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With a mix of neo-noir, Western, and hardboiled detective fiction, Cowboy Bebop shifts genres fluidly. (Yes, Kanno returns as composer from the original, alongside anime director Shinichirō Watanabe in a consulting capacity.) The jazz music and the swanky design means you will want to stay for Cowboy Bebop's opening titles - and not hit Netflix's “skip intro” button. Each of its episodes are called sessions (the anime loved jazz music), it keeps the subtitles the anime had at the end of episodes (“see you space cowboy”) and the bounty-hunting infotainment programme Big Shot, and the famous opening credits have been recreated and extended - with the original theme song “Tank!” by Yoko Kanno.
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That said, the Netflix series straight up borrows from the anime too. Netflix has yet to announce anything.ĭhamaka, Cowboy Bebop, Tiger King 2, and More on Netflix India in November But another beloved character from the anime is only introduced at the very end of the season, in what is a clear setup for a potential second season. The amnesiac Faye Valentine ( Daniella Pineda, from Jurassic World: Fallen Kingdom) is introduced right from the start. Though it retains the anime's essence, Cowboy Bebop isn't afraid to rearrange the furniture. So, when it wants to mimic the anime's action spurts, Cowboy Bebop resorts to jump cuts because that's the only way to emulate the low frame rate. Netflix isn't lacking for money, but the shift to live-action means everything is fluid, always. As a result, the anime had a low frame rate - it was more akin to a flip book at times and the action would happen in spurts. It's wacky - and it's a boon.Īnimation has always been an expensive medium, and Cowboy Bebop was all the more so for a Japanese studio in the late ‘90s. An entire action scene happens out of focus in the background while their partner attends a school recital. A character runs to someone's rescue while holding onto an ugly doll they bought for their kid with a lot of money. A climactic samurai-type fight is scored to shakuhachi and juxtaposed with a massive stained glass. A character compliments their opponent on a move in the middle of a fight. They cut to a drop of water falling to the ground before a fight starts. You demand less logic from the events that are occurring on screen.Īdd to that the small touches brought to action by Cowboy Bebop's two directors, Alex Garcia Lopez (Utopia, The Witcher, Daredevil season 3) and Michael Katleman (Zoo, The Last Ship). And because it's trying to be goofy, a bit like the anime, certain things are forgivable. It's really fun at times, and it can be funny too. Hence, you want to travel with its characters.
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The Netflix series - developed by Christopher Yost (Thor: Ragnarok), and with André Nemec (Zoo, Mission: Impossible – Ghost Protocol) as showrunner - does that. The important thing with making a pulpy show is getting the audience on your side early on. But Cowboy Bebop really nails its pulpiness.
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It's hard to get it right because if you go overboard, it's on the nose and you stop caring. Cowboy Bebop - out Friday on Netflix - is at its best when it's channelling the same energy the original anime it's based on was inspired by: pulp fiction.