The NPC said, “Faye Valentine,” which I named after Valentine’s Day, my favorite holiday of the year.
On the civilian spacecraft BEBOP, there are shredded pork with green pepper without meat, Matsuyama beef mutated to run and sting, gifts from Rug, wonderful mushrooms, clever dogs and talented children with limbs like noodles. Except Valentine’s Day
Faye Valentine, when she took her name from Valentine’s Day and lived it on BEBOP, knew it wasn’t her name. And when she finally gets her memory back, she finds that she no longer knows where she belongs.
Since 2002, this is the third time I have written CB here, and also the third time, I can’t help but start with Tiff. The characters’ personalities, backgrounds, and encounters are half revealed in the book and half distorted by the audience or readers themselves, so sometimes the themes are dug deeper than the author intended; Sometimes the characters we love are overly distorted by ourselves; Sometimes, we will look back or recall a long time later, suddenly see a lot of things that did not find.
For example, if you think about it on your own terms, you will find that “Faye Valentine,” a name that she knew she would be judged a pseudonym if she told anyone, was the only one she had at that time.
And apparently she’s not the only one in this predicament.
The head of the nest said: I have one eye on the past and one eye on the future.
Why else? Jett, who has been out of work for years, remembers his nickname as a cop: “Black Dog.” Why else? Even though he was betrayed, Cullman clung so tightly to the years of fighting with Bashes; why else? Spike has one eye on the past forever.
In the eyes of Fee, who had nothing to cling to, or pretended to have nothing to cling to, these feelings were worthy of respect, privacy that did not need to know, or stubbornness peculiar to stupid men? When I saw CB in early 2000, in my eyes, which was probably too young at that time, this stubbornness was a little difficult to understand. I bought a three-episode VCD with the title “Bad Guy Jett” written on it. OP and ED were omitted, the translation was barely legible, and the trailer was only one-third full. In one of the surviving trailers, Jett speaks in a low, calm voice as he describes the story about the biting black dog and his former partner: “Don’t watch it for kids, don’t watch it for young people. … The old man must see it.”
It was a line that I used to skip because I thought it was rather dull at the time, and it was buried by the impressive plot of Cowboy Andy, beef Matsuyama, a spaceship full of mushrooms, Spike’s sharp punches and Fay’s tape. However, when I watch CB again, I can already understand some Japanese or English lines distorted by subtitles, and I can easily pick out many distortions and flaws in the pictures that I was unaware of at that time. As for the story of Jet, I finally see a completely different taste:
Whether it’s his partner or his ex-wife, what makes Jett’s betrayals and departures so dark and dull and uninteresting is that they’re so realistic, because they happen to you and me every day — the difference may be whether the person has a gun, an arm or something else. From the fluttering melody of “ELM”, from the nostalgic and tacit appearance of lighting cigarettes for old partners, from the pocket watch that has stopped time, it reveals the exhaustion and helplessness from reality.
If Ed and Eon belong to a fairy tale, Spike’s existence is a legend, Frey’s experience is a novel, and then Jett’s story belongs to documentary. They were so literal that I didn’t understand them then — and I can’t say I fully understand them now.
The little girl said, no matter where you are or what you’re doing, I’m with you. Come on, myself.
To be sure, from the first contact with CB in 2000 to now, some feelings have not changed, such as liking Koichi Yamada, for example, when Spike died, some feeling but not sad – he is that kind of man chose that kind of road, so of course everything is irreversibly straight to a stumble and a hand raised on the stairs “bang”; Like seeing that Fi videotape, all those clogged, turbulent times just keep pouring out of my eyes.
As for the change, it should be no longer trying to set their favorite characters into the fantasy of a new start and start over, but finally learn to quietly watch and appreciate their difficulties, their stubbornness, and their persistence. The unpleasantly-embarrassing, painful, and never allowed to be forgotten, lurks in the depths of this boisterously festooned sci-fi film of American cowboys, Chinese kung Fu, fang shut, John Woo doves and jazz and blues rock.
I think COWBOY BEBOP, for us, is not a cut on the wood, which can be immediately carved into our minds, but a pigment falling into the water. The more precipitated and rippling, the deeper the dye
So as I watched the theater version of Pearly Gates, I couldn’t share the holiday spirit with Ed holding the pumpkin head. There was no sense of “they’re back again.” I could only tell myself that when I opened an old photo album, one or two photos would pop up that I hadn’t seen before, only of people with the same plain faces as usual. There was no future in sight — the Pearly Gates episode, like so many stories in the TV version, was yet another standout in character, but as always irrelevant to the main plot — and Watanabe was too slippery to even let us see the prequels, let alone the pustules after the TV version ended.
And this complaint, in fact, is only a small complaint: If he wants to do a sequel or something, we’ll watch it, but there’s enough of that in the original TV version, and the sequel doesn’t matter — as we all know, The Fey who seems to have the least to cling to, the Fey who had the most mundane and happy past of all, the Fey who took a couple of shots before Spike left BEBOP for the last time, who was never Fey Valentine, but only Fey Valentine, because before and after, we can no longer imagine —
After all, the biggest difference between stories and life, and the biggest advantage, is that it will eventually end.
