Showing posts with label cowboy bebop. Show all posts
Showing posts with label cowboy bebop. Show all posts

Friday, 10 December 2021

Netflix's live action COWBOY BEBOP cancelled after one season

Netflix has decided not to press ahead with a planned second season for its live-action adaptation of classic anime series Cowboy Bebop.


The first season of the show aired last month on the streamer and attracted broadly favourable but far from gushing reviews. The show also notably failed to dent the streamer's top streaming shows in the week of release, with a huge drop-off from its modest debut on 19 November.

The show also faired badly compared to its competition: Amazon's Wheel of Time series debuted the same day and did sterling numbers, despite Amazon Prime Video having a significantly smaller pool of regular viewers compared to Netflix. Cowboy Bebop struggled to make much inroads in terms of social media discussion and debate for the week in question, in comparison.

Cowboy Bebop also may have suffered from severe cost overruns. The already-expensive show saw a big cost bump when lead actor John Cho broke his ankle on-set, requiring shooting to be suspended for months. Just before shooting was due to resume, the COVID pandemic shut things down again. When shooting did resume, the show, like most Netflix projects, had to put in place COVID safety precautions which may have added as much as $1 million per episode to the cost of production (such cost spikes killed another Netflix show, GLOW, after shooting had begun on its fourth season).

As I said in my review, the first season of Cowboy Bebop struggled to match the anime's superior pacing and mastery of tonal variation, and in particular suffered from a miscast and poorly-characterised main villain. However, the show was colourful and entertaining with a unique visual style, and easily stood out as the best anime-to-live-action project to date. It's a shame we won't get to see how a second season could have improved on the first, but if the project brought more viewers to the classic anime original, then it's work here is indeed done.

Sunday, 5 December 2021

Cowboy Bebop: Season 1

The late 21st Century. A horrendous accident has rendered Earth uninhabitable, scattering the human race across the Solar system. Mars has been terraformed, Venus is in the process of being tamed and the moons of Jupiter and Saturn are now home to billions of people. But this brave new world is also one rife with crime. Ex-cop Jet Black and ex-criminal Spike Spiegel are "cowboys," bounty-hunters working from their converted spacecraft-boat Bebop. Initially happy working alone, they find themselves teaming up with amnesiac con artist Faye Valentine and Ein, a dog who is more than he appears. Together they get into misadventures spanning the Solar system, unaware that their past lives are catching up to them.


Pity the person who decided that what the world needed was a live-action remake of the classic Japanese animated series Cowboy Bebop. Airing for a single season of 26 episodes in 1998 (along with a spin-off movie), Cowboy Bebop has acquired an almost legendary reputation for its strong characterisation and remarkable blending of tones, from comedy to tragedy to jazz-influenced noir, sometimes in the space of a single episode. With all other anime-to-live-action transitions being rough to terrible, the odds were not looking good for Bebop to make the transition, especially with Netflix developing a bit of a reputation for blandness in recent years.

Fortunately, the live-action Cowboy Bebop ends up working...just about. It helps that the series resists the temptation to be a "dark and gritty" version of the anime, which would have been terrible, and instead leans into its tonal variation and moments of levity. Sometimes it misjudges scenes and moments - dramatic moments end up being a bit too comical, and sometimes comedic scenes come across as a bit too serious - but for the most part it manages to replicate the anime's blending of style and genre.

The show lives by its cast, and although the nagging feeling that John Cho is just a little too old to play Spike doesn't entirely dissipate, Cho's charismatic performance certainly minimises it. He handles the dramatic, tragic, romantic and comedic elements of the character well. Even those minor reservations don't exist when it comes to Mustafa Shakir, who walks Jet Black out of the anime and into live-action with surprising aplomb. Rounding off the central trio is Daniella Pineda as Faye Valentine. Pineda gives a charismatic performance, but Faye is the most changed of the three central characters, with her more reserved, laconic elements from the anime dropped in favour of being more abrasive. and funny. Pineda does great work with what she's given, but live-action Faye feels like a less nuanced (but much better-dressed) character than her animated counterpart.

Arguably the show's biggest success is fleshing out the character of Julia, a noir femme fatale who is pretty one-note in the anime but in live-action is given a much richer, fuller character arc, excellently portrayed by Elena Satine. The writers try to do the same thing for Vicious, the series antagonist, whom in the anime is more a destructive force of nature than a character. That's a good example of something you can do in animation that doesn't really work in live-action, but the solution here of giving him a tedious backstory replete with daddy issues (his father gets an excellent performance by Fringe and Lord of the Rings actor John Noble) and a greatly expanded amount of screentime does not work. Alex Hassell does the best with the material he's given, but he feels miscast and the live-action Vicious is a somewhat unconvincing, brainless thug and a huge letdown from his animated counterpart. Vicious is the weakest link in the live-action version of the series.

The show does replicate the anime's format of having mostly stand-alone episodes (with only really the Vicious/Julia story extending across multiple episodes), a welcome relief in this day of heavily, hyper-serialised shows where the writers have maybe 4 episodes' worth of plot and try to drag them out across eight, ten or twelve hours. Cowboy Bebop's much more focused structure is refreshing, helped by drawing on the anime for most of its episode ideas but not being afraid to mix in some new ideas. The pacing is refreshingly brisk.

The series also adopts a stylised look which has garnered a divisive reaction. Personally, I enjoyed it and found it a huge relief after so many modern shows with washed-out colour palettes, boring camera angles and a dearth of humour. Cowboy Bebop doesn't look like any other show on television, which is a huge plus in its favour (although, okay, it could maybe use a few less Dutch angles). The soundtrack, which mixes the anime's music together with new tracks from the original composer, is also outrageously good and the effects are mostly impressive.

Netflix's Cowboy Bebop adaptation (***½) comfortably emerges as the best anime-to-live-action adaptation to date, with an excellent central cast and a nice line in tonal variation. It can't quite match the original anime's inventive energy and it was probably wise of them not to try. It even improves on the anime in some areas, such as Julia's characterisation and storyline. However, it also disappoints with its depiction of Vicious and how much it spends on his storyline, and its characterisation of Faye is less accomplished than the anime. The late-finale appearance of Ed is also deeply concerning, showing a lack of judgement in how you adapt that (admittedly tricky) character to the screen. Still, there is much to enjoy here and to build on show the show come back for a second season.

