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The Greatest Western Anime Ever -
So I finally decided to watch Cowboy Bebop: the famed anime from 1998. An almost unmissable entry in virtually any ‘top anime’ list that one can find in blogs or video essays on YouTube.
Having watched it I gotta say I wasn’t impressed.
Frankly, having just finished the series a few days ago (Early March 2023), I cannot help thinking about what all the hype surrounding the show is about. I mean it is a good show, I guess… But. But actually no. It isn’t.
Cowboy Bebop is not even a good anime. In fact, it is a rather bland one. A rather predictable one. And worse, it is an anime that incorporates some of the worst elements of Western storytelling and drops many of the interesting aspects of the Japanese anime style, most notably the manga-inspired elements, and critically those which define the Sci-fi sub-genres: Western and the space opera.
One explanation for the rather bland storytelling in Cowboy Bebop is that the anime is not based on actual pre-existing manga (stories based on Japanese comics or graphic art). This shows. In fact, Cowboy Bebop comes across more like a Western cartoon, almost a Saturday morning-ish (with certain ‘adult’ elements thrown in). It is far cry from the kind of anime that would have been envisaged by the mind of a true anime or manga fan.
Its biggest fault line is the relegation of the Sci-fi elements of a future space drama as ancillary components to the greater (and supposedly better) emphasis that is placed on the ‘character/relational’ aspects of storytelling.
In this post, I will break down the key problems with Cowboy Bebop, a show that is held up as the gold standard in Western anime, and will argue why Outlaw Star, an anime series that was released around the same time (1998). And unlike its far more popular counterpart, it is a superior anime in terms of story, character and character development, and the kind of Sci-fi themes that it chooses to engage and how it manages to do so.
At this point, it is worth mentioning that when I started writing the first draft of this essay I was totally in the dark with regard to another major Western anime from the late 90s. One that is arguably among the best of all time: Trigun (1998). A top-notch Western anime that too absolutely buries the space cowboy (another name for Cowboy Bebop) cartoon. However, having just completed this series (in late March 2023), Trigun would not be a feature in this essay.
In case the reader, presuming he/she is a major fan of the Cowboy Bebop anime, and considers him/herself to be an ‘expert’ on the subject matter, including a deep knowledge of the Japanese Manga scene, will naturally differ. However, it is not my aim to change such opinions. The objective here is to explain why Outlaw Star is objectively a better Western Sci-fi anime than the fabled Cowboy Bebop.
Cowboy Bebop vs Outlaw Star: Why the Star is Brighter
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Right. So to do this comparison I will break my analysis of the two animes into sections.
In each of these, I will engage major themes that characterize good anime and good visual storytelling in general, and how each of these two shows falls short or lives up to them. In the process, I will also touch on certain aspects of manga, upon which these shows are based or at least inspired by.
Finally, in the course of this essay, I will provide certain takeaways as far as modern TV (or streaming) audiences are concerned: notably on how modern storytelling has, especially when it comes to movies and series-have regressed to a pretty bad state. With elements found in Cowboy Bebop prefiguring many of these negatives that are pervasive today. In contrast, Outlaw Star is a better representative of good storytelling, world-building, and character development, which are in short supply.
So with that in mind…
Cowboy Bebop (Story)
Arguably the most interesting aspect of any entertainment medium: whether it is movies, television, comics, and video games (the ones that matter for now), is the core narrative that holds the visual experience together.
The importance of good storytelling for virtually any art form is well-known and I will not delve into it here. But the characteristics of what makes a good story vs a bad one are relatively easy to discern.
Champions of great anime storytelling: the likes of Full Metal Alchemist (2003) and Full Metal Alchemist Brotherhood (2009), Death Note (2006), and Stein’s Gate (2011) are rightly held up for the sophistication of the plot, the complexity but comprehensibility of the unfolding narrative, and meaningful conclusions. Stories that have a clear beginning, middle, and end. In addition to artfully meshing other aspects of the art form: the characters, the action, drama, stunning reveals, etc. into one.
The story of Cowboy Bebop is about a ragtag group of bounty hunters with different personalities, aims, and interests that are unified by their search for money. Built into this narrative we have the predictable backstories of the main trio affecting the overall narrative.
Spike, Jet, and Faye all come with personal baggage which shapes their beliefs and impacts their actions. This ‘baggage’ acts as a catalyst for their choices but also as a lurking psychological demon that haunts their waking hours driving them to think and act in ways that make the characters the idiosyncratic personalities they are meant to be.
Nothing new here.
Spike’s story as a hero with a dark (criminal) past, one that he is trying to get away from, but also haunted by, and hence compelled to live it, perpetually in the present. Thanks to an oh-so-boring ‘long lost love’ storytelling device, that is a boilerplate if there ever was one.
I will leave out Jet Black’s character here and will engage him under the ‘Character’ section. As his ‘story’ (i.e. episodes centered on his life) simply amounts to the hated filler content that makes up much of modern television. Events and occurrences that do little if anything to advance the main plot (presuming there is one).
As for Faye, well she is interesting for the wrong reasons. And again I will not say much here, as I will also engage her character under the section on ‘Sex’. For now, it suffices to say that Faye is the rather typical post-feminist Western woman, who has come to the realization that she does not need a man or men in her life. And that money will solve or address pretty much all her physical and emotional needs.
As for her amnesiac (back) story line-an awfully predictable trope in Sci-fi, is poorly developed and does little to the overall story. Again, presuming it has one. And this is the biggest problem with Cowboy Bebop. In that, it does NOT have a ‘main story’.
Whilst one can argue that Spike’s conflict with Vicious, and his forbidden love affair with Julia is the major theme. However, given the episodic character of the series: with almost every episode featuring a self-contained story, with no overarching narrative to tie the events together, means that it all becomes rather pointless at the end.
And even episodes that involve conflicts with Vicious (‘Fallen Angels’ and ‘Gateway Shuffle’) do little to develop the world that the story is set in, and the stakes that are involved, never rise above the episodic character of the show.
Another major shortfall of the show is the lack of world-building (or ‘world explaining’). This is a critical omission in any Sci-fi or fantasy venture. An area where Cowboy Bebop, as we shall see, fails. This effectively lessens whatever stakes that may rest on the decisions made by the main characters. Since their decisions will have little to no effect in affecting or shaping the world around them. As the whole Cowboy Bebop affair plays out like a ‘Modern Family serial in space.
In sum, as far as ‘the story’ is concerned, Cowboy Bebop is worse than a run-of-the-mill soap opera. Its ending (spoilers) involves the dual demise of the hero and the villain, whilst seemingly impactful when viewed for its sake, but it has no build-up. With little insight into the character, motives, and aspirations of the main antagonist, Thus there is no real payoff. Then there is the bland nature (portrayal) of the characters.
