Cowboy Bebop: Series Review

Cowboy Bebop occupies something of an exalted status in the anime world, much like Akira and certain Miyazaki films that can do no wrong.

There are a lot of things to like about Bebop, starting with the fact that it is downright COOL and that the music is awesome. But although I really enjoyed the series, there are also a few things I would have liked to see done differently.

Bebop is an episodic, character-driven series that can only be described as... futuristic space cowboy western / noir comedic drama. The concept is simple, yet stylish: we follow the adventures of Spike and Jet, bounty hunters on the ship Bebop, as they hunt down their prey... not always successfully.

There is what I would call a "main" plot involving Spike, his past with the Red Dragon Syndicate, and the storyline with characters from Spike's past (Vicious and Julia), but most of the episodes in the show have absolutely no connection to the main plot and do nothing to advance it.

For me, this was both a strength and a weakness of the show. The episodic nature of the series meant that each of the four recurring characters got screen time and development, even the crazy Radical Edward (who starting out kind of annoying but later wormed her way into my cold, dead heart with her endearing loopy-ness). I loved the episode where bits of Edward's past as Francois are revealed and found her exit from Bebop remarkably... sad! I enjoyed the exploration of Jet's past as a cop and the revelation of how he got his bionic arm.

And, of course, who doesn't love Spike Spiegel--what a sexy, impetuous, cocky badass with a stylish 'fro character design and dark murky past. With his skinny black tie and blue suit, Spike just oozes "cool," especially when his wiry frame is kicking ass and his shot is dead-on.

But I actually appreciated Faye Valentine's character the most. Faye was both sexy and kickass, competent and lazy, and beneath that puckish, sassy exterior, she had multiple layers of loneliness, doubt, and the need to belong and find a human connection. Best of all, her voice was nice and low and normal sounding.

I will also note that the relationships between the characters were very well done as well. Despite Spike's proclamation that he hates women and children, by the end of the series, you see that the Bebop crew has, as Faye would say, become a place a belonging.

I mention the episodic nature of the show as a weakness because I wish that there had been a few more episodes or hints, however, dedicated to moving forward the main Spike-Vicious-Julia plotline. The last two episodes of the show were powerfully done, not to mention brilliantly filmed (with strong, striking images). But I felt that they would have had more emotional heft if the audience had received more . . . morsels along the way. For example, earlier, more frequent flashbacks of Spike with Julia, or Spike with Vicious, or of Spike's time with the Red Dragon Syndicate generally.

No review of Bebop is complete without a comment on the amazing music. I can't really explain why it was so awesome. From the second the opening sequences flashes across the screen and the jazzy trumpets blare, Bebop sets the tone of how the series will be: improvisatory and just plain cool. The music is spot on throughout the show, but I noticed its excellence most during the final two episodes. (Angelic choirs, anyone?)

I have a feeling that Bebop will improve with additional viewings, that there are deeper messages and morsels hidden away that I just didn't catch because I watched the episodes so... episodically, for lack of a better word.

This is a series to own! FRIVOLOUS PURCHASE, HERE I COME!