soften him far too much from the onset, rather than let that part of him develop over time. Whatever of Spike is jaded in this new series doesn’t play much in the foreground of his character, and when it does it’s not treated with the weight it deserves, but rather a highly-stylized, superficial, transparent narrative device that constantly reminds us that we’re watching a TV show--a TV show adapted from a particular pop culture icon.

Next, we’ll talk about Faye. Faye was done dirty as hell in this adaptation. She has a superficial entrance that shows all the flash and none of the substance, which is consistent throughout the season. This is Faye:

The real Faye, underneath the persona she keeps. We get none of this Faye. Instead, we get this Faye:

Daniella Pineda doesn’t hit the mark, and plays the character too much like a kitschy, fowl-mouthed teenager. Again, though, some of (perhaps most of) this must be laid at the feet of the writing and directing. This adaptation completely glosses over Honky Tonk Woman, which is an absolute travesty, and it sets the standard for how this adaptation denies Faye her dignity as a smooth operator with a lot more depth than she lets on. The fake mother backstory was atrocious. It shoehorned a glossy, comedy-driven history into a character who never gets her shot at being a real person. There’s a reason the most successful moments with Faye center around her witnessing pieces of the past she’s forgotten--it comes from the original anime and does a much better job exploring the character than any of the veneer that this adaptation paints over the weathered beauty of the original grain. While the lesbian encounter isn’t necessarily beyond conceivable for Faye’s character, this adaptation’s handling of it didn’t offer anything but an obligatory nod to inclusion, much like it’s random, superfluous, and at times gratuitous insertions of BDSM. And I say that as someone with an interest in that community, so it isn’t a prude dismissal of the practice, but a criticism of superficiality in storytelling. Faye wasn’t given the depth she deserved, and too much of her story was glossed over or abandoned for something much less substantial.

Julia. Another female character who was completely declawed and overacted.

You might say, “But the end! She gets her claws!” Yeah, but they aren’t good claws. To be strong she had to become villainous? Not buying it, and it’s not Julia’s character. This adaptation turns Julia into a weepy, soapy damsel, with the intent of giving her an arc which finds her coming out of it strong. The problem is that her character’s arc isn’t consistent. There are episodes where she’ll go from somber damsel to murderous queen with very little provocation, and when she turns on Spike at the end it comes ENTIRELY out of left field. There was no narrative effort made to foreshadow her growing bitterness toward him, and so it feels like a tacked-on twist. And that’s being generous and entertaining the idea that this conceptualization of that triangular relationship is good at all, which I don’t believe it is. The whole situation feels polished and melodramatic, which the director mistakes for style. Julia should be like Spike--jaded and brooding; numbed by a life too long in the greyest moral landscape and surrounded by misery and death for the sake of power and control.

If they wanted to play her character the way they did, it would’ve been stronger to have her pursue the throne almost indifferently, not really knowing her own motivation other than to get out of her situation with Vicious. She should have a marked coldness, but with a dissonant drive to find meaning. She’s empty, but doesn’t know what else to do with herself. She’s drifting, just like Spike, in this dream world. They’ve dissociated to deal with the pain.

Vicious. Criminally over-acted. Again, this could just as easily be laid at the feet of the writing and directing rather than Alex Hassell’s efforts.

I don’t think Hassell was right for the part in general, but this adaptation absolutely eradicates the gravity of Vicious by injecting him with farcical melodrama and yet another weak backstory. He’s portrayed as a loose-cannon with major daddy issues, rather than the cold, calculating raptor that he is in the anime. If anything, Vicious should’ve been UNDER-acted by someone with an enthralling poker-face. When you look into his eyes, you should see nothing.

His motivation is to leave people devastatingly, inexorably face-to-face with their own profound weakness. He is a mercilessly precise psychoanalyzer, and a blade straight to the heart of what makes us fearful about ourselves--the beast, the shadow, perfectly adapted for survival against a meaningless world of dreams. This adaptation forces Vicious to his knees, often literally, completely unable to control himself. The exact opposite of the character’s true nature.

Gren. I don’t have too much to say about Gren, other than I feel they robbed another character of their dignity and weight.