The Characters
When it comes to likable characters and their characterization there is often a ‘You either like them or you don’t’ principle at work. And admittedly, a lot of people like the various Cowboy Bebop characters for a variety of reasons. I, however, dislike them all for a variety of reasons.
In this section, I will work my way through the characters. Going from the ones I like and dislike the most to those I dislike the least. Admittedly there are certain characters that dislike for one could say irrational reasons. In terms of the objectivity of my critic, the problems I have with them are tied to other elements of the show.
Ed
That’s right. The neurologically enhanced Welsh Corgi (dog) Ein, is NOT the worst character in the show.
I don’t know something (or everything) about Ed seemed utterly irritating. From the start, where he/she is introduced as some whizz-kid, with great programming and analytical skills, with a weird way of speaking. Presumably a whelp with special needs but one that also happens to be a science whiz! (Where have I heard that before).
Speaking of the present decade Ed will no doubt be a great role model for girls who are trying to get into STEM (despite the supposed opposition from sexist men). Combine that with the perceivable lack of dimorphic features (14 is around the time when girls hit puberty), Ed is likely to be a great standard-bearer for the genderqueer, non-binary crowd. This is not a problem in itself, but let’s just say that this is not my cup of tea.
Now there is only that much I can say in terms of criticism given Ed’s age and apparent non-binary status (the latter which puts her into a protected class). But the point must be made that her addition whilst seemingly subversive: a (very) young female techie, as opposed to a nerdy guy in his twenties, it is nonetheless a banality as far as present times are concerned.
With strong female characters with an eye for engineering, and who aren’t (or are unable to be) interested in men, coming out of the woodwork. And did I mention that Ed is animated horribly?
Jet Black
As for Jet (Black), I never liked this character. He just seemed too, I don’t know, old for the show. Not exactly regards to his age (well maybe that too – since anime and manga more generally, are principally centered on the lives of young men, or adolescent males). But his overall character just seemed so boring. Making his aims and motivations for the most part unrelatable.
The ex-cop who wants to do right by the world because ‘he wants to do what is right’: To ‘act principally’; and to be, I don’t know, be some kind of father figure to the rest. Especially the women in his life (Including Faye). This is terribly bland. And frankly, I couldn’t help rolling my eyes every time an episode came to be centered on him. Which were one too many.
And speaking of a big strong male character who is good with guns and spaceships, this guy, like all other male characters in the show, was awfully lacking in the libido department. Whatever the groundbreaking character of this space serial, the bland ‘father figure’ character concept is a terribly boring one. And speaking of his ‘nobility’: the part where Jet, having “lost” a game strip poker to the cheating (fully clothed) Faye, and deciding to take off his underwear on the principle that “a man keeps his word” pretty much sums up the pathetic state.
I don’t know who the main target audience for this show is (or maybe I do) but testosterone-fueled men, clearly ain’t it.
Jet Black’s noble stupidity is summed up quite well by Faye describing him (and men as a group) as “hopeless romantics”. Later in episode 21 (Feng Shui), when Jet is trying to help the teenage girl Pao Meifa; the story implies some kind of connection between the two. And it is not completely out there. Considering that Jet is supposed to be 38 (though he looks 58) and Meifa is in her late teens. Forbidden love one could say, but not necessarily an inappropriate one. And potentially an interesting one is given that this is the space age.
Spike and Faye even discuss the prospect, with the latter at a point even observing that “the more righteous a guy was back in his young days the more likely he is to fall for some young thing when he gets older”.
An interesting point. Of course, none of that transpires, as Jet continues to play the role of the sexless father figure, which is understandable, but again too predictable, and boring. The main problem with Jet Black and this is true for all of Cowboy Bebop’s characters is that they just play to the formula.
Faye
I won’t say much about Faye in this section other than that she plays as noted, a certain feminist archetype. Faye is not only, NOT likable from the standpoint of any self-respecting heterosexual male, but is naturally unrelatable. Her character and aims do not evoke any sympathy, interest, curiosity, or desire on part of yours truly for reasons that will be revealed below. Simply put, Faye is the sort of female character that a guy gets into anime to avoid.
Ein
Ein is a smart dog. Ein is a cute dog. Ein is a space dog. Ein is a pet. Ein does little to nothing of significance. End of story.
Spike
Spike is boring. He is not an interesting character. And in a weird way (i.e. despite being a competent male character with skills, strong convictions, and motives) he is not relatable to a male audience. Especially the younger ones.
The main problem with Spike is that he has no growth trajectory.
Spike begins the show as a confident, sociable, and combat-ready character who is ready to act at a moment’s notice. This, despite its apparent promise, is negative, and contrary to what finds in most manga, particularly the Shonen variety (intended for teenage boys), and to a lesser extent Seinen (adult men) genres.
In both genres, there is some degree of character development. One that invariably grows with the advancement of the plot: where the main character in coming to terms with the challenges of life in the real world (story), the growing power of his adversaries, and the nature of his personal obstacles, comes to mature as a person. And as a man.
The process of maturity and growth applies to various aspects of his life: his abilities, beliefs, his relationship with society, women, and most of all himself. A point that is especially true in Outlaw Star. With Cowboy Bebop, however, this entire chunk of storytelling potential is missing.
Spike enters the scene as a fully-formed character and leaves it just the same way. This is probably why one struggles to empathize with his plight as he flies towards his demise in the final confrontation with Vicious.
Maybe this was the idea of the writers all along. But Spike, as a main character just seems too detached from the entire story. As if he was simply waiting his time, for his final confrontation with Vicious. Which it actually isn’t. If you watch the final two episodes carefully, Spike brings upon himself his demise; and selfishly that of his lover Julia: who at one point offers the opportunity of escape.
Following her death, his battle with Vicious and his forces is just a suicide mission. A man who dies ultimately for nothing. As his own death is not going to bring his girl back, and only leaves a hole in the lives of his remaining space friends.
As for his relationship with other characters, the only one worth mentioning is his relationship with Faye. Which is an utterly unrealistic one given the circumstances. One that undermines his character. A point which I shall engage in the next section.
Sex
Given the gender-confused times that we are in, with ever-growing emphasis on ‘equality and diversity’, along with calls for “positive” representation of women, minorities, and gender non-conforming persons, some good-old man + women sex is just what we need.
But not here. When it comes to sex in the Space Cowboy show, the main problems are
One: the lack of it, and Two: Its character.
Those who are familiar with Seinen and to a lesser extent Shonen inspired anime, would know that the sexual element is a notable one. Whilst the degree or extent to which things are taken varies, Japanese animators and storytellers are generally not the sorts to be afraid of nudity, sex, and innuendo. Which are varied, contextual, and quite creative in their presentation.
