Cowboy Bebop

Title: Cowboy Bebop
Distributor: Sunrise
Genre(s): drama, action, crime, space, bounty hunters
Age Rating: 13+

Episodes: 26
Aired:  3 Apr 1998 - 23 Apr 1999
Official Site: at http://www.sunrise-inc.co.jp/international/index.html

Authors Rating: 9.5/10












The year, 2071. With the rapid expansion in space colonization, it became necessary to create instant travel between planets. The result was a number of subspace gateways; however, inadvertently, an accident during construction caused great damage to the Earth. In this time, criminals thrive across the solar system, and someone needs to clean up what the authorities cannot: bounty hunters. Among these are former mobster Spike Spiegel and former police officer Jet Black. Along with gambler Faye Valentine and hacker Edward, they put the law in their hands, for the safety of others, to reconcile their pasts, and most importantly, to put food on the table.




I know, a great soundtrack, awesome fight scenes, and downright good characters, there’s gotta be a catch. Not this time. At the twilight of the 20th century, anime was at its peak giving rise to Cowboy Bebop, a series that went above and beyond all expectations. Aside from one small, yet potentially critical flaw, the viewer is left satisfied on all levels. Perhaps I’m just being nostalgic because this was the first anime I watched which wasn’t some Saturday morning bastardization. But there’s more to this than that.

The first thing I would have to say about Bebop is that it’s got class. I don’t think there is any musical genre Kanno Yoko can’t do. The blues create a perfect atmosphere, and even on its own it’s a treat to listen to. Much like Escaflowne’s(1,2) epic chorus andTurn A Gundam’s folksy bluegrass, one is entranced by the score to the point that you might as well be at the symphony. In all honesty, the first time I heard Bebop’s music, I had no idea that it was from an anime soundtrack, and boy was I surprised hearing it in the series.











Visually, the series is stunning, with a style that seems unique to anime. Despite being science fiction, many parts give off an early 20th century jazzy vibe, which complements the story and music well. However, when the animation needs to show its sci-fi face the moment is captured perfectly. And it doesn’t just look good, it moves well too. Many anime boast about their amazing fight scenes but few deliver. The action here is fast paced, engaging, and totally void of stock footage.However, this is all icing on the cake. Where Cowboy Bebop delivers more than just about anything else is in its characters. Spike Spiegel is the ultimate badass, rivaled by very few. The rest of the main cast is just as good including the well developed Faye, Radical Edward, and Jet who emits rays of awesomeness. Beyond being likable and interesting, the characters also succeed relationship wise. Chemistry between the Bebop crew is pure, lacking even a single forced moment. The only characterization I’ve seen that rivals this is probably Planetes.










Bebop, also, has one of the most fun and addicting plots in anime. The idea itself is simple; however, it is compelling as well. The compelling characters at the helm make you interested in their dreams and situations. The series is full of good examples of episodic stories. One, for example, involves Ed’s misadventures while chasing a narcotics dealer in a setting closely resembling the Wild West, while another involves a sympathetic story set on Venus involving Spike’s interactions with a man who wants to learn martial arts from him - for very personal reasons that Spike discovers later. These are just a few of the great stories and great characters that result in some of the most memorable moments ever to be shown on the small screen.

Cowboy Bebop is so well made that I didn’t want it to end. There was so much to it, but at lot more could have been possible. It didn’t help that Spike’s story felt a little incomplete. Not bagging on the ending, it was excellent, but I can only imagine how much richer the series would have been given another five to ten episodes. What I personally experienced was similar to when I watched Fafner, being so entranced, so connected that I wished it could go on much longer. Alas, that is a sign of good storytelling which I can forgive, especially with a standalone movie that came later. I could go on forever, the epic moments, the fun battles, the dub that was as good (maybe better) than the original. But I digress, this review is starting to go overboard. I bid you ado, until next time, space cowboy.

Afro Samurai

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Title: Afro Samurai
Distributor: Gonzo
Genre(s): samurai, drama, violence
Age Rating: 18+ (extreme violence and brutal scenes)

Episodes: 5 + Movie
Aired: January 4, 2007 - February 1, 2007
Official Site: at http://www.gonzo.co.jp/index.html

Authors Rating: 9/10











Set in a world where everyone’s desire is to beat up the bigger, tougher guy in order to become the biggest, toughest guy in the ’hood, Afro Samurai serves a plate of standardised plotting. Much of the development comprises a lot of macho stand-offs followed by gruesome resolutions; furthermore, the protagonist has no other motive for his deplorable actions except revenge against the individual who killed his beloved father - the owner of the number 1 head band - when he was barely old enough to remember it.




As Afro predictably hacks his way through one unfortunate challenger after another, the creative design continues to retain its fascination. Consider a irreverent world setting where rocket launchers are used in close-combat as easily as daggers - sex and violence are equally gratuitous - and the main character wears a pair of 18th century oriental bell bottoms. Even the chief antagonists are a menacing Pentecostal sect with fervent sermons drawn directly from the gospel preacher stereotype.






Afro Samurai consists of smooth, groovy, funky stuff and borrows its hard edge from African American culture in a way that brings to mind a bloodier, brawnier, but less original Samurai Champloo.

Alongside visual feasts Afro Samurai is at heart a long sequence of set pieces intentionally arranged to wow viewers who like rapid story progression, gory battle scenes and action so fast that if you blink you will miss. Afro dodges crossbow bolts, parries double swords, and carves flying bullets with the unnerving precision of a murderous master chef, all to an eerie backdrop of deep shadows, sinister greys, and hot splashing reds.




