Alex Suskind brilliantly profiles Cowboy Bebop at The Atlantic.
“On paper, Cowboy Bebop, the legendary cult anime series from Shinichirō Watanabe, reads like something John Wayne, Elmore Leonard, and Philip K. Dick came up with during a wild, all-night whiskey bender. (As Wayne famously said, “Talk low, talk slow, and … I’m not drunk you’re drunk Elmore why’s the room spinning?”)
Set in 2071, Bebop imagines a dystopian future where earth has been irrevocably damaged due to the creation of a “stargate,” forcing humans to evacuate the planet and create colonies across the solar system. The result is a galaxy of lawlessness, where crime lords rule and cops pay bounty hunters (often referred to as cowboys) to handle some of the grunt work. People drink in dive bars. Income inequality is terrible. Everyone speaks like they’re background extras in Chinatown. The show ultimately features so many cross-ranging influences and nods to other famous works it’s almost impossible to keep track. It’s Sergio Leone in a spacesuit. It’s Butch Cassidy and the Sundance Kid with automatic weapons.”
Tagged: anime, bounty hunters, Brick film, Cowboy Bebop, crossover anime, dive bars, dystopia, dystopian anime, fictional worlds, Firefly TV Show, Japanese anime, Joss Whedon, Quentin Tarantino, Rian Johnson, sci fi, Shinichirō Watanabe, Spike Spiegel