An interesting example is in the hit anime Stein’s Gate. A show that is for the most part devoid of sex and nudity, but curiously slips in (In Episode 11: ‘Dogma in Event Horizon’) a scene with the two main (young) female characters taking a shower, in the nude! Nothing of this sort happens again, which makes this clip all the more interesting (Hey I am a guy).
Returning to Cowboy Bebop, whilst the show features a number of hot and sexy female characters, they all come with an air of unavailability. Starting with Faye. Who, despite being scantly clad most of the time and often featured in the shower and other private parts of the ship, there is a certain turn-off element that comes tied to her persona.
The sort of, ‘I don’t want men to get too close to me unless I can be 100 percent certain, I can get something from them and not give anything in return’.
The sort of cues one associate with ideological feminists who have grown to hate men due to old age, a history of bad breakups or experiences; or among penis-allergic radical feminists/lesbians- the latter two groups are often one and the same- the sort of women (if they are even worthy of such a title) who cannot stand anything male, heteronormative or masculine.
The entire show, in terms of its female characters, are concerned is a false tease: With some promises but nothing substantial. The biggest culprits that enable this regard are the men.
It is remarkable how the ostensibly single Spike and (the 38-year-old) Jet do not put the moves on the attractive Faye Valentine. I mean, having the only pretty, scantily clad girl in her early twenties (thanks to cryogenic freeze) walking around in a spaceship half-naked for prolonged periods, where contact with the real world would be intermittent at best; with two healthy, heterosexual, adult males on board. This could produce only one outcome.
It Doesn’t.
The fact that neither Spike nor Jet put the moves on this sassy fox is beyond belief.
Which probably explains the neutered character of their personal stories. The fact that Spike chooses to die for his former love from years past; instead of putting that behind him and moving on forward in life. And the fact that he remained fixated on that ‘One girl’, reeks of an incel mindset.
Speaking of incels: the sort of guys who owing to lack of experience with women, get hung up on some pretty girl who caught their eye and then proceeds to dedicate their lives towards courting/loving/pursuing them. Despite little in terms of reciprocity.
This is effectively what we get with Spike’s relationship with Julia. Even though we are shown moments of them together, we are never provided a deeper look into how the relationship developed and devolved. As they often do in the reality. And the closing credits of the show evoke the ‘As a man, I can only love one woman’ bull-crap. That is a far cry from the real world of relationships.
And if I am not mistaken no one gets laid on the show in real-time. Counting out flashbacks and the like. This show is sexually stale. Kinda like how things are today in terms of movies and entertainment in the (Anglo-American) West.
World Building
This is a broad subject and it is closely tied to the coherence of the plot and the imaginative faculties of the writers.
When it comes to anything science fiction and fantasy the world that is woven around it, is key to the believability of the story.
The best-written stories tie the plot, the motives of the characters, and their development with the wider world and mythos (or rules) that govern it. Full Metal Alchemist is notable in this regard and so is the anime that I will argue later is the far superior Western anime: Outlaw Star.
When it comes to world-building Cowboy Bebop is weak in the sense that the elements that make up the world: the politics, the institutions, the rules, and the main power brokers are left in a skeletal state. There is no real effort at trying to map out the wider world in which the events that affect the main characters take place.
A good Sci-fi takes its time to map out the nature of the world. In doing so it lays down the rules of what is possible and what is not. Whilst this is a criticism that is applicable to many anime, including in some ways to Outlaw Star. However, Cowboy Bebop fails remarkably in this arena in that it does not even try.
The failure to outline the limits of what a man can do and what he cannot, given the constraints imposed by the technologies and rules of the time in which the story takes place, is especially egregious. As a fan of hard science fiction, I value the time taken to plot and detail the world in which the main events take place. Particularly the relationships between the concepts and ideas introduced in the story to real-world science, events, and beliefs. This absence, or in the case of Cowboy Bebop, their total disregard is aggravating.
Cowboy Bebop is not so much a space Sci-fi modeled on the Wild Wild West, then it is a story that takes place IN the Wild Wild West with some Sci-fi elements thrown. A secondary consideration almost, to make it seem like a superficial Western Sci-fi anime.
Speaking of the antagonistic factions, there is little explanation of their broader motives. What are they after (besides more money and power). What is driving them, besides base human impulses? What is the source of their true strength? Well besides having an x number of men with guns, for the hero to later mow down.
Worst of all, is how disjointed all of this is.
The workings of criminal elements are not tied closely enough to the main narrative. As noted, there isn’t any. With only the personal connection between Spike and his lost lover, the remaining link.
Speaking of the romantic connection that drives the actions of Spike; Faye again provides some wisdom on the stupidity of the male characters in the show. As she observes: “He [Jet] is kidding himself if he thinks that his old girlfriend is still carrying a torch for him”. She isn’t.
As the reader may have noticed, virtually every aspect of the show circles back to the personal relationships of the characters, rather than any individual concerns or motivations. Everything is relational. Saccharinely so.
The whole bounty hunting business model and the enforcing authority that makes it possible, with criminal factions led by the Red Dragon crime syndicate playing spoilsport, with the changes wrought to society via various technological changes contributing in parts to the main narrative, all seem half-baked and disjointed.
This is natural, considering the disjointed nature of the story vis a vie its the episodic character. One that follows a drama-like take (i.e. old fashioned TV rather than Sci-fi heavy space anime) that makes the whole show seems like a soap opera from the late 90s that has been animated to suit a middle-aged (female) audience.
Frankly speaking, whilst watching this anime, I didn’t feel like a kid as I do (and one ought to) when watching other top animes (like Outlaw Star), but like an old(er) person. Just seeing Jet on-screen, the 38 old 58-look-like, had a draining effect.
Cowboy Bebop is a show made by post-menopausal women and impotent men for apathetic, asexual man-children. And nowhere is the lifeless boredom of the show more apparent than in the action.
Action
Action is a key feature of all anime. Or should I say anime that is aimed toward young or young adult men? Cowboy Bebop was never one of those to start with.
Speaking of the action, for a future space Sci-fi with spaceships, flying cars, augmented soldiers, etc. The combat in Cowboy Bebop is beyond dry. I mean it’s almost as if the producers set out to make this Western anime a Western anime: one with literal horse-riding cowboys (inside and on top of buildings), stupid bar fights, lame shoot-outs, and open-air car chases.
With hand-to-hand scuffles that are painfully slow and predictable, with characters wielding weapons that look as if they were purchased from hill-billy somewhere in El Paso.
The ‘space battles’ take place in… space. And there are a few explosions from time to time. With some missiles fired. But that’s about it. Many of these engagements might as well have been dog fights with third-generation fighters firing at each other in the night sky over the South Pacific.
