The Resonating Epic: A Journey through Life, Death, and Dreams in Cowboy Bebop

Cowboy Bebop is a unique fusion of various narratives and genres that transcends traditional categorization, making it a genre of its own. However, amidst its multifaceted nature, there exists a profound spiritual aspect that often goes unnoticed. The series masterfully delves into existential themes in a subtle yet captivating manner, with its film adaptation, Knockin' on Heaven's Door, serving as a surprisingly fitting conclusion.

The film was released in 2001, more than two years after the TV series concluded. It presents a self-contained narrative featuring the main cast, making it enjoyable on its own. According to official information, it is commonly believed to take place between episodes 22 and 23, just before the story reaches its climax. However, is this account entirely accurate?

The Theory

The Bebop movie is set prior to the finale because in the last four episodes, the entire Bebop crew slowly disbands. As Faye remembers her past, Ed decides to leave the ship and live on Earth with their father and Ein. Additionally, Spike's past catches up with him as Vicious' mutiny in the Syndicate requires dealing with all loose ends, including Spike and Julia.

In the end, Julia meets her demise, and Spike, no longer satisfied with evading his past, confronts his inner demons head-on. Engaging in a solo assault on the Syndicate headquarters, he engages in a duel with Vicious, ultimately eliminating his former comrade. However, Spike himself meets his demise shortly thereafter, finding solace in his final moments. Consequently, one could argue that the story reaches its conclusion at this point.

Nevertheless, it is worth considering the theory that the Bebop movie serves as a continuation, taking place after Spike's demise. This perspective suggests that the movie could be interpreted as a form of dream or purgatory. Admittedly, the concept of "what if [THING] is actually a dream?" has been excessively used and can be seen as a cliché in media analysis. However, in the case of Cowboy Bebop, there is a genuine basis for discussing the series as a reflection on existential themes.

There is a recurring theme of dreams throughout the article, starting from the opening monologue and continuing until the end of the credits. However, this motif is most prominently represented by the main antagonist, Vincent Volaju. Following his participation in the experimentation of a nanomachine virus on Titan, he has lost the ability to differentiate between dreams and reality. With no recollection of his past, except for the trauma he experienced, Volaju desires to bring about the destruction of the world in order to "wake up," and he intends to bring everyone on Mars along with him.

In Bebop, character development may not be the central focus of the film, but similar to the TV series, the side characters often take the spotlight. The Bebop crew serves as mere observers, assisting whenever possible and gaining insights about themselves along the way. However, the true focus of the film lies on Vincent and Elektra, two original characters who have a shared romantic history.

It is not uncommon for stories to present the hero with a nemesis who mirrors their own qualities, and Vincent embodies a darker version of Spike in terms of skill, appearance, and motivation. The similarities between them are emphasized through their conversations about their pasts. During a conversation with Elektra in the holding cell, Spike reveals that he and Vincent "share the same soul," highlighting their undeniable connection.

When the credits roll and Spike reaches for the same illusory butterfly that Vincent often saw, the end title poses the question, "ARE YOU LIVING IN THE REAL WORLD?" Spike's contemplation on a man who was consumed by his own dreams could easily be applied to himself. If it were merely the film expressing these ideas, it would be intriguing but not entirely conclusive. However, the TV show itself, particularly its ending, further reinforces this notion.

"It's All A... Dream"

The characters in Cowboy Bebop experience a blurred line between reality and dreams, symbolizing their feeling of aimlessness and disconnection from their desired identities. Spike, for instance, confronts death repeatedly, such as being thrown out of a window by Vicious or being shot and falling from a moving train by Vincent, yet he always manages to come back.

In Cowboy Bebop, the concept of plot armor goes beyond mere protection for the characters. When Vicious claims that only he can set Spike free, there is an undeniable weight to his words. Despite the show's grounded nature, there is a mythical quality to the intense confrontation between these two characters, as it becomes the key to their ultimate release in death.

The spiritual theme has always been intertwined with Cowboy Bebop's narrative. Laughing Bull, a recurring character, symbolizes the show's fluid perspective on life and mortality. This perspective continually reshapes the story, revealing new layers upon closer examination. Just as dreams can represent the characters' aspirations, they can also become entrapments, hindering their progress.

Julia let go of her aspiration to run away with Spike due to her fear of death, as she was convinced that her existence was merely a fantasy. However, upon her demise, she whispers, "It's all a... dream," finally liberating herself, albeit not in the manner she or Spike had anticipated. In contrast, Spike is not overly preoccupied with distinguishing between dreams and reality. What truly matters to him is discerning whether he is alive or dead, as these two states are not interchangeable.

"Yeah... Just A Dream"

In the previous episode, he confides in Faye, expressing his determination to go on this journey not to meet his demise, but to discover the true meaning of his existence. Regardless of the outcome, he will finally achieve a sense of closure, both in seeking retribution for those who have perished and in taking accountability for his actions. Whether his reality is tangible or merely a figment of his imagination becomes irrelevant. The important thing is that he will find resolution and be prepared for whatever lies ahead.

In one interpretation, the film serves as a meaningful conclusion to the cast's journey, resembling an epilogue. Spike finds solace in the companionship of his makeshift family and goes on to help someone else escape their own torment, leading them to confront their own mortality. Alternatively, even if the events of the film are not a mere dream, they hold great significance that fans may not fully acknowledge.

If we consider Cowboy Bebop: Knockin' on Heaven's Door as just another story unfolding between episodes 22 and 23, it is reasonable to assume that the film plays a role in shaping the characters' resolve in the final episodes. Perhaps Spike's victory over Vincent provides him with a glimpse into his own destiny. It raises the question of whether, when confronting Vicious, Spike is influenced by thoughts of a certain individual who was intimately connected to dreams.