The first season of Cowboy Bebop is available worldwide on Netflix right now.

Friday, 19 November 2021

COWBOY BEBOP casts Radical Ed

Netflix have confirmed the casting of the last main castmember from their live-action take on Cowboy Bebop. Newcomer Eden Perkins - so new they don't even have an IMDB page - will play the role in the apparently provisionally-commissioned second season, and debuts in the closing moments of the first season (which started streaming today).

The character of Edward Won Hau Pepelu Tivruski IV debuted a third of the way through the original anime and became a key member of the Bebop's crew, serving as a hacker and general free-roaming agent of chaos. The character was easily the most "traditional anime-like" of the characters, a cause of both the character's popularity and also fears that translating them to live action would be extremely difficult.

It's fair to say that the character's live action depiction is a choice which hopefully will be toned down in the potential second season, because it turns out what is endearing in animation might be "extremely annoying" in live action, even if the actor is highly skilled.

Cowboy Bebop started streaming today, worldwide on Netflix.

Saturday, 25 September 2021

Netflix releases the title sequence for COWBOY BEBOP

Netflix have unveiled the title sequence and music for their live-action version of the anime Cowboy Bebop.


The title sequence is very closely based on the anime's original, and uses a fresh arrangement of the classic theme tune "Tank!" Original composer Yoko Kanno oversaw the new version of the theme and will be providing new music for the series itself.

Cowboy Bebop drops its first season on Netflix on 19 November.

Monday, 23 August 2021

Live-action COWBOY BEBOP gets first pictures and airdate

Netflix's live-action take on classic anime Cowboy Bebop has a release date: 19 November this year. Netflix have also dropped the first publicity images for the show.

From left to white, John Cho as Spike Spiegel, Mustafa Shakir as Jet Black and Daniella Pineda as Faye Valentine. An unnamed Welsh corgi actor is playing the dog Ein.

Cowboy Bebop is based on the critically-acclaimed anime which ran for one season of 26 episodes in 1998. The original series was noted for its noir-ish atmosphere, it's vividly-portrayed setting (a futuristic Solar system where Earth has been abandoned after a hyperspace accident destroyed the Moon), it ambiguous characterisation and its absolute killer soundtrack.


It's unknown how much of the anime series the live-action version will cover; however, the fact that the casting for the regular role of "Radical Ed" has not been announced suggests it may only cover the first half or so of the original series (Ed debuted in the ninth episode of the original run).


Cowboy Bebop shot on soundstages and location in New Zealand, but production was blighted by lead actor John Cho injuring his foot just a few weeks into filming. Production was shut down for several months and was due to restart just as the COVID pandemic struck and all filming projects were suspended in New Zealand. However, production was able to resume last summer.


Additional castmembers for the series include Alex Hassell as Vicious, Elena Satine as Julia, Geoff Stults as Chalmers, Tamara Tunie as Ana, Mason Alexander PArk as Gren, Rachel House as Mao, Ann Truong as Shin, Hoa Xuande as Lin, Blessing Mokgohloa as Santiago, Molly Moriarty as Kimmie Black and Lucy Currey as Judy.


Cowboy Bebop would be nothing without its infamous soundtrack, and the good news is that Yoko Kanno, who scored the original anime, is returning for the live-action project.


Writers for the show include Christopher Yost and Hajime Yatate, a collective pen-name for Sunrise Studios, who created the original anime.


Directors for the project comprise Alex Garcia Lopez and Michael Katleman, who each directed five episodes.


Netflix have a mixed record on their anime adaptations, but this one benefits from a much higher budget than most of their previous efforts, and getting Kanno and Yatate involved may assuage fears that the show has been compromised too much. It certainly looks the part.

Tuesday, 8 June 2021

Netflix confirms autumn launch date for COWBOY BEBOP

Netflix has confirmed they will be launching their live-action version of Cowboy Bebop this autumn, and also reconfirmed (after announcing it last year) that iconic Japanese musician Yoko Kanno will be working on the show. Kanno's work was an integral part of the original anime and it's good to hear she'll be on board for this new iteration.


The series, based on the hugely popular and iconic 1998 Japanese anime of the same name, had a protracted production schedule for its first season. The show had only just started shooting when star John Cho broke his foot, necessitating the suspension of filming for several months. Just as things were gearing up for the restart, the COVID pandemic struck. Fortunately, the show was filming in New Zealand, one of the countries to most successfully handle the pandemic, and was able to resume production in good order. Filming was completed in March.

The show stars John Cho as Spike, Daniele Pineda as Faye Valentine and Mustafa Shakir as Jet Black. The first season appears to consist of eight or nine episodes, which might explain why the character Ed has not been cast yet; that character only debuts in the ninth episode of the original series.

Tuesday, 16 March 2021

Shooting on first season of live-action COWBOY BEBOP wraps

Filming has wrapped on the first season of Cowboy Bebop, Netflix's live-action remake of the hugely successful anime series of the same name.


It's been a very long road getting to this point. The original show ran for 26 episodes back in 1998, airing to massive critical acclaim. Unusually for such a popular franchise, the show was not added to in sequels, remakes or spin-offs, with its sole concession to franchise-dom being a single spin-off animated movie in 2001 and some manga spin-offs.

Netflix announced it was developing a live-action show in June 2017. Shooting began in October 2019 but was almost immediately - eleven days later! - shut down after star John Cho suffered a serious on-set injury to his foot. Between Cho's injury and the COVID-19 pandemic, shooting was delayed by almost a full year, only resuming in September 2020.

Fortunately, Bebop is shooting in New Zealand, which has handled the COVID pandemic better than almost any other country, and there were no further delays in shooting. Indeed, the show has wrapped earlier than some were anticipating.

The series is now in-post, but it looks pretty good that Cowboy Bebop could air well before the end of 2021. Whether it's any good or not is another question, but the cast looks solid and original composter Yoko Kanno is on board for the remake, so we can but hope.

Wednesday, 30 September 2020

Production of COWBOY BEBOP and LORD OF THE RINGS: THE SECOND AGE resumes

Amazon Prime have commenced shooting the six-episode, second block of filming for their mega-budgeted Tolkien prequel series. They had almost completed shooting on the first block of two episodes back in March when the coronavirus pandemic shut things down a few days ahead of schedule. They'd planned to take a six-month break to work on scripts for Season 2 and see out the New Zealand winter anyway, so the show's overall schedule was not adversely impacted.

