It can cause the same feelings of Schadenfreude as sadness, looking at the copy in search of the collected version of Cowboy Bebop: Supernova Swing.Yes, it’s just a bit funny, to see it advertised as a connection with the “Hit Netflix Series” as long as we threw out of our systems all our confused by this mess, and the thing was unceremoniously canceled after less than a month.But it is still a feeling of a persistent disappointment with what could be, a reminder of how much Netflix scored what had at least a chance for an interesting approach to such a beloved property.In this respect, Cowboy Bebop The Comic gives a chance for a second chance-a window to an alternative reality that Netflix hoped to take with the franchise as a ongoing multimedia empire, and what spin-off stories could be told as part of, *sigh *, cowboy bebop cowboop universe.
Immediately it must be admitted that as Spinoff Supernova Swing does almost what Netflix Bebop should probably do: he simply creates a completely new story in the generalized scenery of the series, instead of trying directly to adapt all threads from the infamous course of the original anime.The independent story of Dan Watters, along with the art of Lamar Mathurin, who distils the costumes of the characters from actors live with even greater influence of their animated counterparts, creates a unique experience of something that can reasonably be considered an additional episode or original anime or his reckless transformation.This is quite a solid argument for the exhibition of this collection, despite the fact that its binding is dead in water.
In fact, the appearance of this comic is one of the best arguments for its unique existence. When you pass the covers and introductory pages, synthesizing the images of actors from the Netflix series, you are greeted by a storm of colorful, stylized Mathurin staging, showing the whole scenery and action in this film. Fighting is emphasized by the extremely clever use of changing colors and silhouettes. The details of the background are well vaccinated with twists and turns, which pay off a few pages later, or simply devote themselves to temporary gagom (such as piles of packed pasta, which the crew has around the ship after events from the third edition). The moods of various scenery, which traverses history, contrast well with each other, from the sun -battered atmosphere Cyllene, to mood rains on Mars in the last issue, which makes so many characters seem to cry because of their unsatisfactory efforts at the end of their journey. Too dramatic? Maybe, but it’s nice to see how he really tries seriously, defining style, except for any color gradation or inexplicable Dutch angles.
Good, so it looks good and seems to be the right ideas at the very beginning, but what does this story look like for Supernov Swing? Being an individualized story, plays with a supreme, high concept, with a Bebop team trying to track the prize, which seemingly manipulate happiness when they wonder how it works at all and what it could mean for them if they could get their hands on such technology . This is an interesting idea that is intertwined with other sub -units that would match the original anime explorations. But the way you get there and actually cope with them seems uneven. For example, a visit to the moon Cyllene is combined with the explanations that none of our heroes, nor most people with whom they had contact in their lives, were aware that this place is suitable for living, not to mention the easy paradise. It turns out … It is an isolating ruling based on the assumption that most people have adopted a basic bureaucratic explanation for a good coin, which can be understood as a convenience of telling stories, but this is still one of the more stretching gullibility of aspects I have encountered.
Fragments such as this trip to Cyllene and what she represents also raise a question about how this comic feels on Bebop compared to the source material and source material. The atmosphere of a constantly drunk party planet suggests that Bebop reward hunters actually necessarily like constant scraping just to survive in the economy of space concerts, which may be a bit better to take on the attitude from the acting series. But he definitely opposes the dedication of OG in presenting the depth of the fight. Similarly, the key themed part of this whole story is based on the interpretation that Faye’s gambling habits were a kind of coercion chasing emotions behind the thrill, and not, you know, desperate acts of someone who is trying to escape her crushing debt in the conditions of cosmic capitalism. This clearly indicates the Bebop version, on which this comic is based, acting on a fundamentally misunderstanding of the characters and the environment in which they live.
In addition, Watters’ efforts to imitate Netflix Cowboy Bebop script styles evoke some of the most controversial elements of this adaptation. Things never reach the worst peaks in the style of Whedon in the live series live, but so many dialogues can still be too hard for your own good. Some of the latter narratives about quantum speculation or more longing and reflective dialogues (especially Spike in the last issue) are approaching the more classic, appreciated climate of Bebop, and the final phrase and meditations that it leads seem similarly to the classic. Although even interest in this last stage is undermined by a strange choice so that Jet alternately talks about the whole procedure, even when the presentation of the comic performs a great job, showing how elegantly the elements combine. If so, how close it is in some of these moments, it clearly shows that this comic could act even better as a generalized Bebop connection, instead of being dependent on the distorted interpretation of the series by Netflix. At least Supernova Swing saves us virtually any performances in the infamously wrong approach to Vicious and Julia in this program, although he still retains this strange emphasis on every conspiracy in some way derived from the syndicate.
Supernova Swing mostly appears as a curiosity, but it is a more generous curiosity, unlike the macabre, senseless watching the series on which she officially resists. A lot of love that the original anime can have for the original anime can sometimes be too charmingly blunt, throwing several camei from classic animated supporting characters or positively littering the backgrounds with text names, words and titles referring to the original. But it is still a recognition that in the best moments it seems that only the song from the sound lane soundtrack does not match the Bebop shaping climate. But it also often reminds you of why Netflix’s approach to the material that is now famous for not starting. This is a recursive adaptation, which seems mostly to struggle with the weight of this association, but her artistic choices carry it well, and there are ideas for history that can be chewed without figures and writing, which completely scares the audience. This is still not a particularly amazing stew, but at least this time they remembered to add some stew mix to it.