Of all the things that Rick Remender has done, this has to be
the series that sticks out in my mind the most.
Maybe it’s the almost old-school approach to sci-fi. Maybe it’s
the stellar art and character design from Tony Moore and Jerome Opeña. Horror,
action/adventure, sci-fi, time travel, eye patches and more. Fear Agent is well written.
Through thirty issues (and two MAGNIFICENT hardcover editions put out by
Dark Horse), Remender takes you on a journey with Heath; (PROTAGONIST). He
has humour (though at time’s dark) and he has a character that will stand the
test of time. He’s a character that seems to grab you by the hand and drag you
through his crazy life. The character of Heath is deeply flawed and has had a
hard go of it, and seems to simply be trying to make the most of the shit hand
he was dealt.
The art and colours are beyond reproach. We’re talking about
Tony Moore (The Walking Dead),
Jerome Opeña (Uncanny X-Force, Seven
to Eternity) and Mike Hawthorne (Deadpool).
These guys are giants in the industry now.
The writing aspect is amazing. The art aspect is amazing. Fear Agent is a series of said
creators to make a story they wanted to, that sci-fi comics really didn’t have
shelf room for.
It’s been over a decade since Fear Agent. Pick this up digitally, physically, in
the hardcovers, in the trades.
Remender spoke about the series late last year from the PASTE
interview: “…The fans of Fear Agent
are real fans, it’s not a casual love affair with the people.” and
he couldn’t be more right!
reincarnated into everyone’s favourite POKEMON ever, he gets sent to the
POKEMON REALM (not hell as you’d assume)…and a lot more shit happens.
But what about where it
all began? Or almost died?
That’ right I’m talking
about the 2003 GBA 3rd generation POKEMON release; POKEMON RUBY.
It came so close to
joining the dying fads of yesteryear, in POKEMON hell…(DEADPOOL absent), that
POKEMON RUBY’S producer
and director JUNICHI MASUDA had to go to hospital.
“I got really stressed out and had to go to the hospital and had
some stomach issues and had to get a camera inserted and they didn’t know what
it was – very stressful,”
Though it was VERSIONS “RUBY” and SAPPHIRE” being the best selling games on the GAMEBOY ADVANCE, It was met with bad critic and is the least selling title in the franchise. Yet it had some stylistic upgrades to the Nintendo consoles subordinates (GAME BOY and GAMEBOY COLOUR).
first Pokémon RPGs for the Game Boy Advance showed off the system’s improved
graphics and sound, and introduced now-permanent fixtures to the Pokémon world,
such as double battles and Contests.
take great leaps in gameplay, particularly during
combat. For the first time in a Pokémon game, Trainers can send two Pokémon
into battle at the same time.
Some Pokémon can learn moves that aid a partner or
damage both of the opponent’s Pokémon. And Pokémon have Abilities and Natures
that affect their performance in battle.
Explore the world of the Hoenn region with a whole
host of Pokémon. To make room for all of them, Pokémon
Ruby and Pokémon Sapphire
can hook up to Pokémon Box™, a storage system on
the Nintendo GameCube.
If it wasn’t for the
iteration of POKEMON RUBY on the GBA CONSOLE and MASUDA’S STEELIX level iron
stomach, pokemon would not exist today.
Following the aesthetics of cyberpunk; does this translate into film
Is the world more prepared for such brevity?
Or does minimal, useless information in the form of story and
dialogue, not addressing metaphsyics or complex ideas, mixed with mindless
action; serve the only purpose of templated plot, from film to film today?
Does “THE MATRIX RELOADED” prove to be a pacifier of anything
intellectual to come (in film; especially)?
In case point; the release of —
ALITA: BATLLE ANGEL (2019)
Trades such insights for a dull, boring, action-fest, set for
children rather than the adult intellect.
Does “THE MATRIX RELOADED” simply reside in POP CULTURE? A fossil
left as a classic? Untouchable? Unrecreatable?
Take the yet to be released VIDEO GAME; CYBERPUNK 2077 for instance
(rooted in influence from THE MATRIX) and CYBERPUNK FUNDAMETALS.
But will it serve the same INFERIORITY as anything that has preceeded “THE MATRIX RELOADED”?
SECONDLY, though “THE MATRIX RELOADED” is definetly CYBERPUNK, it
doesn’t exactly tick all the boxes.