Shooting on Netflix's live-action Cowboy Bebop remake was suspended last October just eleven days into filming when star John Cho suffered an on-set knee injury. A 7-9 month delay was mooted, which of course increased due to the pandemic. This ended up being a blessing in disguise, as it gave Cho additional recovery time. Bebop, also shooting in New Zealand, resumes production today.

A lot of the shows impacted by the pandemic have resumed shooting in the last few weeks. Season 2 of Carnival Row, Season 2 of The Witcher and Season 1 of The Wheel of Time have all spun up again since the start of August, and two more have now joined the party. Lord of the Rings is expected to shoot deep into 2021 filming between sixteen and twenty episodes expected to span two seasons, whilst Cowboy Bebop is likely to film well into the spring and maybe early summer. Lord of the Rings is expected to start airing on Amazon Prime in 2022, whilst Cowboy Bebop might just scrape onto Netflix before the end of 2021.

Thursday, 4 June 2020

Yoko Kanno to score the Netflix COWBOY BEBOP series

In news that will have fans everywhere breathing a sigh of relief, it's been confirmed (twice) that Yoko Kanno, the iconic composer behind Cowboy Bebop (among others), will be working on the live-action Netflix version of the show.


Netflix have previously remained quiet about their plans for the show's music, raising fears they would ignore the original series' jazz-infused musical sensibility. However, producer Jeff Pinkner has confirmed the news, as has (via io9) showrunner Javier Grillo-Marxuach.

Yoko Kanno is a Japanese composer known for her work on numerous anime films, TV series and video games. As well as the original Cowboy Bebop, she has also worked on Macross Pluss, Gundam and Ghost in the Shell: Stand Alone Complex. Cowboy Bebop is her signature and most famous work, for the variety of the compositions and the unusual fusing of jazz, pop and rock influences.

The Netflix show was several weeks into shooting when it was suspended in October 2019 due to star John Cho sustaining an injury on-set. Cho's injury has mostly healed, but Netflix want to give the star more time to recover before remounting the project (the current pandemic has meant that shooting could not resume anyway, of course). Shooting is expected to resume in the coming weeks for a 2021 debut.

Saturday, 19 October 2019

Live-action COWBOY BEBOP delayed by on-set injury

Netflix's live-action reboot of Cowboy Bebop is facing a potentially major delay after star John Cho suffered an on-set knee injury.


It's unclear how the injury was sustained, although it appears to have not been part of a stunt. The knee injury is apparently severe enough that filming for the new series will be suspended for at least seven and potentially up to nine months.

Netflix have confirmed they stand by the casting of Cho as main character Spike Spiegel and will not recast the role.

Tuesday, 8 October 2019

Production begins on COWBOY BEBOP live-action TV series

Filming started this week on Netflix's live-action take on classic anime Cowboy Bebop. Netflix shared the news via a short video, which also confirms that they have cast the ship's dog Ein with an actual corgi.


The clip also uses music from the original anime, although it is not clear if original composer Yoko Kanno is involved in the new project.

Cowboy Bebop is expected to air on Netflix in late 2020.

Thursday, 4 April 2019

Netflix announces cast for its live-action version of COWBOY BEBOP

Netflix is adapting classic anime Cowboy Bebop to live-action, the latest in a number of Japanese animations they have been transferring to live action. They've today confirmed the cast that will be bringing the show to life.


John Cho is playing the lead role of Spike Siegel, a laidback bounty hunter with a dark past. Cho is best-known for his lead role in the Harold & Kumar comedy film series and his supporting role in the American Pie movie series. He's also branched out into drama and science fiction, playing the role of Hikaru Sulu in J.J. Abrams' Star Trek reboot trilogy, so already has some space-piloting experience.


Playing the role of Spike's taciturn tough guy buddy Jet Black is Mustafa Shakir. Shakir is best-known for playing the role of the arch-villain Bushmaster on Season 2 of Luke Cage. He has also appeared in The Deuce and American Gods.


Danielle Pineda is playing Faye Valentine, an amnesiac con artist and thief with cool piloting skills. Pineda's credits include The Vampire Diaries, The Originals and Jurassic World: Fallen Kingdom.


Rounding out the core regular cast is Alex Hassell (Torchwood, Hustle, Suburbicon) as the main antagonist Vicious, a figure from Spike's past who makes an unwelcome comeback.

The ten-episode adaptation enters production shortly, to debut in 2020.

Thursday, 24 January 2019

Live-action COWBOY BEBOP to start shooting in April

Netflix will begin shooting its live-action remake of the classic anime series Cowboy Bebop in April this year, presumably to air in early 2020.


Based on the information provided to Production Weekly, the show will shoot from April to September. Locations in New Zealand, Australia, Spain and Montreal have been scouted. With shooting due to start in April, it seems likely that we will start hearing news about casting soon.

The show's blurb has also been unveiled:
In a distant future where resources are sparse and space travel leads to new lawless frontiers, a pair of bounty hunters are in need of a big break. Begrudgingly teaming up with their competition, a small crew aboard the BEBOP find themselves chasing down a high profile target while avoiding mega-powerful businessmen and a violent crime syndicate.

Thursday, 8 November 2018

ALTERED CARBON anime in development

In somewhat surprising news, Netflix has confirmed that it is expanding its Altered Carbon commitment with a spin-off anime show.


To be written by Cowboy Bebop writer Dai Sato, the anime will take place in the same universe as the live-action TV series (the second season of which is currently in production), based on Richard Morgan's Takeshi Kovacs series of novels, and will expand on the universe and mythology of the setting.

A Pacific Rim anime is also in development at Netflix.

The news is part of a wider engagement by Netflix with Asian television, producing both original live-action series and anime for the network. Netflix is reaching saturation point in the American market and in order to continue growing, it will need to pick up more subscribers in Asia, Europe and elsewhere.

Altered Carbon's second season is expected to air before the end of 2019. The air date for the animated series is unknown.

Friday, 21 September 2018

Gratuitous Lists: Ten Great SFF Title Sequences

The job of a good title sequence is to hook you into the story straight away and also keep you watching whilst the contractually-mandated right names are ticked off at the bottom of the screen. For a while it looked like title sequences were going the way of the dodo, with some TV shows preferring very brief title cards (the likes of Lost and Heroes), but the rise to fame of premium cable and streaming shows, with variable episode times, has made this less of an issue. Here then - not in numerical order! - are ten great title sequences from genre TV shows.