Gren shouldn’t have showed up in this first season. He should’ve arrived in the second season and his story should’ve been kept in tact. He wasn’t trans. His character was a veteran of the War on Titan, and when he was betrayed by his old comrade, Vicious, he became so depressed that he was given an experimental drug which increased his estrogen levels, causing him to grow breasts. Making him trans didn’t offer anything to the character, though Park’s portrayal isn’t without its charm, and I do think they could’ve played the character better. When Park is able to take the character down to earth, they shine much better than the superficial pageantry that defines too much of the character in this iteration. Showrunner Andre Nemec (upon whom I place the majority of blame for this turnout) said in an interview with Entertainment Weekly,

"Gren does not have a good history of becoming a nonbinary character. [It's] dark and didn't feel like the story that I thought was important to tell," Nemec explains. "I never wanted Cowboy Bebop to be a picture of a dystopian future. I wanted it to be nostalgic, but also hopeful. People, I believe, always find their ground, and a way to excel — to live in a better world. A person being nonbinary isn't a discussion. It's just a fact."

source: https://ew.com/tv/cowboy-bebop-mason-alexander-park-gren-nonbinary/

So it becomes clear here that Nemec never had any respect for the tone of the original series to begin with, and Gren’s character alterations were little more than a way to shoehorn in a superficial modern conception of who the character SHOULD be in an idealized iteration of Cowboy Bebop as Nemec himself wanted it, not as it masterfully existed. And it should be remembered, on that point, that Gren may not have been explicitly trans, but he WAS explicitly gay. Nemec would’ve done well to acknowledge that it wasn’t his job to judge the series and build something he thought was morally better, but rather his job was to understand the series at its depths and call forth its essence into reality with good faith and dignity. Instead, he completely abandons the most important aspect of the series: the TONE.

THE TONE:

You cannot tackle a series like Cowboy Bebop--you cannot adapt it in any other form--without first fully understanding and respecting its tone.

Cowboy Bebop (anime) is a bittersweet noir at its core. It is thoughtful, brooding, and existential--even a bit absurdist. But that doesn’t mean it’s grim. On the contrary, it’s absurdism comes out in the playfulness of its jaded characters. Spike isn’t hopeless, he’s unattached.

“Whatever happens, happens.”

“I try not to think.”

He says that, but its only the persona that allows him to slip in and out of any situation without risking attachment. He saves the dog (Ein). He trains Roco. He even empathizes with Vincent, and sees himself and probably even Vicious in that character. He knows what war and violence does to a person, and his spirit lives in understanding for them. He lives as an absurdist, but he has faith (or, at minimum, curiosity) in spirituality. Let’s not forgot the wonderful character of Laughing Bull, which the live-action adaptation completely does away with, to its peril.

Laughing Bull is a part of that hopeful, sweet-in-the-bittersweet nectar of Cowboy Bebop’s tone. What parts of Bebop are bright aren’t without their depth, because the levity is grounded in irreverence most often, with the wonderful exception of Ed, who shines like a supernova and cuts straight through the grit. She’s the perfect counterbalance.

But back to that bittersweet tone, there are elements of the series which define it that Nemec either didn’t grasp or didn’t respect enough to maintain. Too much backstory is shoehorned in, and every backstory is a disastrous farce compared to its supposed inspiration. Jet’s family is superfluous. Faye’s fake mother is a cringe-inducing joke. God only knows what they’re going to do to Ed, who actually has one of the more cohesive backstories, ironically enough. The anime was all about TRANSIENCE.

The backstories of these characters came in fleeting flashes as they reminisced about their lives before the dream began. They all felt as though they’d already lived their better lives, and in the wake of the collapse of those lives they’ve been living in a dream defined by ennui and mourning. They’re living day to day, moment to moment, and slowly the whiff of family begins to collect again around this ragtag team of bounty hunters. But it can’t last, because everyone’s past comes back to collect in one way or another. They’re released from the dream of the Bebop, and just as quickly as their stories merged, they diverged once again and all were on their way.

That transience is given stylistic lip service in this live-action adaptation, as much of the story’s deeper elements are--if they exist at all for Nemec’s unfaithful interpretation. Nemec didn’t understand the assignment. He was the wrong man for the job.

The directing was atrocious. An absurd amount of canted angles. Overdramatizing fish-eye close-ups.

Rickety choreography (although Spike’s eradication of the Neptune gang is a standout shot). The acting was campy, as though the director and showrunner assume that any adaptation from an animated series must have a superfluous quality to it--which is another example of not understanding the assignment. The cinematography, among a host of other style elements, seemed hell-bent on robbing the story of any gravity and dignity it may have had and supplanting it with insubstantial style and pageantry. This effort is an insult not only to the characters and the story, but to the spirit of the music which gives the show its soul. There was no dignity to this adaptation. I keep going back to that, but it’s so incredibly important, and its the smoking gun of a failed assignment. You cannot tackle a series like Cowboy Bebop--you cannot adapt it in any other form--without first fully understanding and respecting its tone. The tone is the whole spirit of a show like this.