More than that, the show offers some excellent stylistic ‘comic book’ touches, from the majestic way hair floats to the ethereal fluttering of bandanna's and other loose material. Afro Samurai also makes the best use of smoke I’ve seen in Anime, including claustrophobic shots of steaming gun nozzles and cigarette fumes pumping out of nostrils, which adds to the intense 'hellish' atmosphere.

Unfortunately, stylistic excellence does not extend to the soundtrack. That is what many would tell you. I, however, completely disagree with the majority. I think the sound track is completely incomparable to Samurai Champloo's. The two Anime's are completely different. Afro Samurai is much darker and sinister. For this reason the opening music fits perfect with the dark nature of the show. If I had to compare it to Samurai Champloo I would say that I honestly preferred Afro Samurai. All that can really be said is to listen to both of them for yourself. Both Anime's have very memorable opening themes. Music within the show - Afro Samurai - has been heavily restricted and replaced by natural sounds and that add to a more eerie setting and provide a heavier atmosphere to the scenes. Music that is used is usually upon victory where our ... hero? ... Is leaving the battle field.

The men are all cold killers or shop owners, the women purely decorative, and the ham-fisted villains fall to Afro’s sword at the drop of a dismembered head. As for Afro himself, viewers need only know one thing: he’s hard. He’s so hard he could break rocks by just sitting on them. He’ll fuck a brother up quicker than he can utter ‘Yo momma’. Etcetera. In short, Afro is vacuous and only entertaining while he’s killing people; in fact, his blinkered, unrepentant lust for revenge even at the cost of allies is wholly unattractive without the necessary background substance to make it understandable.





As a pleasant surprise, the English dub consists of street lingo to match the show’s urban flair. It’s novel but it’s also rather corny. At worst, there’ll be Samuel L. Jackson’s monosyllabic deadpan performance as Afro filling up the empty scenes of the show, and making the 'lone traveller' part much more entertaining and gives the show some comic value. This character represents the internal Afro Samurai, which he suppresses but never the less is still there. 




Compact but viscerally impressive, Afro Samurai is one for the adults. It provides excellent visual entertainment and a gritty atmosphere that countless will find transiently enjoyable. Come for the style, watch for the stunts, and stay because it’s short and won’t waste too much of your time.

GANTZ

Title: GANTZ
Distributor: GONZO
Genre(s): supernatural, spirit, death, alien, violence
Age Rating: R (extreme violence and mature scenes)

Episodes: 26
Aired: April 12, 2004 - June 26, 2004
Official Site: at http://www.gonzo.co.jp/index.html

Authors Rating: 8.5/10

Gantz starts out as violent as it ends up. Childhood friends Kei and Katou are waiting for a subway and see a drunken man on the tracks. Katou is the good guy and tries to save him, and Kei attempts to help, but their bravery costs them their lives. Kei’s decapitated head flying through the air is a harbinger for the violence to come. The two "awaken" in a room filled with strangers and a large black sphere known as Gantz who, unbeknownst to them, will soon send them on harrowing missions to kill strange aliens; missions which carry a notable reward, and a high chance of dying in very nasty ways. The duo is joined by a very large breasted naked woman, a dog who can’t keep its face out of her crotch, and a company of others. And thus, the violence begins. 

Gantz is a tense, emotion wringing story with a lot of blood and a side portion of... well... all manner of rude things. Unless you are very tolerant of hardship, gore and mature scenes then this anime is not for you. Parents won't want their children to watch these episodes until they are 18... actually EVER. Lets put it that way. Mid-teens will love watching the show when and will miraculously be totally unharmed with the exception of being exposed to a couple of interesting ideas. 

These ideas are as follows (certainly not comprehensive);

1) What happens after you die? Heaven or Hell? ... Nothing? Or it could be something else entirely that no one has considered?


2) Young men tend to be more up for it than have common sense. 


3) Materialist idea of 'you' or 'I'. It appears that almost all of the characters in the show are 'captured' at the time of their death and recorded and transported to Gantz. This either implies that the soul is recordable and re-creatable or that the soul is unnecessary in the recreation of a person. 


4) The weaponry is immensely original. Kei Kurono is certainly the most interesting character in the series. He can be annoying to listen too, is obsessed with the female form and is fully self-indulged, but I think that merely makes him a relatively accurate depiction of a teenage male. One of the key points in this very gore filled series is that violence is real and although the activities in the Gantz games are certainly violent, you can not escape it, even in a place that should be safe like home. This is demonstrated by Kato's little brother being beaten by their Aunt that is taking care of them because their parents are dead. The effects of violence at home, rather than violence in the Gantz activities are what appear to motivate Katou in to incredible rages. Katou, who is the most reasoning character in the series. Kato, who is unable to kill in order to survive or even protect his friends - is driven by the violence at home and school to beat people without remorse and to a pulp.

The character design is beautiful as are the back-drops, some of the best I have seen. However, character development leaves a little to be desired. There is a feeling of shallowness to all but one, Kei's childhood friend who dies with him, Katou. None of the other characters are given much, if any depth or history which leaves an overall 'empty' feeling to the show. 

The voice acting is superb, as one would expect with such a line-up, in both English and Japanese. I feel that the cast have done a superb job, given the lack of portrayed on-screen emotion from the characters themselves. 

As for the music it is a colourful choice. Japanese rap, if you will. I have to admit, it's a nit cliche, yet fun to listen too and great to attempt to jam along too! 

Overall Gantz has many pitfalls and is lacking in a conclusive ending, character depth and tangible story, amongst many other things. However, it is right up there with my most memorable anime's of all time! The scenes and settings, the graphic content and the brilliant animation just impress this one on to your cortex and force it down in to the long-term memory. A definite must see for all who are not squeamish.