Cowboy Bebop's First Episode Was Genius, So Why Did The Next Two Leave Me Cold?
When I first began watching anime decades ago, I avoided Cowboy Bebop like the plague because of my overall disinterest in science-fiction anime. I already wasn't a fan of anime with mechas, which are clearly science-fiction. The only positive thing I saw about mechas was the fact that there were giant robots, and since there obviously weren't going to be any in Cowboy Bebop, I came to the natural conclusion that Cowboy Bebop would be much worse. The fact that Cowboy Bebop was influenced by Westerns as well didn't matter either, since I also didn't like Westerns.
When I finally started Cowboy Bebop, what initially captivated me was, ironically, the anime's ingenious way in which the debut episode, "Asteroid Blues," blended sci-fi and Westerns together. The other defining aspect of "Asteroid Blues" that drew me in was Spike's short, albeit compelling relationship with Katrina. After the episode ended, I understood why everyone considered Cowboy Bebop to be timeless and was genuinely excited about watching the rest of the series. Unfortunately, the next two episodes, while more important plot-wise than the first, fell quite short by comparison, greatly diminishing my excitement for what was to come.
"Asteroid Blues" Is The Epitome of the Cowboy Bebop Aesthetic
Episode 1 Perfectly Blends Westerns with Science Fiction
For many, Cowboy Bebop's stunning soundtrack is rightfully a major contributing factor to establishing the series' atmosphere and overall connection to the Western aesthetic. This is understandable and does accomplish a similar effect for me, but nowhere near the same extent as to how others feel. "Asteroid Blues" masterfully combines these mournful, lonesome twangs and haunting harmonica melodies with expansive landscapes that are reminiscent of expansive desert wastelands that not only evoke feelings of loneliness and isolation but also of awe and opportunity, which is an effective representation of what the Western Frontier instilled in the original cowboys.
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Similarly, there's an old-timey saloon where a good deal of the episode's action takes place, but even that is given a futuristic spin. Inside, it's hard to tell that right outside those swinging doors is the hustle and bustle of a modern city. Back inside, there's even the stereotypical set-up of the very tired, old men with sun-worn skin you would expect to find at such a saloon, gambling at a small round table. The fact that Spike later wears a sombrero elicits the same effect since Northern Mexico was part of the Western Frontier.
Spike and Katrina's Relationship Signifies The Blues
Katrina's Pursuit of Freedom Is Representative of the Expansiveness of Space and The Western Frontier
One of the more stunning scenes takes place when Spike is speaking with a woman named Katrina about escaping to Mars against one of those stunning backdrops that, while lush with greenery, is lost in a thick mist, making the view seem desolate. Consequently, the brief conversations these two characters share are what help push "Asteroid Blues" to a whole other level. Even though Spike has ulterior motives when he first engages her in conversation, they quickly establish some sort of connection, where her desire for freedom clearly resonates with him. Spike, too, is looking for another type of freedom, one from debt and mounting repairs.
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These words aren't random and nicely complement the mindset of the early cowboys as to why they ventured out west. The Western Frontier was freedom for them, too. It's not a coincidence that we think of Mars as a desert planet and that Katrina sees Mars as a gateway to freedom.
Their interactions are so powerful because there are usually no words shared between them. All we get are just a few moments when their eyes lock, and for those mere seconds, it's clear there's some level of understanding. That is why the last time Spike looks into her eyes is so impactful. In her last moments, Katrina tethers herself to her murderous boyfriend, a man who might be her ticket to freedom, but is also the reason why she never obtains it. It's even more ironic considering the fact she kills him herself but holds onto his corpse as she's killed.
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All of these incredible elements are completely lost in the next two episodes, which fall flat by comparison. What's ironic is that I'm aware of how consequential they are to the plot. Episodes 2 and 3 introduce Ein the corgi and then Faye Valentine, respectively, who both join Spike's crew and become major mainstay characters. Meanwhile, "Asteroid Blues" is essentially a standalone story or could very much be the prologue to the overarching tale of Cowboy Bebop, since its respective set of proprietary characters all die in the end and don't move the story forward.
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The main sin of episodes #2 and #3 is that there are no expansive landscapes that evoke the same awe and trepidation as the endless deserts of the West did, an aesthetic that was so instrumental in setting the tone of "Asteroid Blues." In fact, episode #2 takes place in a more stereotypical city-like setting. There aren't really any major sequences that happen in space, either, to help bring in that sci-fi aesthetic. Of course, every planet that Spike visits can't look the same. In addition to not being very realistic, there's something to be said about diversification, though it does come at the expense of the series' overall tone.
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Episode #3 is clearly a step in the right direction, but it still doesn't compare to "Asteroid Blues." Except for one of the opening scenes when Faye is introduced and soon captured, there aren't any expansive landscapes. The entirety of the episode does, however, take place in space, and the majority of the events also happen aboard a rather unique ship that has some ties to Westerns. It's quite literally a gambling ship, and gambling plays a major role in Westerns.
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The problem, however, is that most of the gambling that happens in Western films is held in old saloons like the men playing cards in "Asteroid Blues." Many times, cowboys even gamble in dusty streets and alleyways. There's nothing old or dusty about the ship in episode #3. It's completely refined and upscale. If any comparison is to be made, it is more akin to the type of high-risk gambling that transpires in 007's Casino Royale. And while I appreciate the science-fiction spin on the ubiquitous standoff trade that literally happens on top of the gambling ship, it isn't proprietary to Westerns.
I Actually Prefer Katrina to Faye
That Will Likely Change, But Right Now, Faye Doesn't Fit The Aesthetic of "Asteroid Blues"
In comparison to Spike and Katrina's relationship in "Asteroid Blues," the interactions between Spike and Faye in episode #3 couldn't be more different. Even though it's difficult to subjectively say which is better, it's clear that the atmosphere and delivery are not the same. So, it isn't off-base for me to say that if I was hoping for a relationship like the one between Spike and Katrina in episode #1, I wouldn't get it with him and Faye.
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Consequently, Faye and Katrina are both looking for freedom. But Faye - who is a much sassier individual than the cool, refined, and collected Katrina - has a more sarcastically annoyed understanding of her predicament, which creates a more upbeat and humorous tone. Katrina's sense of longing was much more poignant and forlorn, which is more indicative of the Western aesthetic. Spike was clearly more moved by Katrina's sentiment, which helped sustain that poignancy as well, though, honestly, Faye never gave him a chance to feel anything save for amusement and respect when she got one over him at the end.
Although I've clearly just started watching Cowboy Bebop and will most assuredly love the series just like everyone else, I can't help but feel a little disappointed that the second and third episodes couldn't maintain that same bluesy aesthetic as the aptly named "Asteroid Blues." The series' soundtrack rightfully contributes to that overall feel, but it needs to be complemented by the ubiquitous expansive landscapes and the equally expansive nothingness of space that Cowboy Bebop can and will hopefully continue to deliver.