American Gods
(2017 - present)

The most recent show on this list has an unusual, dreamlike title sequence and musical score. The title sequence mixes traditional religious imagery with modern-day objects, a clear homage to the theme of the old gods versus the new. So we have a Hindu-like statue surrounded by modern drugs, the internal combustion engine and the space shuttle being treated as religious icons and, dominating all, a somewhat threatening version of the American eagle. An impressive work of art in its own right.


Babylon 5
(1993-98)

J. Michael Straczynski's space opera magnum opus was supposed to be the TV equivalent of Lord of the Rings or Dune, a vast epic story set in a thoroughly-realised setting, with each season acting as a separate book in a series of novels. In that sense he was thoroughly successful. This required each of the show's five seasons to have a different title sequence, each setting up an increasingly complex story. Composer Christopher Franke also had to come up with not just one, but five different theme tunes (he did cheat a little and repeat some motifs to great effect). The result is a title sequence and theme tune that sets each of the five seasons apart and adjusts to the changing tone of each season, moving through the worsening situation and outbreak of war in Seasons 2 and 3 to the hopeful, post-conflict tones of Season 5.


Batman: The Animated Series
(1992-95)

There have been several Batman TV series, ranging from the 1960s camp-fest starring Adam West to current crime-fighting odyssey Gotham, but the finest remains this animated series from the early 1990s. Drawing on the Tim Burton movies, the animated series is Batman in arguably its purest and most distilled form: the Caped Crusader (with occasional allies) taking down criminals mundane and super-powered. The show's art deco-inspired title sequence may be the greatest summary of what the character and his stories are all about.


Blake's 7
(1978-81)

This cult British space opera show was far, far ahead of its time (and way ahead of its budget). An adult, dark and bleak vision of the future (albeit one with fantastic hairstyles and bizarre fashion tastes), the show was about a band of freedom fighters trying to bring down a despotic government and all too often drifting over the moral border into terrorism and murder. The ground-breaking title sequence mixes live action, animation and electronic elements to depict the mix of Orwellian future dystopia and star-spanning adventures. It was revisited several times as technology improved over the course of the show's four-season run.


Cowboy Bebop
(1998)

Generally praised as one of the greatest animated series of all time, Cowboy Bebop ran for just one season and 26 episodes back in 1998, the creators at Sunrise Studios keen not to milk the product by promptly walking away and never looking back. In those 26 episodes the crew of the Bebop got involved in everything from farcical comedies to nail-biting dramas built on suspense and even horror, all to a funky soundtrack from the obscenely-talented Yoko Kanno. Okay, let's jam.


Doctor Who
(1963 - present)

Unsurprisingly - since it has run for 36 seasons across 55 years - Doctor Who has had more title sequences than any other genre show in history. No less than 17 title sequences and variations on the theme tune have introduced the show since it's began. It's more remarkable that these sequences have carried forward the same certain motifs - the chaotic swirl of the Time Vortex - even since the first one. The 1980s version notably becomes a bit more electronic and the 1987-89 version (during the Sylvester McCoy era) introduces a new recurring idea, that of the TARDIS flying past the camera, which remains a key part of the sequence into the new era. Next month we'll see the 18th version of the title sequence and music to usher in the Thirteenth Doctor, and it'll be interesting to see what they do with it.


Firefly
(2002)

From the longst-running show on the list to the shortest, Firefly ran for only 14 episodes back in 2002. Fox TV didn't understand Joss Whedon's vision, was confused by the mash-up of SF and Wild West ideas and prematurely canned the series (eventually realising their mistake when the DVD box set sales came in). The title sequence combines spaceships, action, horses and an Old West-style theme song to perfectly nail the show's atmosphere.


Game of Thrones
(2011-19)

HBO was understandably nervous before launching Game of Thrones in 2011, their first foray into fantasy fiction. Based on the most critically-acclaimed epic fantasy book series since Tolkien, with a pre-launch hype that has not been matched since, the show was clearly going to do well. But having one of the most striking title sequences of all time certainly helped, along with Ramin Djawadi's incredible theme music (which is definitely going through your head right now).


Star Trek
(1966-69)

The original Star Trek title sequence may be the most iconic in television history. Pretty simple and straightforward, with Captain Kirk telling us this is going to be a journey to the final frontier and lots of shots of the USS Enterprise flying quickly past the camera. Star Trek: The Next Generation remixed this title sequence quite effectively before Deep Space Nine brought in a new, more stately approach.


True Blood
(2008-14)

True Blood won't be fondly remembered as one of the great genre TV shows, but it did have a pitch-perfect title sequence which combined Southern Americana, religious fundamentalism, blood and sex, setting the tone of the TV show perfectly. The choice of theme song (Jace Everett's "Bad Things") ties in with this very well as well. This intro set up the show (more specifically, its first three seasons before it became a self-parodying soap opera) perfectly and may be the most HBO of all of HBO's title sequences.




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Monday, 23 April 2018

Cowboy Bebop

2071. A hyperspace gateway accident has made Earth almost uninhabitable, scattering humanity across the Solar system, with huge centres of population to be found on Mars and Ganymede, whilst Venus is being terraformed. Ex-crime syndicate member Spike Spiegel and ex-cop Jet Black are "cowboys", bounty-hunters working from the Bebop, a spacecraft with aquatic capabilities. They're happy working alone, but soon find themselves reluctantly acquiring new recruits: a strangely intelligent dog called Ein, an amnesiac con artist named Faye Valentine and a brilliant young hacker, Ed. Together they get into strange adventures from one end of the Solar system to the other as they try to get a big score...and forget their pasts.


Cowboy Bebop originally aired in Japan in 1998 and received significant critical acclaim, which has only increased in the last two decades. It's an anime (animated Japanese series) that draws on large numbers of influences, including significant western ones such as film noir, Westerns and jazz. Its acclaim and place in the anime pantheon is down to its accessibility, the relatively straightforward storylines and the very fine characterisation.

