Okay, let’s jam. 3, 2, 1…
It’s like this. Cowboy Bebop is one of the most critically acclaimed anime series of all time. In the US in particular it was a massive hit, in many ways the peak of the wave of anime imported to American television that began with Pokemon. It’s where the wave crashed over us, a mountain of foam, gorgeous, sublime even.
But still just foam. (So many people are mad at me right now.)
The thing about Cowboy Bebop is that it’s all style. The characters are incredibly cool, but they’re also completely stock archetypes out of Westerns and film noir. They get backstories, which is what anime usually substitutes for character development, but those backstories are basically pure cliche.
(Except Ed and Ein. Ed and Ein are strikingly original and criminally underused. They also get even less development than the central trio, despite being vastly more interesting. The Adventures of Ed and Ein when?)
It’s visually stunning in its execution of familiar scenes out of space opera, wushu, and, again, Westerns. The music is spectacular, including a serious contender for the greatest opening theme of all time, and note that I didn’t limit that to anime or even television. It is very clearly the product of a group of artists absolutely at the top of their game and having a tremendously good time. That alone is enough to make it deserving of most of the praise it’s received.
But that doesn’t change that it doesn’t actually have anything to say. (So mad.)
Anyway, if we’re gonna talk about it, and we’re talking about the DCAU, we gotta talk “Pierre le Fou.” See, Sunrise worked on a number of early Batman: The Animated Series episodes. (“Pretty Poison” for one. So there’s another femme fatale they’ve animated; the difference is that Faye is what Ivy performs. “I Am the Night” and “The Man Who Killed Batman,” also.) “Pierre le Fou” is their homage to that work, and it shows.
A horror story about an “insane,” murderous clown with the mind of a child, a backstory of torment and abuse at the hands of institutional power, and a character design that seems largely based on a cross between the Penguin and the Mad Hatter. Also the climactic fight sequence takes place in an abandoned amusement park at night.
It’s pretty BTAS, is what I’m saying.
It’s not really a sympathetic villain story, though, despite the backstory. Cowboy Bebop mostly doesn’t do sympathetic. Tragic, maybe, but that’s hardly the same thing.
It’s a great episode. Besides all the BTAS, there’s a healthy does of Akira in there (look at how the flashback to Pierrot’s “training” is lit!), the villain is terrifying, and the fight scenes are brutal. This is solid horror, on top of everything else, and horror in a very different vein than “Toys in the Attic”–deadly serious and gothic, much like the Bat, as opposed to light and Weird. (Which I want to say is like Superman, but… eh. Not as neatly as I’d like.)
But there really isn’t much to chew on here. It’s meat-flavored, but it’s got no meat. It takes pieces from many places, puts them together into something that works, and that’s great… but that’s all it is. The whole is precisely equal to the sum of its parts. Everything’s on its sleeve, everything’s pure shiny surface–and like Pierrot himself, despite a bulky appearance, what’s in there is mostly just guns.
No wonder American anime fans latched onto it so hard. Calling this Dragon Ball Z for people who think they’re too smart for Dragon Ball Z is deeply, intensely, staggeringly unfair, as well as highly inaccurate. The Matrix of anime? Nah, that’s Serial Experiments Lain.
I dunno. There’s not really a good analogy. Point is it’s gorgeous and spectacularly well done and hollow, and I’m literally the only person who thinks that last part, and anyone reading this who’s actually watched Cowboy Bebop hates me now.
I think it’s time we blow this scene.
(This was originally written as a stream of consciousness and posted to Patreon with no editing. I have very lightly proofread this version–punctuation, spacing, and adding the countdown at the beginning are the only changes.)
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