It is the single most defining aspect of the work, and if you do not do your homework and engage with it deeply and emotionally so that you come out of it with a sense of responsibility rather than viewing it as an established name within which you can inject your own narratives, then you will deservedly, devastatingly fail. This series is a caricature of Cowboy Bebop, not an adaptation of it. It is a cursory understanding, if that, of the series as a whole. Watanabe voiced concerns that his consulting role was little respected, and those concerns turned out to be absolutely justified. They didn’t seem to want Cowboy Bebop. They wanted an established vehicle for a highly stylized Netflix venture.

RADICAL EDWARD:

There is but one victim here, and that is Eden Perkins, who was shamefully shredded over scarcely a minute of their debut as Radical Edward--which they probably hoped would be their break-out role. But instead, this thirteen year-old kid, who was very excited to have the opportunity to play such a fantastic character, was poorly directed and eviscerated by strangers, now without the opportunity to prove themselves any better. The show was cancelled, leaving Perkins to wade through all the criticism for the shortest and most impactful role of their life. What an absolute tragedy, and shame on the people who willfully disconnected themselves from the kid so they could get some heavy blows in for fun. Criticism is one thing, but the cruelty deserves a thorough, merciless shaming.

If Perkins ever reads this, don’t let it get you down. Stand back up and move forward to the next thing. This doesn’t have to be your bitter swan song. You were failed by those who adapted it. You never had a chance. It wasn’t fair.

THE END:

I think it was a good decision to end the first season on Fallen Angels, and that episode has strong moments. The fight between Vicious and Spike actually turned out better than I expected, and the dialogue in the key moment was kept well, and even delivered pretty decently. Aside from that, the Julia twist was an absolutely nauseating disaster of a decision.

A terrible idea born out of a misguided effort to concoct a culturally appealing evil queen out of a character who didn’t deserve that sort of treatment. It wasn’t properly developed, the moment came as a profoundly unwelcome surprise, and its intended narrative purpose--to end the season with Spike having no one left--is heavily overshadowed by its tone-deaf attempt to establish as many hard-ass female characters as it can manage. The story already had them, but this adaptation has no understanding of what made them so.

Instead, it opts for more pageantry that isolates us from the characters rather than drawing us in toward their depths. It understands characters as icons, not people. Insofar as it understands them as people, they only mimic personality. They don’t embody the suffering of real people. The anime used down-to-earth dialogue and character development to bring a stylized sci-fi noir down to reality, with little gushing over its own superficial appeal. Netflix’s adaptation uses style as a stand-in for depth of character development and story. It spends a lot of time developing bad character stories where the original anime could poetically tell many, many character stories with precisely chosen vignettes to much greater artistic effect. Where the anime’s attention to detail was esoteric and understated, the Netflix adaptation takes every opportunity to flash itself to us, and the details are all superficial nostalgia.

OVER ALL (TL/DR):

This adaptation takes in the original anime superficially. It sees the style and denies the value of the substance, instead opting to supplant it with its own far less intuitive, far more superficial restructuring of the characters and story. It shoehorns in terrible expansions and reimaginings of the characters’ stories, which completely decimates the intimacy of the dysfunctional ragtag family unit of the Bebop crew. It attempts to regain this with saccharine throw-away lines and a complete misunderstanding of the value of hope in the context of this series, which only comes to this crew in relation to the bitter pasts which showrunner Andre Nemec (pictured below) vocally denied the value of--but which gives that hope weight rather than just shallow platitude. He wanted the series to be hopeful rather than dystopian, completely missing the fact that it isn’t dystopian--it’s noir. Mars is a thriving place, as are multiple places the crew finds themselves. It’s their world which is cold and hypnagogic. Their personal worlds. The lives they’ve led.

More than anything else, this adaptation abandons the most important aspect of the series: the tone. It doesn’t engage in the story at its depths of psychology or philosophy, which is the only way to understand the profound value of it. They sacrificed substance for style, and threw out its meaningful struggles in favor of poppy, kitschy, edgy fluff. It doesn’t respect the source material, which Watanabe himself complained of in regards to his tertiary role as a consultant--which only seems to be credited as an obligation and for disingenuous credibility, despite Watanabe’s vocal concerns about how little his opinions seemed to be valued in adapting Cowboy Bebop. Read a quick note about that here: https://comicbook.com/anime/news/cowboy-bebop-live-action-netflix-anime-creator-comment/

The series is an unfaithful failure in the final analysis. Yoko Kanno, Mustafa Shakir, and Tamara Tunie did what they could, but it couldn’t fix a bad faith adaptation. Looking forward to owning the new music, though.

See you, space cowboy.

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