At first glance Cowboy Bebop adheres to the "small dysfunctional group of people on a small ship" paradigm previously seen in TV shows like Blake's 7 and Red Dwarf and films like Star Wars, and later employed by the likes of Firefly, The Expanse and Farscape, not to mention novel series like Chris Wooding's Tales of the Ketty Jay. Generally, each episode revolves around Jet and Spike picking up a bounty contract and trying to take the target down, usually through escalating and increasingly riotous complications. Several key episodes eschew this format in favour of exploring our heroes' backstories, with tinted flashbacks revealing how they got from where they were to hiding on a starship at the arse end of space. Cowboy Bebop has been called a coda or epilogue to a story that we never got to see, which is an interesting approach to a narrative but also one that works really well.

The show is rooted in its four characters: Spike is disinterested and apathetic until he is either annoyed or he is drawn back into his criminal past. Jet is more empathetic but, as the Bebop's owner, is often distracted by their always-precarious financial situation. Faye pretends to be too cool to be concerned about anyone else, but as the series continues we learn more about her insecurities and her missing memories. Ed is...thirteen and strange, and "data dog" Ein steals most of the scenes he's in. These initial characterisations are deepened as we explore more about their past episode by episode.

The show is unusual for eschewing anime's love of deep serialisation and increasingly convoluted long-running story arcs and focusing more on adventures of the week, with the occasional "arc episode" with longer-term ramifications. This allows for a lot of tonal variation. Some episodes are very bloody and action-focused, others are very comedic, others are romances or noir mysteries. At least two episodes are outright horror (Alien gets a homage), and the series as a whole can be seen as something of a tragedy, with the ambiguous finale approaching with gruelling inevitability. But there's also lots of good humour, some non sequitur moments (one episode seems to be one of the writers getting his obsession with the VHS/Betamax wars off his chest) and a commitment to character that is highly successful.

The animation is, mostly, excellent. There's some outstanding compositions and imagery throughout the show and the production design of the spaceships and future cities is top notch. More variable is the CGI, which was in its infancy at the time. There's not much of it, but it varies from the outstanding (the CG Mars the Bebop flies over several times is fantastic) to the patchy and risible (a background shot of Jupiter looks like a late-1990s screensaver).

One of Cowboy Bebop's greatest strengths is its music. The title theme and the outro song are both very good, but every episode is packed with songs from multiple genres including blues, jazz, rock, country, heavy metal and, in one Shaft-riffing episode, some R&B. Legendary composer Yoko Kanno is responsible for the show's soundtrack which must have a serious claim on being the best soundtrack for a single season of TV, animated or otherwise, ever made.

On the negative side of things, some episodes are a bit lacking in exposition, but usually if you wait long enough all of the major plot points are explained and the character arcs make sense. More of an issue - for some viewers - will be that the characters are mostly dressed sensibly for the dangers they are facing, but Faye is near-constantly portrayed in revealing outfits. It's odd because the show not only lampshades this a couple of times (showing they're aware of it), but even goes out of its way to present less-prominent female characters in a less exploitative manner. One episode, about a female space trucker with a love of heavy metal music, is particularly welcome for its exploration of a "non-standard" (at least from the perspective of the time it was made) female character. Faye is certainly a very strongly-characterised figure with an interesting backstory, but you have to put up with some silly outfits to get to that part of the story.

Nevertheless, Cowboy Bebop (****½) is a very strong show. It's tight and constrained (consisting of only 24 episodes) with some of the best and most memorable characters you'll ever seen in a TV show. The worldbuilding is excellent (excepting the fact it's unlikely we'll have colonised the entire Solar system in just seventy years), the stories are well-written and the thematic explorations of love, loss, redemption and family are highly successful. It also makes a great gateway show for those unfamiliar with anime's tropes and ideas. It is available now on Blu-Ray (UK, USA) and is available to watch on Netflix in the UK as well.

Tuesday, 3 April 2018

Happy 20th Anniversary COWBOY BEBOP

The popular and influential Japanese anime Cowboy Bebop celebrates its 20th anniversary today. The 26-episode series debuted on 3 April 1998 with the transmission of the second episode; the series was broadcast out of order, resulting in low ratings and the show's cancellation after only twelve episodes had aired. The series aired, in full and in proper production order, the following year and immediately picked up significant critical acclaim. In 2001 it became the first anime to air on the American Adult Swim channel, introducing a whole new American audience to the genre.


Cowboy Bebop is set in the year 2071, when the Solar system has been colonised and Venus and some of the moons of Jupiter have been terraformed (most notably Ganymede, which becomes the key setting for many episodes). Hyperspace gates link the planets, allowing for rapid travel across the system. Fifty years earlier, the first gate, located in Earth orbit, malfunctioned and exploded, shattering half the moon and sending billions of asteroids into orbit around Earth (and some onto collision courses), almost sealing the planet off. The rest of humanity has scattered across the planets.

The show follows the adventures of the spacecraft Bebop, a starship/boat hybrid. At the start of the series its only crewmembers are odd couple Spike Siegel, a former Red Dragon Syndicate criminal, and ex-cop Jet Black, who are now working as bounty hunters or "cowboys" in the show's parlance. The crew rapidly expands over the course of several episodes (a similar way of introducing the main characters as on Blake's 7 - itself a precursor of Cowboy Bebop - and Babylon 5) with the arrival of the beautiful amnesiac Faye Valentine, "data dog" Ein and Ed, a young child who is also a genius computer hacker.

Cowboy Bebop is notable for its Western influences, particularly several episodes which are clearly homages to film noir. The show has an incredibly eclectic soundtrack, courtesy of genius composer Yoko Kanno, which takes jazz as its main inspiration. Other episodes feature country, rock, classical, electronic and even heavy metal influences. The show also relaxed the obsession with detailed story arcs other anime series suffered from, instead consisting of mostly stand-alone episodes with a couple of recurring character arcs (including Faye's search for her past and Spike's repeated confrontations with his friend-turned-nemesis, Vicious).

Cowboy Bebop is also notable for how little of it there is. Director and co-creator Shinchiro Watanabe was keen not to milk the franchise, so designed it as a story with one definitive ending. A couple of years later he did return to direct a movie (which takes place before the final episode of the series proper), and a two-volume manga of the series was created but that's it. Watanabe has resisted making a sequel, reboot or continuation ever since. This relatively limited amount of content, together with the show's less-serialised nature and Western influences, has made Cowboy Bebop a much-recommended "gateway show" to the world of anime, being light on the insane tentacle monsters and brain-melting, convoluted backstories some other shows in the genre are known for.

