The build up to this stand off is a slow, empty shot of Spike jumping from one space shit to the other. This scene outside the space ship exemplifies that notion and sums up what I think sets this show apart from others, at least so far. I'm sure the same is true for the visual arts. One of the big tenets of music improv is that the absence of a note can be more powerful than the note itself. I loved everything about the chip-for-money trade outside the space ship. Also - what's with Spike eating everything? First a cigarette, now a gambling token? Jet's cooking can't be that bad. Little did they know.įaye's space ship is really cool, and I loved Spike kicking those bouncers asses. Maybe they came here to unwind after their two near death experiences. Is it just a plot device, or something more important? Also, why does Jet not want Spike to gamble if he's so talented at it? I thought they were down to their last 5,000 Woolongs! My guess at this point was that the duo know more than it seems, but later they seemed surprised when Faye's mug shows up on the TV, so what do I know? I like the return of the 3 old guys from the first episode, especially since their character's are related to gambling in both episodes. We find out later that this was a case of mistaken identity, but I can't help but notice that Spike finds himself in these sitatuions. He knows, or thinks, Spike will give a token (of unclear importance) to the girl. At first, it seems as though the casino owner knows Spike. Instead of giving more insight into what these two (and the series) are all about, the episode begins by raising even more questions.
The first couple of episodes gave small rations of information regarding Spike (bounty hunter, very skilled in many ways, possible complicated history regarding a woman/women) and his partner Jet (enjoys bell peppers and beef, keeps Spike focused, seems to be the tech mind of the duo). Some reports surrounding the British release mentioned pixellation issues on that release, but I noticed none in preparing for this review.Īs I mentioned before, I had virtually no knowledge of anything about the series, it's characters, or it's plot going in.
There are some minor banding issues on display from time to time. It's also worth mentioning that there is still considerable depth to the image, and no issues with smearing line detail and the like.
That said, there is a visible layer of fine grain in evidence, but it's very fine. It's especially notable that grain never really spikes in opticals when it should, perhaps an indication that some sort of algorithm has been applied. It's nowhere near as severe as seen in Dragon Ball Z, but grain is not quite at the levels some might expect (or hope for). There is one similarity to FUNimation's Dragon Ball Z fiasco, and that's what appears to be some high frequency filtering. The palette is really lustrous, beautifully saturated and one of the high definition presentation's best elements. That said, there are occasional line stability anomalies in evidence, including very minor shimmer at times.
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(On an admitted tangent, for all the furor and fan ire that the "revised" DBZ engendered, it's important to remember that FUNimation did start to release the series in its original version, and I simply can't imagine that if the market had been there for the show in that form, the label wouldn't have continued with it.) Interestingly, because of what were apparently SD video compositing issues from those aforementioned effects (dealing with NTSC standards), the British Blu-ray of Cowboy Bebop was presented in an interlaced format, but this is progressive.
FUNimation has rightly decided not to "Dragon Ball Z - ize" this release by cropping it to 1.78:1. There's both good news and perhaps a little bad news with regard to this new high definition presentation, with the good news category starting with the fact of that very aspect ratio.
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Cowboy Bebop: The Complete Series is presented on Blu-ray courtesy of FUNimation Entertainment with an AVC encoded 1080p transfer in 1.34:1.
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