Frankly, it almost seemed the producers went out of their way to make the action drab-dead boring. Unlike the over-top style of anime action, the whole setup of Cowboy Bebop feels old and decayed.
As the characters are portrayed as too old for their age. So it is natural that the action sequences if they can be described as such, reflect this state. Understandable but intolerable.
Cowboy Bebop: An Anime Made for a Lifeless Old-timer
Cowboy Bebop is an odd show (let alone an anime) in that it embodies many of the things I hate about modern television (including streaming).
From its simplistic portrayal of a future human society that is unpleasantly too familiar to our (increasingly hopeless and culturally decadent) own.
A show that provides no positive representation of male characters, despite apparently portraying them as strong and capable.
The early-to-the-game embrace of gender feminism and queer ideology: with the passively man-hating strong-female character Faye, to the androgenic Ed, with timed appearances of she-males and the like.
Cowboy Bebop above all is just ugly. Not by necessity but apparently by choice.
The decrepit, decaying degeneracy of the setting as a foundation for storytelling is not new to the world of Sci-fi. One great anime that mixes top action, horror, and gore that captures some of the most hideous aspects of life (real and fantastical) combined with great storytelling is Full Metal Alchemist (2003).
A story that is set in an alternative universe where humans master the art of alchemy in place of physics. But the difference in FMA is that the ugliness prevalent in the world is recognized for what it is: That it is wrong, filthy, and inhuman. It is not directly or subconsciously affirmed, elevated, in its own right, or celebrated. As is (subtly) the case with Cowboy Bebop.
One of the biggest drawbacks of the show is Spike. As a hero who has reached his full potential, means there is little for him to work for and strive towards. Hence the story’s overall plot becomes stale from the outset.
In his quest to find Julia and close his dealings with the Syndicate, Spike is not striving for anything new. He is not breaking new ground. From the start to the end, he is pretty much a walking zombie, just going through the motions, living out the end of his past life.
With the final episodes effectively brought to a close his tale which had ended before the first episode even started.
I have already commented on the aesthetic, but the point must be made, Cowboy Bebop just feels old and stale. For an anime that was made in the late 90s, its artwork looks like it was cooked up somewhere in the late 70s. Mobile Suit Gundam style.
Cowboy Bebop just seems old, lifeless, and hopeless.
In sum, it’s sh*t.
Outlaw Star
It is fair to say that most readers unless they are serious anime fans, would not have heard about Outlaw Star.
The show was released sometime in 1998, the same year as Cowboy Bebop. A fact that I only learned upon researching this essay.
When I watched it the first time in late 2005-it was a friend’s DVD-I honestly thought it was published around the same time. Whilst I had lost a bit of interest in cartoons by that time, and animes weren’t a big feature in local programming (Cable TV was still a year away), I immediately took to this animated Shōnen with a cool opening.
The animations were good. The characters, in the first few minutes alone, had made a good impression. And the intro track was spot on. Not only in terms of music but also the lyrics resonated with a kid who was yet to turn 16.
However, what got me into the show and kept me going till the end was the action and the snip bits of horny humor and what is today known as “fan service” that peppered the show. As a testosterone-fueled teenager, the show hit the right spots in terms of fights, explosions, sexiness, and for the maturing side of me, a deeper story.
And all of it topped off by arguably one of the most touching but eerie closing credit tracks I have ever listened to: ‘Hiru no Tsuki’ (Daytime Moon).
Outlaw Star had pretty much everything I needed to see in an anime at a time when my knowledge of the genre, and by extension manga, was minimal.
In the following sections, I will break down the key strengths and admittedly some weaknesses of this relatively anonymous anime. I will not bother the reader with production companies, animation studios, and the like. A Google search should do.
So what exactly is good, no great about Outlaw Star? The answer is that it does right everything that the famed Western anime (Cowboy Bebop) does wrong. And it does it big league!
The Story
Before we get to the main contents of the plot, a key point is that Outlaw Star actually has an overarching narrative that sets it apart from Cowboy Bebop.
Unlike Cowboy Bebop, which is basically a collection of isolated stories strung together, with a melodramatic conflict with Viscous and the forbidden love for Julia (supposedly) holding all of it together, Outlaw Star is the story of Gene Star Wind. The protagonist of the story, after whom the show’s titular ship is named.
Whilst there are a number of subplots and key storylines that hold the narrative together, Gene Starwind the outlaw is the unequivocal hero of the show. Unlike the lanky Spike who is basically boarding the recently-converted filthy fishing trawler owned by the loser Jet Black, Gene is literally the captain of the ship and the story.
With the grand events that happen around and to him are viewed primarily through the eyes of the protagonist. And the story is all the better for that.
And unlike Cowboy Bebop, Outlaw Star actually has a story. One that is centered on the protagonist and his eclectic crew; who despite their differences, conflicts, and seemingly conflictual beliefs are ultimately united in their efforts to find the Galactic Leyline (the main plot). Helping to drive the overarching story forward.
From the pursuit of the Galactic Leyline to the search for culprits behind Gene’s father’s death, to finding answers to the (somewhat overplayed) AI (Melfina) who is trying to discover the meaning of life; and a number of other stories. All are structured quite cohesively within the overarching narrative.
Whilst there is some criticism that this anime suffers from having an extremely strong beginning and end, with the middle episodes not being as significant, and that it suffers from one too many side characters.
Criticisms that I will engage in the course of this essay. But overall, as a story, which is arguably the most important aspect of any fiction-based entertainment, is the area where Outlaw Star pulls way ahead. And with a bit of humor thrown in. Not all of them land, but it doesn’t matter. For the positives alone makes this Morning Star Studio’s production a better bet than the drab, lifeless yarn of the soon-to-be-dead Space Cowboy.
For, unlike the able loser-protagonist Spike whose entire time on screen was that of a walking dead man who was biding his time for a grand send-off (which probably explains why he never puts the moves on Faye or any other female for that matter), Outlaw Star’s hero is actually a living, breathing human being with real aspirations.
Outlaw Star’s story is one that is centered around the personalities and convictions of the characters and the antagonists they fight against. For in addition to having an overarching story, unlike Cowboy Bebop, it also succeeds in that the larger story is well-connected to the beliefs and goals that underpin the motives of the main characters.
Whilst the criticism of ‘filler episodes’ can also be applied to the middle portion of the show, none of them are wasted in how they contribute in some ways to character development or at least character exploration. That helps refine their aims and the direction of the broader narrative.
The central plot of Outlaw Star is the search for the Galactic Leyline: a vast repository of information that effectively functions as a source of living omniscient knowledge. This story concept is a somewhat tried and tested SF (Speculative Fiction) trope, that had a yet-to-be fan of the genre like myself hooked from the start.