“Early, seminal cyberpunk novels and
short stories of the 1980s saw the future as a bleak one, populated by
megacorporate structures that would eventually dwarf the nations that birthed
The Wachowski’s traded megacorpoartions for a post apocalyptic machine/human war that resides in the CYBER SIMULATION, where mankind now exists; a DREAM WORLD, called “THE MATRIX”.
Addressing DECARTESIAN philosophy, kung fu fights, and sentient
programs that serve their MACHINE OVERLORDS, not the typical MEGACORP’S.
In the NEON DYSTOPIA ARTICLE;
“The Wachowskis had always fantasized about creating a comic book that would combine all of their cultural obsessions. Things like making mythology relevant in a modern context, relating quantum physics to Zen Buddhism, investigating your own life. They also loved Hong Kong action movies….”
Are we destined to subside in stupidity? Or does the world have more room for such transcendent information in film like “THE MATRIX RELOADED”?
SUNRISE! The year is 1998 and what a big year it was for TITULAR DIRECTOR Shinichiro Watanabe. Never heard the name? SACRILIGIOUS! Synonymous with anything legendary in the anime industry.
The solar system has became a slack jawed, back road, haught of skinny malnourished criminals looking for a fistful of WOOLONGS, and the only thing that stands in their way is the 5 strong crew of the goodship “BEBOP”; an ex hitman of the RED DRAGON SYNDICATE tong, a retired INTER SOLAR SYSTEM POLICE (ISSP) agent, an eccentric young hacker, a gambling addict conwoman and a genetically engineered PEMBROKE WELSH CORGI.
“COWBOY BEBOP” is one of the most influential pieces of anime ever, and it
remains as relevant and visually compelling as it’s first release.
Through the looking
Was COWBOY BEBOP superior to content in anime
at the time?
What came before it that influenced what it
What came after that in itself influenced?
as mecha anime seemed to be dying or already dead.
The only great pieces to come out of the industry were mediocre at best.
(Clockwise from lop left to bottom left): Initial D, ONE PIECE, Spriggan, TRIGUN, Yu-Gi-Oh!, GUNDAM WING: Endless waltz.
Amongst cars, childhood card games, and the popular pirate swashbuckler ONE PIECE, COWBOY BEBOP had philosophy, science fiction, noir, martial arts, gangsters, crime and everybody smoked.
Said WATANABE to, bebopattic.weebly.com, when
“Actually, In my cowboy universe, tobacco is incredibly cheap. And if I go to say a little bit more, how do you know it’s really tobacco? We’ll leave it at that. (laughs).”
Where the other influential pieces at the time (NEON GENESIS: EVANGELION) succeeded in sombre, COWBOY BEBOP brought LIGHT to a DYSTOPIA.
COWBOY BEBOP was definitely SUPERIOR to other content during it’s year of release.
Seeing its success
in the WEST over 20 years ago, SHINICHIRO blended WESTERN POP CULTURE into
Did his homeland of
the EAST influence his work?
Far from it;
Such pieces as Dirty harry, john carpenter films, spaghetti westerns, noir, hongkong action, and jazz are accredited in interviews with IGN.
Besides saying the
obvious truth that COWBOY BEBOP has influenced work since it’s release,
It has joined the pantheon of the greatest anime ever created.
LUPIN THE THIRD; CASTLE OF CAGLIOSTRO (HAYAO MIYAZAKI; STUDIO GHIBLI – 1979) Which served as the basis for “COWBOY BEBOP”
GHOST IN THE SHELL (MAMORU OSHII; PRODUCTION I.G. – 1995)
NINJA SCROLL (YOSHIAKI KAWAJIRI; MADHOUSE – 1993)
AKIRA (KATSUHIRO OTOMO; TMS ENTERTAINMENT – 1988)
SPIRITED AWAY (HAYAO MIYAZAKI; STUDIO GHIBLI – 2001)
NAUSICAA OF THE VALLEY OF THE WIND (HAYAO MIYAZAKI; STUDIO GHIBLI – 1984)
If it wasn’t for
COWBOY BEBOP the western introduction into ANIME would be bleak.
Not even watanabe knew of it’s success in the west.
In an interview with
otaku magazine he said:
was originally broadcast 15 years ago in the US… Did you anticipate the
longevity of it, and how does that make you feel?
Watanabe: I am happy to see fans still remember Bebop. Back when we were making Cowboy Bebop, one thing I told the staff was “let’s make a show that does not feel dated in ten or twenty years,” so I am happy that that has actually taken place. But of course they laughed at me when I said that back then and they said “good luck.”