The show has picked up significant critical acclaim and celebrity followers: Quentin Tarantino, Rian Johnson and the late Robin Williams were all big fans of the show. A live-action version of the show has been mooted for the last year or so, whilst some believe that the show was an influence on Joss Whedon's Firefly and the animated series Archer (particularly the use of music and the very similar title sequence).

By random coincidence, I've been watching Cowboy Bebop for the past couple of weeks and am about to wrap up the show, so expect a review later this week. In the meantime, congratulations to the cast and crew of Cowboy Bebop for having created something that still means a lot to people twenty years later and, impressively, not having run it into the ground with sequels and reboots.

Saturday, 17 March 2018

The Dogs of Science Fiction and Fantasy

A couple of years ago, I took a look at The Cats of Science Fiction and Fantasy. However, dogs feel a bit overlooked in the SFF field. Mention cats and everyone immediately thinks of Greebo from Discworld, Jones from the Alien franchise or Spot from Star Trek. Dogs initially seemed a bit less prominent. Fortunately, a few social media appeals later and it turns out that there's a lot of dogs out there holding up the canine end in speculative fiction.

Note that this is a list of dogs only, not shapeshifting beings who take dog form or wolves (who could be a separate list altogether).

Huan battles Carcharoth, Hound of Sauron. Art by Ted Naismith.

The most powerful dog on this list (probably) is Huan, the Hound of the Valar in J.R.R. Tolkien's Middle-earth legendarium. Formerly the companion of Orome the Huntsman, he was gifted to Celegorm of the Noldor, the greatest of the elven hunters. He was an enormous dog, the size of a small pony, and a tracker beyond compare. When the Noldor betrayed the Ban of the Valar and pursued the fleeing Morgoth to Middle-earth, Huan went with Celegorm and committed many great deeds both on hunts and in battle. However, the years of war made Celegorm cruel and heartless. When he tried to subdue the elven princess Luthien during her quest to rescue her lover Beren, Huan betrayed his master and joined Luthien's quest. Many great deeds were then done, but Huan's crowning moment of glory came in the assault on Morgoth's prison, commanded by his lieutenant Sauron (yup, the same one from The Lord of the Rings). Huan defeated Sauron in combat, proving that the Fellowship of the Ring's mission would have been a lot easier had they brought a magical demigod/dog (demidog?) with them. Later, Huan did battle with his opposite number, the dark wolf Carcharoth, and saved Beren from the beast. Carcharoth was killed, but Huan was mortally wounded in battle. Using his little-used power of speech, Huan wished Beren and Luthien well before dying.

Huan appears in The Silmarillion, Unfinished Tales and The Children of Hurin by J.R.R. Tolkien. He was a very good dog.


Gaspode the (self-proclaimed) Wonder Dog is a flea-bitten mongrel living on the streets of Ankh-Morpork. Due to too many years spent fishing food out of the back alleys behind the magical Unseen University, Gaspode acquired the power of intelligence and speech, which he used to great advantage, most notably his trademark greeting of saying the word "Woof!", which confused passers-by into feeding him. Gaspode harboured his secret carefully, but from time to time people discovered the truth about him and provided him with food and shelter. At one point Gaspode was offered a warm new home with a living family, but found that he enjoyed living on the streets so much he didn't want to leave them and ran away again.

Gaspode was friends and allies with Laddie, a beautiful and impeccably-groomed dog with a nose for finding people stuck down wells or hanging off cliffs and rescuing them at the last moment. Laddie was charismatic, handsome, dumber than a box of frogs that had eaten stupid pills (even by dog standards) and generally credited with whatever heroic feat Gaspode had masterminded, to the latter's profound annoyance. Gaspode tolerated Laddie's presence mainly because it radically increased the quality of food he could cream off passers-by.

Gaspod was named after "The Famous Gaspode", a dog noted for lying by his master's grave and howling in despair night after night before dying of a broken heart. Or possibly because his tail was trapped under the headstone and he starved to death. As Gaspode would say, "That just goes to show."

Gaspode appears in the Discworld novels Moving Pictures, Men at Arms, Soul Music, Feet of Clay, Hogfather, The Fifth Elephant and The Truth. Laddie appears in Moving Pictures. They are both good dogs.


Krypto, sometimes called "Superdog", is an ally and sometimes-described "pet" of Prince Kal-El, better known as Superman. He was test-fired into space by Kal-El's father, Jor-El, to test the spacecraft technology that later brought Kal-El to Earth after Krypton's destruction. Due to a malfunction, Krypto's spacecraft did not arrive on Earth until many years after Kal-El's arrival. Because of their shared Kryptonian heritage, Krypto gained powers comparable to Superman, including flight and super-strength. Krypto also gained increased intelligence to near-human-like levels and had a superior sense of smell to Superman.

Technically Krypto is an alien dog-analogue, rather than a dog himself. However, Smallville gives Krypto a new origin as a terrestrial dog who gets his powers from a different source.

Krypto appears, of course, in numerous Superman comics, animated series and spin-offs. His first appearance was in March 1955 in Adventure Comics #210 and he continues to appear in the comics to this day, sometimes in his own title. He is a very good alien dog.


Dogmeat is the name given to a number of canines in post-apocalyptic Earth. The first Dogmeat was encountered by the Vault Dweller in a junkyard in 2161 and became his constant companion in his mission to save Vault 13 from running out of water. In 2241 the Chosen One met another dog called Dogmeat, ostensibly the same one despite the passage of eighty years.

A third Dogmeat was found by the Lone Wanderer in 2277 in the Capital Wasteland near Washington, DC, living in a scrapyard near the entrance to Vault 108. A fourth Dogmeat was found by the Sole Survivor in the Commonwealth surrounding the ruins of Boston. This last Dogmeat could be customised with armour and accessories to be more effective in battle.

All of the Dogmeats were loyal, fierce companions who aided their masters in battle, could sniff out supplies and identify threats.

Dogmeat, of course, appears in Fallout, Fallout 2, Fallout 3 and Fallout 4. They were all very good dogs.