When I watched the anime first time as a 15-year-old, I was yet to get into science and speculative fiction proper, and it was only in my later viewings, by then having eaten through scores of SF books, that I was able to appreciate its depth.
What could be better than the pursuit of something that can (and does) grant those who are worthy enough to reach it anything they want!? Driving this search is the aims and beliefs of the main character Gene Starwind. Upon encountering the mysterious Hilda, and the discovery of the XGP15A-II (AKA Outlaw Star), is swept into a galactic adventure. As he battles Kei Pirates, organized criminals, the McDougall Brothers, and other adversaries.
Aided by his friends which consists of a diverse (very literally) cast of characters: Tim Hawking, Melfina, Suzuka, and Aisah who are in pursuit of their own goals (adventures). Outlaw Star’s story is a good one for it was built up from the first scene of the first episode, with the end goal never out of sight.
As the story reaches its climactic end so do the stakes, the emotions, and the peril. Outlaw Star ultimately is a story about adventure. It is a story about a young man who wants to explore the stars, despite his personal demons. It is a story of learning about yourself and the world around you and in the process growing to become a stronger version of yourself in order to face the evils and obstacles that stands in your way.
Sounds formulaic? But it is a tried and tested formula, that when executed well, rarely fails.
The path is not exactly towards greatness, but the idea of what it means to be great. To achieve that seemingly ever illusive but pressing goal. To fulfill that sense of adventure. Get out of your comfort zone, face your fears, and reach (literally) for the stars. This is what Outlaw Star is about.
Characters
I pretty much like all of the main cast. Even the one (the only) one that I did not like as much eventually grew on me.
Once again I will follow the format of starting with my least favorite character and moving to the most favorite.
Needless to say at this point that my overview of the characters is going to be positive. They are all good and bad in likable ways. With the one character and her related story arc becoming something of a nuisance. Again I will leave out the villains and side characters, as these guys will be engaged in the course of other sections.
Aisha
Aisa Clan-Clan is a Ctarl-Ctarl: an intelligent (i.e. like humans) bipedal, humanoid species with the ability to morph into carnivorous quadrupeds (like tigers and wolves), and is part of the Ctarl-Ctarl empire. Which is a political organization that represents a particular species.One that humanity encountered during the ‘Toward Stars Era’ of the universe.
I will leave out the backstory concerning her people as it is not significant to the main plot. But Aisha is basically the main ‘alien’ character in the main cast. Loud, emotional, eccentric, and also powerful. With superhuman strength, agility, and endurance the Ctarl-Ctarl is the ‘muscle’ of the crew.
Though her abilities are considerable and play a key role in the final battle and in key moments leading up to it, Aisha’s role is primarily that of comic relief (which usually does not come off). And to function as that annoying outsider who is trying to fit in, in a relatively well-drilled crew. Where each individual knows his/her role and function.
Now saying this is somewhat controversial as Aisha and indeed all of the Ctarl-Ctarl, in addition to having feline features are also portrayed with a darker complexion. And in contrast to the other female characters, who come with a sense of serenity one would associate with cultured Japanese women; Aisha’s characteristic rambunctiousness is a standout. For me, for the wrong reasons. But overall, she is a serviceable character with decent motives.
Melfina
The bio-android and arguably the co-protagonist of the show. As her storyline is what initiates, drives, and holds the main plot together.
Following her discovery in the final moments of episode one (as a naked girl in a box), she becomes an integral component, along with the spaceship (the Outlaw Star). Where the symbiotic relationship between the girl, the ship, and the captainship of Gene becomes the core element of the story.
The problem with Melfina is that her character concept is more interesting than the actual character.
As an artificial life form who has virtually all human characteristics and qualities, including that empathy, fear, gratitude, and love, she is pretty much human in all but name. Almost too human.
The driving element of her character is that of her origins. As was made and not born. Thus the question of her origins and the purpose for which she was made becomes the impelling force. One that connects her to the protagonist Gene.
Which all sounds good on paper. But the execution is weak.
First off, there is the question of Why? Why does a bio-android, which was designed for a purpose: that is to navigate the XGP (AKA Outlaw Star), and then to become a communication channel that allows humans to interface with Galactic Leyline, start asking other, ‘why’ questions?
She is a machine bred/built for one single purpose, so how exactly did she come to possess an array of other (if not all) human attributes? Most notably the capacity for love and the capacity to question the meaning of her existence.
Interestingly some of these questions are answered (though it requires some inference on part of the viewer) in the final stages of the story. But the problem with Melfina, for me, is that she is played too safe. Too predictable almost. Especially during her encounters with the way more interesting Harry McDougall: The cyborg brother of one of the key opponents of Gene Starwind, with whom she forms a certain connection. A (controversial) plot point is not exploited fully.
Then there is way too much femininity on part of Melfina that (not to sound culturally insensitive) does not suit a guy whose experience with the opposite sex is more on equal emotional terms. The overtly lady-like, or rather childishly feminine, ‘I am ready to serve and wait on you at all times’ persona (which presumably has some appeal among men from the Land of the Rising Sun) is a bit too soft for my liking.
Possibly due to my exposure to the more rough-n-ready but when needed, reasonably sexy females from the Anglo-American (English-speaking) world. But Melfina the artificially designed android who is pretty, caring, and feminine (who is also shown to cook and manage the house or spaceship) is kinda bland for me. Which is not too much of a problem as other female characters function as a foil.
Jim Hawking
The tech-savvy 11-year-old, whose name and possibly character is presumably inspired by the protagonist of R.L Stevenson’s Treasure Island, is the little guy on the ship. He is interesting. Witty, ingenious, and a solid sidekick to the main character. Jim certainly aids in the humor department, and in calling out Gene’s antics and mistakes. He is something of a foil but not entirely. A moral character. Who functions as a link connecting the voices and beliefs of others with that of Gene. The Outlaw Star is all the better for it.
Hilda
Hild is interesting for a number of reasons. For starters, if one cuts out the opening episode monologues of the first few episodes, one could be forgiven for thinking that Hilda (AKA Hot Ice) was the actual main character of the show. In fact, she was the protagonist for the first few episodes.
When Gene first encounters her, she is presented as a smart but mysterious, capable but unusually secretive woman with a lot of agency. Until her demise in episode four, she is the driving force of the story. As much of the gang is yet to come on board, Gene is still a space-phobic man-child haunted by the memories of his time in space, including the tragic death of his father when he was a boy.
From the discovery of Melfina, the first confrontation with Kei Pirates, and the battle with Tao Magic-wielding adversaries that follow, the push towards finding the XGP, the first encounters with psychotic McDougall Brothers, and the discovery of the Outlaw Star itself; Hilda was the driving force.
