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There's no sense of culture. No ethos to pull from. Nothing that defines the world that Suburu is tossed into. Just snippets of ideas cobbled together to serve as yet another medieval fantasy world that draws from the same well as any other. Were Re:Zero the only anime to tackle high fantasy, this wouldn't be a problem, but sadly for it, Escaflowne exists. Rage of the Bahamut exists. Berserk(1997) exists. Moribito exists. There's nothing here that defines Re:Zero. Even trainwrecks like Akame Ga Kill had a better-thought-out universe. And for whatever it does try to establish, it's either extremely overbearing or missing things that could be attributed to half-assed resolve.
The new series, which was co-produced with Tomorrow Studios, stars John Cho as suave ex-syndicate member Spike Spiegel, Mustafa Shakir as dependable former cop Jet Black and Daniella Pineda as spunky con-artist Faye Valentine. It credits Watanabe as a consultant and welcomes back Kanno to helm the score—her return is arguably the adaptation’s strongest selling point to existing fans. Here’s everything to know about the original Cowboy Bebop before you watch the Netflix adaptation. Cowboy Bebop‘s dark tone led to some bumpy beginningsWatanabe, who was working at the animation studio Sunrise, made his solo directorial debut with Cowboy Bebop in 1998. The series was originally envisioned as a project that would sell toys, through a sponsorship from Japanese company Bandai. In an interview with Otaquest from 2017, Watanabe described Bandai’s toy division as having shown interest in something with spaceships as its core. “They thought both the series and affiliated merchandise would sell well,” the director said. “That’s why the offering of my ‘Bebop’ project was taken. ”But Bandai pulled the sponsorship when the initial episodes were produced. “They didn’t think such a dark and subdued portrayal of spacecrafts would do any favors to their toy sales,” Watanabe said. While Cowboy Bebop has its comedic moments, the show abounds with violence and interrogates concepts like existentialism and fatalism—not exactly the most marketable material for toy makers.
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