Despite having only 26 chapters, Shin’ichirō Watanabe’s ‘ Cowboy Bebop ‘ has become an absolutely essential work.
With a western air, a futuristic setting, space travel, a noir tone, Asian references and its impressive soundtrack to the rhythm of jazz, getting on board the Bebop with Spike, Jet, Faye, Ed, and Ein was a fundamental experience for lovers of anime in particular, and audiovisual narration in general when Netflix announced it was preparing a live-action remake, fans expressed the same enthusiasm as fear.
At the end of the day, the ‘ Death Note ‘ (Adam Wingard, 2017) is still fresh.
” You can’t look at Cowboy Bebop and say, ‘Well, it’s just a starting point.’ We will put a different hair and a different one, and we will call it differently.
It will be something that goes free, ‘ ”explains Javier Grillo-Marxuach, scriptwriter of the series, in an interview with io9. ” If you’re doing Cowboy Bebop, you’re doing Cowboy Bebop.
“We don’t want fans of the series to see it and say that we failed them or that we failed the original.
“ We are not going to go one by one with all those stories because we are also trying to tell the larger story about Spike Spiegel and the Union, Spike Spiegel and Julia, Spike Spiegel and Vicious, and everything in between.
But we are looking at the series and saying, ‘Who are some of the great villains in this series and how can we include them in this larger narrative?’
We will have to be vigilant lest Francesc Miró, author of ‘ Requiem for a space cowboy: The universe of Cowboy Bebop ‘, be displeased.