The writers wrote her part so well, that I almost got used to her being a, if not the main character. Her passing was a real surprise and saddening.
When I say that Hilda is a character is interesting, it is in the way that she is portrayed. A smart, tough, and sexy female who functions as the leader. And with her bionic augmentation at one point I almost took her for another bio-android. With the main (male) character and would-be protagonist playing very much second fiddle at the time. Until he is ready to take up the mantel and drive the story forward.
It is almost like the modern woke storytelling method in reverse: That is the kind of bait-and-switch tactic employed by studios like Disney: that display a prominent male character with a story arc ostensibly centered around him, with a brand/character recognition to support it. But only to be subverted, undermined and outright replaced by an upstart (often superior) female lead.
No such shenanigans here.
Outlaw Star, kinda like most Japanese anime (with the exception of the shōjo genre, which Cowboy Bebop interestingly, falls into) is fixedly firmly on the male protagonist. No ‘strong female character’ is gonna be stealing the man’s limelight.
Suzuka
The hottest girl in the show. And my favorite babe. Calm, poised, elegant, and precise: ‘the beautiful assassin’ is arguably the perfect embodiment of Japanese femininity and beauty but with added elements of a samurai fighting spirit, with an unwavering sense of justice guiding her footsteps.
A girl no man would mess with. And interestingly nor does the skirt-chasing Gene. And on the one occasion, he tries to sneak a peak, he gets it!
Suzuka is a powerful woman and a beautiful one. In the later episode ‘Hot Springs Planet Tenrei’ (which was censored when it was first aired) she is the hottest girl on the block. Really there is nothing much to say about Suzuka other than she plays her role perfectly.
The only criticism I have as far as her story arc is concerned is that writers did not spend enough time (maybe a dedicated episode) on her backstory. Notably as a build-up to her major confrontation with Hitoriga the Anten Seven swordsman. Other than that she is great. Why I am repeating myself? I guess we anime boys never grow up!
Gene Starwind
Gene Starwind is the protagonist of The Outlaw Star. A young man who dreams of space travel and finding adventure. But he is also driven by fear. Fear of the unknown. Fears from past ordeals. The fears that he hopes to overcome by venturing out into space.
The tragic loss of his father and the haunting images of the spaceship that he believes were responsible for his father’s demise is imprinted on his mind. Becoming a source of anger, trepidation, and motivation. In addition, there is the youthful urge to seek out greener pastures and the wealth and material promise that success holds.
So there is the quest for answers, the desire to seek the unknown, to confront his fears, and also the burning urge to avenge those responsible for his loss.
Gene Starwind is a stereotypical adolescent hero. A young lad who is looking for adventure, success, and hot ladies. Thanks to his youth he is brave, brash, unapologetic, and horny! Masculine qualities that in present times are hard to come by.
Such tropes whilst interesting are admittedly run-of-mill from the standpoint of 2005. But it is a refreshing one from the politically correct, anti-masculine, (hetero) sex-negative world of consumer digital entertainment in 2023. Boy, who would have thought that in just over a decade or two (as the anime was first released in 1998) that a story centered on a confident, fit, ambitious heterosexual male lead would seem so avant-garde?
In other words, Gene Starwind embodies pretty much everything that is lacking in modern male heroes: A guy who is self-assured to a fault, able, skilled, and has limits but chooses not to be limited by them.
On the personal side, he is self-indulgent from time to time, with an innate tendency to womanize, with the desire for the good things in life. However, and this is the critical point, he is a man who, no matter the distractions, external obstacles, and personal demons, never loses sight of his main mission.
For Gene Starwind this is to find the Galactic Leyline, avenge those responsible for his father’s death, and help Melfina in her quest to discover who she is. And yes, to make it big at the end of it.
The Anti-Heroic Hero
A key distinction between the main characters of Cowboy Bebop and Outlaw Star is their morally complex natures.
As noted, Spike as the lead male and protagonist is an awfully safe character. The one who does the good thing or the right thing unfailingly. Almost to a fault. And is all the more boring as a result. Part of the reason for this is the similarly one-dimensional character of the antagonists Spike goes up against.
Not so with Gene Starwind. Starwind being brash and from time to time irresponsible (such as going out on a date when his business is in financial strife, or getting into drunken frenzies to drown his problems), just seems more human.
The few occasions when he tried to make a move on Melfina are a case in point. On the second occasion when the bio-android, who, for the reader’s information, is almost too perfectly human, wasn’t willing, or expressed uncertainty at his advances, Gene even proceeds to get a bit rough!
The instance where Melfina, presumably trying to test the character of her being (i.e. womanhood) approaches Starwind as he lay there in bed. At this point, the young man, presuming interest goes for it. She declines. He presses on what her problem is (i.e. for approaching him at night in her nightgown, laying her hand on him, only to be surprised when he tries to take things forward. Albeit a bit roughly.
It is moments like this that make Starwind seem more like a real man. The goody-good gentleman types that we have gotten so used to seeing today. The noble doormat-male characters (if that isn’t an oxymoron) who in the presence of doable females reduce themselves (thanks to the script) to dickless wimps. And then to be nose-led by the female sidekick, who invariably overtakes them at everything.
The gray area of what makes a ‘good’ character good in Western storytelling often comes down to the question of using lethal force. The famed Batman and Superman, and most other superheroes really, almost always don’t pull the trigger: That is when the enemy is down and the hero has the power to end the menace. Invariably or inevitably they choose not to.
The Christian concept of forgiveness and its enduring legacy in the West could be one explanation for this. However, given the scales and the kind of villains the heroes come up against, such nobility of character proves, as it often does, fatal for the public. Not so with Gene Starwind.
Possibly due to its Japanese (i.e. non-Western) origins, this hero of the East is not one to hold back when faced with threats to his life and friends. In the episode ‘Grave of the Dragon’ where there is a major confrontation between the McDougall brothers and the Gene team. The younger brother Harry McDougall engages Starwind in a battle-Mech. Despite gaining the upper hand, as Starwind misses the first Castor shot, his opponent eventually loses the advantage.
The key moment, when the protagonist has his adversary on the ground, at which point he could have gotten into those ‘do or don’t I’ on deciding the fate of the villain. One that has become a hallmark of many a Western hero’s journey. Starwind however, wastes no time in wasting the enemy with a direct Caster shot as the villain lay helpless on the ground!
One of the likable, but not exactly notable traits about Starwind is that he recognizes the importance of playing dirty in order to get ahead in life. Given his line of work (as an outlaw), one that involves recurring encounters with cut-throats and brigands of all stripes, including later on, cyborgs, augmented bounty hunters, and magic welding pirates; the fact that life is not fair and that in order to survive one must do whatever it takes is a principle that is not missed by this young hero.
