Few changes in recent memory has been hot (and suspicious) expected Netflix‘s live-action anime classic 1998 jazz Cowboy Bebop. Since its introduction in English in 2001, the story of three planetary hunters and their faithful corgars has given Westerners some sort of access to the beautiful anime world. Sportsman André Nemec feels he has a responsibility to bring the world back to Spike Spiegel and his happy team through 10 episodes that began on November 19th.
“I think the real problem from the beginning was the inability to record the words of the anime. The way we accomplished this is to dig deep into the work of the person,” Nemec told WIRED employee Cecilia D’Anastasio at the third RE: WIRED event. Since the real identities of these people are, Nemec says, they were able to create an amazing moment through comedy and fighting games. “There was a real depth and real pain for all the characters,” he explained, “and the pain we can sense with the lives of the characters.”
For John Cho, who plays Spike with a broken heart but a broken heart, making his role more impressive in his form. He said: “I used to think that this person was kind and funny and that he was confused and tied up, but now I find it hard to endure. “That he is struggling with things, and that it is a way of interpreting or dealing with his problems.”
This gradual growth is not only related to the protagonist’s journey, however. “The story of the hero is told by a strange villain,” says Nemec, referring to Spike’s archnemesis, Vicious (actor Alex Hassell’s sequel). “It was very important to find out who Vicious was, why Vicious was, what Vicious was chasing, and who Spike Spiegel was to him? And for Vicious, Spike Spiegel is the villain.”
The world in which these two opponents live is as important and as populous as the people they live in. “What quickly became clear from the anime is that it is not a dystopian image of the future, even though the world has a big problem that is sending us into space,” Nemec said. “Instead, it is a diverse culture, and in a multicultural society we rebuild our country in the passion of the country from which we came.” Hence, the presence of retro tech sandwiches is ham.
Failure to properly document this culture has led to chaos for Cho, who is often too careful not to be taken into account in Asian society. He says: “When I first started, I did not want to make an Asian accent. “And the reason is because it was a sign that a funny person or a funny person would laugh.” But her attitude has changed. He says: “At this point in my career, I like to play the role of the person I used to pronounce when I was a child, the Korean pronunciation, and to express it in a loving and respectful way.”