Rex is a Mk. III Cyberhound, Leo Support Model, a fusion of canine and robot, living in the city of New Vegas, Nevada, as the pet/bodyguard of the King. During the war between Caesar's Legion and the New California Republic, the King allowed Rex to join the Courier during her battle to save the Mojave Wasteland. Rex was initially old and decrepit, but over the course of her adventures the Courier could upgrade and repair Rex's systems and restore him to full health.

During the Courier's visit to the Big MT she also encountered a similar Cyberdog named Roxie. Roxie and Rex later met, joined forces and constructed a litter of Cyberpuppies, a collection of Boston terrifiers that brought woe to their enemies.

Rex appears in Fallout: New Vegas as that game's stand-in for Dogmeat. Roxie appears in the New Vegas expansion Old World Blues. Both are, naturally, very good (cyber)dogs.


Dug is a golden retriever owned by Charles Muntz, capable of speech thanks to a special invention. He lives to find The Bird and is a Great Tracker. He is not keen on The Hole and dislikes being made to wear The Cone of Shame. He hides under The Porch because he loves you, even though he's only just met you.

SQUIRREL!!!

Dug appears in the Pixar movie Up (after a cameo appearance in the preceding movie, Ratatouille). He is a very good dog.


Gromit is a beagle who is the best friend and pet of the cheese-obsessed eccentric inventor Wallace. Despite their master/pet relationship, Gromit is highly intelligent and a very capable engineer. He is also far better at thinking on his feet than Wallace and usually is the one to come up with a solution to the problems unleashed by Wallace's latest and most insane invention. Gromit shares Wallace's obsession with cheese, to the point of helping him construct a spacecraft to travel to the Moon to investigate claims of it being made of cheese (it was).

Gromit is also an accomplished pilot and driver, and has a taste for classical literature, philosophy and art. He is something of a Renaissance dog. He also has a NASA prototype rover named after him. He is also a good dog, despite his curious aversion to penguins.

Delirium, her sister Death and Barnabas. Art by Colleen Doran,

Barnabas is a dog adopted by Destruction, one of the godlike beings known as the Endless. Due to his lengthy exposure to Destruction, he gained the ability to speak and was known to have a taste for fine art that led him to being critical of Destruction's dabbling. When Dream and Delirium finally found Destruction after a long search, Destruction gave Barnabas to Delirium as a pet. Despite early misgivings, Barnabas came to love his eccentric new mistress, whilst he gave Delirium a focus and helped soothe her more troubled episodes.

Barnabas appears in Neil Gaiman's Sandman graphic novel series, first appearing in Brief Lives. He is a very good dog.


The Hounds of Darkness, Shadow and Light are canine-like beings native to the Warrens. They are incredibly powerful, savage and unreasoning in battle, but they are also focused on their objective and will generally not deviate from that to target innocents. The Hounds answer to the masters of their respective Warrens.

The Hounds of Shadow were servants of Shadowthrone (before he took control of the Throne of Shadow, they were agents in the service of the warren itself, and apparently allied to the mysterious being known as Edgewalker) and Cotillion. They numbered eight, two of whom were killed in battle with Anomander Rake. It was later revealed that they once answered to the Tiste Edur and refused to face them in battle, even when ordered to do so by Cotillion.

The Hounds of Darkness - the Deragoth - are believed to have originated as the D'ivers form of Dessimbelackis, the powerful human sorcerer and king whose downfall heralded the end of the First Empire. However, early reports of the Hounds suggest they were extant half a million years ago, long before Dessimbelackis was allegedly born. This paradox has not been addressed.

The Hounds of Light were servants of the arrogant and haughty Tiste Liosan, and may have been created by them in response to the creation of the Hounds of Shadow, due to the Tiste Liosan being terrible rip-off merchants. The Liosan managed to get most of the Hounds of Light killed in a foolish attempt to kill Anomander Rake in Darujhistan; the sole survivor turned on his former masters and allied with the Malazan wanderer Kiska for a time.

The Hounds appear in Steven Erikson and Ian Esslemont's Malazan novels. They are sometimes good dogs, but are powerful and unpredictable beings who should be best treated with caution.


Vincent is one of the survivors of Oceanic Flight 815 when it crashes on the mysterious Island on 22 September 2004. The pet of Walt Lloyd, Vincent proved his value to his fellow survivors on many occasions, usually by sniffing out trouble or supplies.

After Walt's kidnapping by the Others (after which he never saw Vincent again), Vincent was looked after by several of the other survivors: Shannon and then (after Shannon's death) Claire and Hurley. After the Island was moved backwards and forwards in time, Vincent found his forever home with Rose and Bernard, who chose to remain on the Island (due to Rose's cancer, which the Island's powers halted from spreading).

Vincent, of course, is a regular character on the TV series Lost. Most notably, he appears in both the opening and closing scenes of the entire series, bookending the whole story. Vincent is the only character on Lost to appear in so many episodes but not get a flashback; a webisode named So It Begins is presented from Vincent's POV but is meant to be a prequel to the whole series, not a traditional flashback.

Vincent was definitely a good dog.


Porthos is a beagle belonging to Captain Jonathan Archer and a crewmember of the original NX-01 Enterprise. Noted for his love of cheese, Porthos was a surprisingly effective crewman, frequently spotting alien infiltrators and lifeforms before the human crewmembers did and facing down a Ferengi boarding party (who showed him respect due to his impressive ear size).

According to some reports, 22nd Century science allowed Porthos to live to be over a hundred years old and was present with his master when the USS Enterprise NCC-1701 was launched, although this historical fact is disputed, with some claiming that the dog in question was a descendant of Porthos's.

Porthos was a regular character on Star Trek: Enterprise and can be categorised as a very good dog. The universal translator was not effective on him.


Ein is a crewdog about the starship Bebop. He was recruited into the crew by Spike. Despite his traditional dog-like demeanour, such as his enjoyment of being petted and called a good boy, Ein possesses extraordinary intelligence. He is shown driving a car, using the Internet and plays shogi to an impressive level. He is also shown to be skilled in cyber-espionage, hacking into a complex computer system.

It's unclear how Ein become so hyper-intelligent, but he keeps his intelligence a secret from the rest of the crew. Only Ed and, later (in the manga only), Spike, become aware of his true capabilities.

Ein appears in Cowboy Bebop, both the anime and manga series, and is a very good dog.


