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[40] The atmospheres of the planets and the ethnic groups in Cowboy Bebop mostly originated from Watanabe's ideas, with some collaboration from set designers Isamu Imakake, Shoji Kawamori, and Dai Satō. The animation staff established the particular planet atmospheres early in the production of the series before working on the ethnic groups. It was Watanabe who wanted to have several groups of ethnic diversity appear in the series. Mars was the planet most often used in Cowboy Bebop's storylines, with Satoshi Toba, the cultural and setting producer, explaining that the other planets "were unexpectedly difficult to use". He stated that each planet in the series had unique features, and the producers had to take into account the characteristics of each planet in the story. For the final episode, Toba explained that it was not
possible for the staff to have the dramatic rooftop
scene occur on Venus, so the staff "ended up normally falling back to Mars". [41] In creating the backstory, Watanabe envisioned a world that was "multinational rather than stateless". In spite of certain American influences in the series, he stipulated that the country had been destroyed decades prior to the story, later saying the notion of the United States as the center of the world repelled him. [42] Music[edit] Main article: Music of Cowboy Bebop Series composer Yoko Kanno in 1999 The music for Cowboy Bebop was composed by Yoko Kanno. [43] Kanno formed the blues and jazz band Seatbelts to perform the series' music. [44] According to Kanno, the music was one of the first aspects of the series to begin production, before most of the characters, story, or animation had been finalized.
As Fukui left, Ippo asked him if he was sure he wanted to quit boxing. Fukui answered that he wouldn't end it and he would prove himself to Kamogawa, who called his coach a failure, and hoped to see Ippo again in the ring again. Ippo sparring
against Mashiba. After his match with Gedo was approved by his gym, Ippo wanted to find out the magic behind his ability to distort his opponent's sense of distance. After having trouble figuring out Gedo's magic, Ippo decided that he should just forget about it and if it extends, he just has to avoid it and keep moving forward. Kamogawa took Ippo to the Tōhō gym in order to spar with Mashiba, as Mashiba has long range and was near Ippo's weight class, much to the dismay of both boxers. When the spar began, Ippo was able to get close to Mashiba after manoeuvring through his Flicker Jabs. Ippo used his Dempsey Roll, hitting Mashiba while dodging his Flicker Jabs until he was hit with a right
uppercut. After the spar, he admitted to Kamogawa that he lost and believed the right uppercut was designed to defeat him. Ippo apologised to Kamogawa and Yagi, thinking that the spar was not of any use, however, Kamogawa disagreed. Ippo meeting Gedo in the ring before their match.
"Manga-nifique! How France became obsessed
with Japanese anime". The Guardian. Retrieved July 11, 2023. ^ Bendazzi 2015, p. 363. ^ Leonard,
Sean (September 1, 2005). "Progress against the law: Anime and fandom, with the key to the globalization of culture". International Journal of Cultural Studies. 8 (3): 281–305. doi:10. 1177/1367877905055679.