Working with his tech-savvy partner Jim, exploiting the powerful abilities and acumen of Suzuka and Aisha, and the unique capabilities of the Outlaw Star, Gene Starwind recognizes the importance of doing what is necessary in order to fight, survive and win.
This is a better representation of reality than what one finds in Western storytelling. Where the good guy invariably stands to benefit from some convenient plot armor, dumb-ass villains, or in more recent times a deus-ex machina: a plot device whereby seemingly intractable hurdles and monumental opposition in a story is overcome or bypassed by unlikely occurrences that work in favor of the (often female) hero. Examples include newfound powers or abilities, a stupid weakness on the part of the bad guy, etc.
No such nonsense here.
Given the overarching story arc of the anime, one that builds towards a definite end, and that leaves no room for stupid plot developments that recton prior events, the enemies that Gene Starwind and the crew face grow in lethality and power. Thus compelling the characters, notably the protagonist to grow stronger in turn.
Gene, unlike Spike, is not living for death. He is living for the sake of growing, learning, evolving, and winning. A man who has his life ahead of him with the will and the desire to live it to the fullest. And yes, he, unlike most loser gentlemen self-made eunuchs of the present era, does get the girl.
Gene Starwind is the archetypal male hero. One that boys and men today need, but are not likely to get in the ‘gender equality’, social justice obsessed, paradoxically sexless Anglo-American West. One that is suffering a serious and worsening crisis of masculinity.
Thus Gene Starwind as an impulsive but purposeful, cocky but empathetic, indulgent but aspirational, aggressive but ultimately caring person is a role model for boys and men.
World Building
Outlaw Star is a Western, Sci-fi anime. Though to its advantage it is structured more loosely as such, than Cowboy Bebop.
Outlaw Star contains the core elements that make this genre of storytelling interesting: Guns and gun fights, hot girls, fast cars and explosive chases, crime syndicates, and a good dose of hand-to-hand combat. All of these have been taken to the extreme thanks to its Sci-fi setting. That, unlike its more recognized competitor, seeks to elevate the Sci-fi element to the center.
Cowboy Bebop on the other is a Western cartoon first, and a Sci-fi anime a distant second.
When it comes to world-building Outlaw Star made the smart move of providing a short prologue to each episode (barring the final). The voice-over provides a quick and insightful take on the events to come by providing some backdrop to the circumstances and thought processes of those involved.
This is especially useful as a world-building tool. The importance of ‘show don’t tell’ whilst somewhat undermined by this method, but the use of moving pictures that directly relate to the narration aids the flow, whilst providing pertinent information to the viewer on the upcoming episode.
This is especially important in the later part of the season. As it helped condensed a lot of information that simply could not be animated, given everything else that was going on in the main story. The world of the Kei Pirates, of which the Anten Seven is part of, is one such example.
Rather than getting hung up on the wider world where the politics and machinations of the main antagonistic force (the Anten Seven) operate, the prologues helped established the power and influence of the bad guys, whilst providing important context for their own (grander) ambitions.
One area where Cowboy Bebop might appear to have an upper hand is when it comes to the geographic diversity of the various world the characters travel to. In Outlaw Star, much of the events take place on the ship and between the stars. And the worlds that the characters visit tend to be Terran (Earth-like) in nature. However, Outlaw Star outdoes the space Cowboy with the more innovative presentation of the ‘worlds’: from Asteroid bases, and massive space stations, to secretive gas worlds.
Critically Outlaw Star engages the politics (and to a lesser extent, the economics) of the world in which these events take place. The conflict between pirates, outlaws, and space forces and the motivating factors, the usual: money, power, and status, are grounded in the realities of the conflicts the characters face.
Aisha seeking the promise of riches and glory for her people, Suzuka’s quest for vengeance, and the goals of Gene Starwind and Melfina that are tied to the Galactic Leyline, together help bring together the narrative. In the context of the wider world, notable here is the Kei Pirates, with the main faction in question: the Anten Seven, whose immensely powerful leader Hazanko, and his dark ambition, helps ground the central narrative.
Like any arch-villain, the big baddie is out for more power. And he wishes to acquire that power through the Leyline. The kind of power that would enable him to overthrow the Tendo King: the leader of the Kei Pirate Guild, and later the Tendo Emperor himself. Thus becoming the most powerful man in the galaxy (where have we heard that before).
Thus these various strands, whilst loosely developed, nonetheless help flesh out the wider world in which the adventures of the protagonist and schemes of various other villains take place. Making it all the more real and interesting for the viewer.
Action
Outlaw Star absolutely buries Cowboy Bebop in the action department.
Frankly speaking, the ‘action’ that one finds in the space Western revolving around Spike, Faye, and the gang is a collection of run-of-the-mill bar fights, Mafia shootouts, gun-slinging car chases, and a few generic space battles that remind one of the space fights from the old Robotech series from decades ago (1985). Topped over with that sleepy tone that makes Cowboy Bebop’s action seem like a through back to, I don’t know, some 70s Western.
Cowboy Bebop’s action sequences were terribly outdated for its time, and it was also terribly outdated stylistically with its visual primitiveness. Outlaw Star, however, is greatly ahead of the boring action sideshow in terms of the graphics and lighting but importantly in terms of the varied technologies and powers it employs.
From a visual standpoint, one might be forgiven to confuse Outlaw Star with an animated series from the early 2000s.
In fact having recently finished watching another top Western (Sci-fi) anime Trigun, which is also from 1998 (man, what a year), a show that is markedly better and deeper philosophically than Cowboy Bebop, is easily surpassed by the aesthetic newness of Outlaw Star. Now, these points about visual style and quality may seem trivial, but when it comes action centered Sci-fi narratives, these elements do matter.
However, what really separates Outlaw Star from Cowboy Bebop, in the action department is the tech. Outlaw Star as a Sci-fi action anime, with Western elements, is one that actually prioritizes the technological dimension. One that is made central rather than an ancillary to the wider story.
The three notable technologies/powers that Outlaw Star introduces are Casters, Tao Magic, and Grappler Ships. Let’s take them one at a time.
Tao Magic
Tao Magic is an art that involves channeling chi energies (an actual concept in the religion of Taoism) to manipulate forces in nature to attain specific ends.
Those who master this art (or belief) are able to channel such energies, which according to the teachings of the said religion, are flowing through the universe, at varying levels of intensity.
The chi is considered a link between the innermost being of a person and the outer world, and according to certain interpretations of this concept, the chi is believed to be associated with electromagnetic force (One of the Fundamental Forces of nature).
Thus deeper knowledge of this energy enables the user to wield it in mysterious and devastating ways. With Tao masters (as the powerful wielders are known) being able to project energy, levitate objects, and even employ telekinesis.