Kemlo Caesar appears to be a humanoid dog or genetically-altered human, but in fact is an ordinary doberman who poses as a humanoid thanks to an elaborate exoskeleton (usually hidden by clothing). However, he does possess human-level intelligence and the ability to speak. A police sergeant in Precinct 10, he is noted for his kindness and trustworthiness, and often gets people to open up to him, possibly a result of the unconscious bond between humanity and dogs.

Kemlo is a recurring character in Alan Moore's comic series Top Ten. He is a very good, and surprisingly empathetic, hyperdog.


Kezef the Chaos Hound is one of the most feared canines in the Dungeons and Dragons multiverse. His precise origins are obscure, but he appears to particularly despise the Faithful, those people who venerate or extol one god above the others. Although the entire multiverse is his stomping ground, various events drew his attention to the world of Toril and the region known as the Forgotten Realms. Kezef caused tremendous damage in the Realms, including maiming the god Tyr, before he discovered his true nemesis: the god of thieves, Mask. Mask only defeated Kezef with the help of a tremendously powerful artefact, Houndsbane. Kezef is also the enemy of Gond Wonderbringer, who once imprisoned him for centuries through a ruse. Kezef also has a complex and unreliable history of alliances with the dark god Cyric the Mad.

Kezef appears in the Forgotten Realms novels Prince of Lies and Crucible: The Trial of Cyric the Mad by James Lowder, and is also referenced in numerous game materials. He is a bad dog.


The newest entry on this list, Midnight is a dog who gained the power of speech as the honourable ally of the superhero group known as the Flag Five. Midnight survived the destruction of the Flag Five by the villain known as the Terror and became a celebrity, both for his status as a talking dog but also for his struggles with his faith; his eventual embracing of atheism was related in a book and an accompanying book tour. He reluctantly allied with his former rival, Overkill, and the Tick to help defeat the Terror. After the Terror's downfall, Midnight warned the Tick and Arthur that certain forces would now be keeping their eye on them and to tread carefully.

Midnight is a brand new character in the Amazon Studios version of The Tick, although he was inspired by Speak, an animal rescued by the Tick in the 1990s animated series. After a mental episode exacerbated by hallucinogens in which he came to believe that Speak could talk and fly, the Tick discovered that Speak was in fact a misidentified capybara, the world's largest rodent. Midnight should not be confused with the Evil Midnight Bomber What Bombs At Midnight. He is sort of a good dog, but also kind of arrogant and annoying.


Ambrosius is the canine mount of Sir Didymus, the illogically heroic knight who guards the Bog of Eternal Stench near the Goblin City for no immediately-obvious reason. Both are recruited by Sarah during her quest to enter the city, defeat the Goblin King and rescue her baby brother.

Ambrosius is cowardly and dislikes battle and danger, which makes him a suboptimal battle steed. Ambrosius has much better common sense than his master. Despite not being able to speak and is apparently subservient to Didymus despite them being the same species, Ambrosius is fairly intelligent.

Ambrosius appears in the film Labyrinth and is a very good, if slightly unreliable, dog.


Of course, there are many other dogs in speculative fiction. Honourable mentions must go to:

  • Astro from The Jetsons.
  • Seymour from Futurama.
  • Kazak the Space Hound from the novels Sirens of Titan and Breakfast of Champions by Kurt Vonnegut.
  • Blood from A Boy and His Dog by Harlan Ellison (the inspiration for Fallout's Dogmeat).
  • Einstein and his 1955 counterpoint Copernicus, from the Back to the Future movies.
  • Cujo from the novel Cujo by Stephen King.
  • Rags from the Woody Allen movie Sleeper.
  • Bandit from Grant Morrison's graphic novel We3.
  • Cosmo the Spacedog from the Guardians of the Galaxy comics (with a cameo in the films).
  • Brain from Inspector Gadget.
  • Nosy, Fitz's first dog and Wit-bond in The Farseer Trilogy by Robin Hobb.
  • Fluffy, the triple-headed guardian dog from the Harry Potter books by J.K. Rowling.
  • Toto from the Oz books by Frank L. Baum.
  • Ace the Bathound from the Batman comic books.
  • Toby the Ghost-Detecting Dog from Ben Aaronovitch's Rivers of London novels.
  • Mouse from The Dresden Files by Jim Butcher.
  • Bear from Person of Interest.
  • The Dog of Tears from the novel Blindness by Jose Saramago and its film adaptation.
  • Rowf and Snitter from the Richard Adams novel The Plague Dogs.
  • D-Dog from Metal Gear Solid V
  • Snowy from the Tintin comics and graphic novels. Among other things, he was the first dog to fly to the Moon and successfully return to Earth.
  • The Littlest Hobo from the TV series The Littlest Hobo. Possibly slightly spurious as SF, but in one episode a scientist concluded that the Littlest Hobo had superior and possibly inexplicable super-intelligence compared to the ordinary dog.

The following are not dogs, but are dog-like or dog-appearing beings.

  • Muffit and his fellow Daggits from the original Battlestar Galactica. These are robotic dogs built to entertain the children of the Colonial Fleet, because this is a good use of limited resources. Muffit was, weirdly, played by a female chimp in a very uncomfortable costume.
  • K9, a robot dog built by Professor Marius in the year 5000. He is adopted by the time-travelling Gallifreyan Time Lord known as the Doctor. At least four distinct K9 robots have been built over the years, appearing intermittently in Doctor Who, a spin-off pilot called K9 and Company and The Sarah-Jane Adventures. A different version of the same character appeared in an Australian children's series, K9, in 2010.
  • Targs are the Klingon version of dogs in Star Trek, similarly serving variously as pets, hunting companions and (rarely) food. They first appeared in the movie Star Trek III: The Search for Spock and subsequently appeared or were mentioned in Star Trek: The Next Generation and Deep Space Nine. Both Worf and Martok had pet Targs when they were younger. Martok's Targ was "accidentally" lost when his wife Sirella moved into his house.
  • Lockjaw was an Inhuman transformed into a gigantic dog by exposure to the Terrigen mists in the Marvel Inhumans series. Weirdly, despite his origins as a sapient being, Lockjaw seems to prefer being a dog and in no hurry to be transformed back. He's probably the best thing in the terrible ABC television version of the franchise.
  • Sirius Black from Harry Potter likes turning into a dog for his own amusement. To each his own.
  • Ravage and Nightstalker from Transformers and Beast Wars are sometimes misidentified as dogs, but they are in fact jaguars.



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