Cowboy bebop faye and spike relationship trust

The Hidden Parallels in ‘Cowboy Bebop’—and Its Links to Cormac McCarthy

Faye represents what Julia would've been to spike with a little more attitude. Jet is sort of a replacement for vicious and ed is like a little kid or. The Meta-Myth of 'Cowboy Bebop' Becomes Crystal Clear on Callisto Spike is Cormac McCarthy's nameless Kid from 'Blood Meridian'? . Meanwhile, over at the Blue Crow, Faye is in full noir mode, dragging at a All that's clear is that Vicious betrayed Gren's trust following the war, framing him as a. Not to mention the fact that Jet had to force him to leave the Bebop and Watanbe was asked about Spike and Faye's relationship and this is.

As well ask men what they think of stone. War was always here. Before man was, war waited for him. The ultimate trade awaiting its ultimate practitioner. That is the way it was and will be.

That way and not some other way. For Vicious—or, better yet, for war incarnate—does it matter? Beware the nostalgic fool who steps into its gore-torn path, whether his name be Gren or Spike. Is this a sex joke? In this episode, I mean, probably? Almost like this episode, in fact. Typically, mid-season finales—especially in shows that are loosely, rather than purely, serial—have it rough. Since they are, almost by nature, begun in medias res, they need to tell 1.

This is part of why the use of that ageless binary of good and evil proves to be both fine tool and tempting crutch for those who would tell a story. As McCarthy might put it, each comes pregnant with its own significance which none can untether from it and that significance lends its color to all that is touched by either.

And while Cowboy Bebop is less interested in morality as it is in purpose, it certainly employs its own ethical binary, even as it undoes it. Vicious is one of those evils, and his face here is framed so as to focus on his right eye. What a twist in imagery! Recklessness rooted in reminders. Bloodshed as a solution that nonetheless continues to breed new problems.

An unwillingness to let go. You should see yourself. Do you have any idea what you look like right at this moment, Spike? The same blood runs through both of us. The blood of a beast who wanders, hunting for the blood of others. For his Judge, there is no answer but war, no end but one that comes with blood, no survivors but he who becomes the end of all others.

There is room on the stage for one beast and one alone. All others are destined for a night that is eternal and without name. One by one they will step down into the darkness before the footlamps. In places like this, survival can only occur when no cost is too high. Here, there is significance in every action. Every relationship or destruction thereof. And yet there is Gren, who remains, too, twinned to Vicious.

And a lover, too, if you count the prequels. Loki, blood brother of Odin, does not kill Odin, but Baldur, for which Odin punishes him but does not, and cannot, kill him. Even those who want it to be one way sometimes cannot help but find that it is, in fact, the other way. Gren even acts like Spike when he talks about Vicious. Now, who does that sound like? These episodes are just buried in dualities and parallels.

The crows that fly over Spike and leave their black feathers on the ground beside him dovetail all too neatly with the doves, white as Callisto snow, that accompany Julia in flashbacks. Faye sits on the same stool at the same bar Julia occupied when she, too, came to Callisto.

Why Spike Spiegel’s Sprezzatura Spun Out

Was this the scenario Gren had hoped for all along? Holding him as we imagine he would have done with Julia so, so long ago—and as Gren might have wanted from Vicious. They are new comrades together just as both were comrades to Vicious once—a circle made whole, or, perhaps, wholly broken.

Is it out of loyalty? These are, I think, the questions Cowboy Bebop asks at its core. Vicious has his answers: There is nothing in this world to believe in. For what does war in its most pure form leave, in the end, if not nothing? Vicious exists because he can, kills because he can, stays the same because he sees no reason not to. He lives for nothing, and all around him will too, if he has his way. Poor, doomed Lin, so dedicated to an order whose rising power could not care less for his existence, finds his answer, too; he dies in unappreciated service, as befits his life.

Gren has his answer, too: Spike could do for Gren what Vicious never would have. He could help him, unselfishly, back to Titan, where he had gained, and lost, so much of what made him who he is. In Spike, Gren found a comrade who would take him home. Sturdy Jet continues supporting his comrades, letting lesser infractions go—because he can and, as a self-styled provider, because he must. Bull has known his answer — perhaps the answer — for what seems like time immemorial.

We exist because we exist. We change because we change. One eye just slightly lighter than the other?

Did Faye Valentine love Spike? : cowboybebop

It also invigorates and defines his time on the Bebop. His cool is often what keeps him alive through most of the show. That sprezzatura is three years in the making: But the thing that really sets him off—that takes that chink in his psychological armor and shatters it—is the death of Julia. For all the pain his life in the Red Dragon syndicate caused him, it also brought him friendship, as well as love. The flickers of flashbacks that we get throughout the show hint that Spike and Vicious were once comrades, that Vicious was probably romantically involved with Julia first, and that ultimately she chose Spike, prompting Vicious to turn on both of them.

They also show us a Spike who was entirely unafraid of showing an earnest, hopeful side. Then came the medical operations that gave him his new eye. Then came the Bebop. Then came the psychological resistance. Maybe they could take out Vicious and finally be free of syndicate goons.

Maybe they could join Faye and Jet on the Bebop. Their old friend Annie dies, perhaps believing some version of this might come to pass, before the bullets start flying again. What happens instead is a character death, but it also leaves Spike feeling as if he has nothing left.

With Julia gone, so goes what he thought was his last best shot at a meaningful relationship with another person. As if they were searching frantically for proof that they were alive.

He wants his partner in the bounty-hunting business to stick around, and he wants his friend to stay alive. Spike responds with this story: There once was a tiger-striped cat. Then one day the cat became a stray cat which meant he was free. He met a white female cat and the two of them spent their days together happily.

Well, years passed and the white cat grew weak and died of old age. The tiger-striped cat cried a million times, and then he died too.