The most notable wielder of this power is Hazanko the main antagonist of the story. His pursuit of the Galactic Leyline and unlocking its secrets was to augment by an order of magnitude his already considerable abilities. A manifestation of this power is witnessed in Hazanko’s murder of Harry McDougall. Breaking the cybernetically augmented part-machine human into parts. That moment of was the most powerful and brutal moment in the series.
Casters
Casters are interesting in a number of ways. In simple terms, Casters are guns that cast spells by firing shells.
How can you not get psyched about that!?
Casters, when one speaks of their functionality: are weapons that have been engineered as hand cannons that fire specialized shells that contain certain harnessed energies (mana) found in the mysterious planet Teneri (the hot springs locale).
A planet in which, for a time, this power source was abundant but it is now fading away. Thus the Caster system, involving specially designed guns with powered shells, those dissipating energies can be captured and stored. Thus helping to prolong their existence and use.
With the makers of the Caster shells, the wizards as they are known work as priests safeguarding its power and tradition. Mmm… Now, what story does that remind me of (Hint: It is not the Rings of Power).
The Casters in practice, are the modern version of wands. The shells are the output equivalent of spells. And the wielders of these magical tools were not wizards but powered-up gunslingers. I mean as a guy you gotta love this!
Going further, like any true magical system the Casters come with their set of limits and dangers. Ranging from the general rarity of the shells, hence the time and cost involved in securing them. But also the human or ‘spiritual cost’ of casting them. As certain rare or forbidden shells that come with immensely destructive power, take something away from the user: a part of his life force or soul!
Grappler Ships
An interesting but rather run-of-the-mill concept. The Grappler ship is a spaceship that can literally grapple using its extendable arms.
This permits the captain of the ship (i.e. XGP 15A-II) to literally use the ship’s arms as an extension of his own. Which leads to novel combat and set-piece scenarios. The episode on disposing of a bomb using the Grappler arms is a case in point. The Grappler concept is nothing revolutionary but it certainly beats the drab monotony of seeing spaceships careening through space firing missiles and lasers at enemies.
The Bad Guys
I have already mentioned Hazanko who heads the Anten Seven. He as the big baddie of the show is a good one. As he is not overbearing and only comes into the main as the story enters the late-middle to the closing stages. What makes him interesting is the rest of the band of assassins who aid his cause.
These villains are introduced in the course of various episodes with matchups with the main heroes. I will not bother going into each of them but suffice it to say their abilities set the stage for unique and at times emotionally engaging encounters. From humorous (Iraga), to those driven by vengeance (Hitoriga) to the search for redemption (Leilong).
What makes the Anten Seven interesting is the mystery surrounding them. Each of the assassins is unique in character and power. And their origins whilst touched on, for the most part, remain a mystery to the end. Which takes us to the main antagonist.
The most interesting of the Anten Seven is of course Hazanko. It was good on the show that the story sets the scales in the course of the buildup with big concepts and potential payoffs towards the end that makes his ambitions believable and his actions in trying to attain them, despicable.
The powerful villain who seeks ultimate power to rule the galaxy. Things don’t get more obvious than that. But nor does it better! As a straightforward story concept of good vs evil, Hazanko so fully embodies the power of evil that it (evil as a force) no longer appears evil. But simply as a reality in itself. That exists necessarily.
This idea is aptly captured by Hazanko who wears the yin-yang. Hazanko seeks supreme power because that is what he was made to do. It is his purpose. And to stop him is Gene Starwind’s purpose.
McDougall Brothers
The equally interesting but different set of villains is the McDougal Brothers. Who are interesting in that they are not so different from the protagonist.
The two brothers also are young, and ambitious, in search of adventures (or bloody rampages), command a Grappler ship, and critically are driven towards the Galactic Leyline.
A key plot line is the relationship between the younger brother Harry McDougall and Melfina.
Harry, who is part machine (cyborg) which gives him unique powers in relation to Melfina. Such as being able to access the core of the Outlaw Star where (the naked) Melfina resides powering the ship. (For those families with Hard SF this might remind them of the Conjoiner drive-powered ‘lighthuggers’: The kilometers-long starships from Alistair Reynolds Revelation Space Universe.
The presentation of Harry as this violent character, who develops a creepy fascination with Melfina, but then is able to grow (up) from it is intriguing. In what is arguably one of the best episodes ‘Between Life and Machine’, where the connection that develops between Harry McDougall and Melfina during his failed attempt to kidnap her and commandeer the XGP, upon his big brother Ron’s instigation is a powerful one.
As messed up as it, is the way the creepy and needy Harry pursues the already committed Melfina, and the kind of abuse he subjects her to (like slapping her around and then comforting her). Is a complex but interesting (twisted) storyline.
Her rejection of his advances only spurs him on, as the part-machine being. Later, following the Caster attack by Gene, he is rescued and transformed into something of a bio-android himself. And the meeting with Melfina in Galactic Leyline in the Climactic moments prior to his (physical) death is powerful.
It is interesting how the writers sought to develop the thread involving the connection between Melfina and Harry. Two ‘semi-human’ beings: one is human from the start, but becomes more machine-like. The other is made to be a human despite its inorganic origins.
At the end where Harry’s body is killed by Hazanko, but his mind (conscious persona) is saved and digitally tethered to the computer of the ship; with his surviving brother Ron enduring via an augmented android-human form, as his brother was before. With both returning to their gold Grappler spaceship the ‘El Dorado’, ready to fight another day was a good send-off.
This is the kind of bad guys we don’t get to see anymore in Western storytelling. Anime or otherwise (Snoke and Kylo Ren anyone).
Outlaw Star: A (Western) Sci-fi with Big Idea and.. Big Balls
Outlaw Star is a great anime.
It is brash, brave, and in your face. An anime that is story-driven, appropriately macho, at times rather too feminine (I’m looking at you Melfina), and with adequate levels of fan service.
Outlaw Star is great anime because it does not mess around too much with the Sci-fi anime formula, or with the teenage male-oriented story (Shonen) template. With modern gun fights and space battles; with adequate levels of tits and ass, with a lot of (too much) feminine energy, balanced off with combat chicks who do their thing. The sort of things, I repeat, that modern writers in the Western world are terrified to ponder, let alone bring to the screen.
The cohesive story of Outlaw Star is topped off with monstrous villains, and larger-than-life stakes that are built on huge Sci-fi concepts like the pursuit of infinite knowledge, galactic domination, and even godhood. For a speculative fiction enthusiast, this is a jug of cool apple juice on a hot day.
And speaking of the ending, did I mention that the protagonist Gene Starwind dies at some point and is then brought back to life to fulfill his mission.
In sum, Outlaw Star is everything Cowboy Bebop isn’t. And it is all the better for it.