GraveLord Nito

thesylverlining

Listen, the Exploring/Looking For Bounty Leads/Talking To Lots Of People montages are some of my favorite parts not just in Cowboy Bebop but anime/tv/film in general - they’re always so well-done and the interactions/story progression are so clear despite no dialogue, with gorgeously-drawn city backgrounds and diverse AF people, any of whom look interesting enough to have an episode to themselves. (The time they do this with space truckers is a freaking standout, as is the opening credits to the movie, set to the absolute jam of a song, Ask DNA.)

Just - Cowboy Bebop was Really Freaking Good on so many levels and I miss it every day.

ayellowbirds

Like i said before:

one of the reasons i still love Cowboy Bebop so much is because it takes the “used future” look to such an extreme. There’s scenes on Mars that you’d assume were in some lonely southwestern town if you didn’t know otherwise, spaceship interiors that are stained and worn and feel more like the deck of an old fishing boat, space “truckers” whose cockpits are overloaded with gewgaws and souvenirs. Colonies still look very Earthly, because Earthlings didn’t abandon their heritage just because there was new technology available. There are places where brick and mortar buildings are practical and cheap, so you see stone and stucco rather than gleaming arcologies. For the most part, it’s a very industrial, blue collar future; even Spike’s bright red Swordfish II personal fightercraft has more of the feel of something a backwoods tinkerer might occasionally pull out of storage—a former racing vehicle repurposed in ways that probably aren’t wholly legal. Jet’s Hammer Head is alien and strange, yet at the same time calls to mind both older automobiles (with its prominent forward section) and more industrial vehicles with its large towing arm, all brought together by its thoroughly scuffed surface.
some other settings do a bit of this, but none so totally as Bebop. We don’t see things that are fancy and futuristic for the sake of being impressive, but because they make sense in context. The Bebop itself isn’t some super-spacious vessel with room to spare (thinking of a lot of the interior shots of the Serenity in Firefly, here), it’s kind of cramped and uncomfortable, dingy and dark, with a few small personal spaces. It feels small, in contrast to the vastness of space.

celticpyro

In the year 2019 can we please stop acting like Chaotic Neutral is the only “cool” character alignment?

celticpyro

There is no such thing as a “boring” character alignment, only an alignment you haven’t utilized creatively.

aquestionofcharacter

sonoora

@pawelcyril

fandomwanderer

The fact that some people think you can’t play around with the character alignments shows how people limit their imagination too much to archetypes.

One example: making a Lawful Good character question whether it’s more important to be lawful or to be good.

celticpyro

Lawful Good is fun exactly for that reason. They can easily be at odds with themselves and have trouble deciding which is the right choice without breaking their own moral code.

(Plus “lawful” alignments don’t necessarily mean a character follows someone else’s laws. The “lawful” part could come from their own ethics that they follow and a Lawful-aligned character could easily commit murder if murder isn’t against their conscience. Hell you could have a lot of fun just deciding exactly what “laws” a Lawful character adheres to.)

wheel-skellington

alignments are much more flexible than people often write them to be, for example a Lawful Neutral character who follows their own personal code of law its functionally incredibly similar to your typical Chaotic Good character, doing their own brand of justice (law) based on their own personal morals (code)

See, that’s what the app is perfect for.

Mildred the Morose by Bernard Chan