the NYC-based Destryur is likely to be well-known to darksynth fans, having been a part of several NRW releases such as “Night at the Grindhouse” and the “In Search of Darkness” soundtrack.

Figure is a bit newer to the NewRetroWave scene – but he’s no stranger to horror, and is perhaps a more seasoned producer in his own right – having cut his teeth over the past decade in the U.S. bass music scene. His gigantic “We Must Destroy” track was released only just as NewRetroWave was getting it’s start way back in 2011!

Together, this is a fantastic match made in hell for your listening displeasure.

As for this album – “Frightmare” is a brilliant tribute to 70s and 80s horror VHS. Each track title is a reference to a classic horror film, such as “Exorcist,” “Phantasm,” and “Street Trash.” Even the title of the album, “Frightmare,” is a classic horror film as well.

But the coldly calculated concept digs even deeper, as the arrangement and composition of each track seems to be directly inspired by the individual films they’re named after. For example, “Spit on Your Grave” sounds like pure sonic inspiration for revenge – a clear homage to the ultra-graphic 1978 classic “I Spit on Your Grave.” Another example is the frantic bass-splattered “Street Trash”, which is reminiscent of the confusing, splatter-gore filled black comedy flick “Street Trash” from 1987.

Overall, this is a fantastic darksynth / horrorsynth album that should absolutely not be missed! So what are you waiting for? Grab a listen below now!

10. Hardwired by Neuromancer
Album Art By @solomacello

9. How To See Through Walls by Windows96
Album Art by Windows96

8. Vintage Feelings by Evertt
Album Art by @artfulimagers

7. TRIFECTA by A.L.I.S.O.N, VIQ, Krosia
Album Art by Terence Sitbon

6. Voxanima by FUJII
Album Art by Burning Chrome

5. Wavefinder by Sferro & Makeup and Vanity Set
Album Art by Dylan Marcus McConnell

4. First Person Shooter by Various Artists
Album Art by Atom Cyber

3. Slow Tapes by l y n x
Album Art by LYNX

2. Fragments by Forhill |
Album Art By Valentin Pavageau

1. Data Fire by Korizon
Album Art by @DesignSince86 (Andrew Walker)

The Top 10 Synthwave Albums of 2023:

10. Along by demin

9. Slow Tapes by l y n x

8. Rogue by Wice

7. Axiom by PYLOT

6. First Person Shooter (Original Documentary Soundtrack)
by Various Artists

5. Premi​è​re Anthologie by Adieu Aru

4. Data Fire by Korizon

3. Between the Moon and Stars by Futurecop!

2. Unicorn by Gunship

1. Wavefinder by Sferro & Makeup and Vanity Set

Honorable Mentions

TRIFECTA by A.L.I.S.O.N, VIQ, Krosia

Katarsi by Katarsi

(Not really synthwave, but this is just too good to ignore!)

Evenings 夕​暮​れ Vol. 1 by Hotel Pools

On the face of it, you wouldn’t expect a collaboration album like “Wavefinder” to be so brilliant. Sure, both Sferro and Makeup and Vanity Set (MAVS) have honed their superb synth skills for over a decade – but their production styles are vastly different.

Sferro’s work is decidedly digital, featuring brilliant melodies driven by a disco heartbeat. MAVS, on the other hand, has honed his analog feel – slicing through soundtracks and albums alike with a keen edge of atmosphere.

So, I expected “Wavefinder” to be good – even great, given the sheer experience and quality of musicianship from these two artists. Truthfully though, I also expected some fragmentation – a certain disjointed feeling that is frequently noticeable with similar collaboration albums. It’s a sad fact that often when artists collaborate, there is a clash. Sometimes it’s ego, sometimes it’s production style, or wanting to go in different conceptual directions. Sometimes the final tracks just seem out of order. After listening to dozens and dozens of collabs, I can tell you there’s always something…

“In a lot of ways… the music sort of… tells me what it needs, you know? Then I just sort of let it happen.”

But then, as the first remarkable ripples of “Wavefinder” washed over me, I realized this record is something special. There is no clash – in fact, the opposite is true. The diverse styles of Sferro and MAVS complement one another in a unique way, merging into a gestalt of splendid sonic bliss that neither producer would have likely created on their own. From the initial vox-like trill of ‘Cursors’ to the final 90s-infused ambient decay of ‘Do You Really Want An Answer,’ every track on “Wavefinder” is truly exceptional.

MAVS + Sferro Wavefinder Vinyl From Stratford Court Records

Between syncopated kicks and stuttering hi-hats, there is a tangible atmosphere that pulls you in, demanding your attention. Brilliant polyphonic melodies emerge in perfect counterpoint to thick, juicy basslines – all punctuated by eccentric synth stabs that give the tracks an intense sense of movement and groove. And, of course, all of these elements are masterfully mixed and mastered. All of these different elements complement one another perfectly – much like Sferro and MAVS – and the end result sounds magical.

Throughout the album, there is a pervasive 90s nostalgia feel – which makes sense considering Sferro revealed during our interview that several of the tracks were actually outtakes  “Emotion Engine.”  Often the synth leads or stabs are also just slightly detuned, filtered with the analog wow and flutter warble of a VHS cassette in a very similar technique used in MAVS’ latest EP, “Gradient Ultra.” (Both of those releases made our yearly top 10 lists in 2021 and 2022 – and you should absolutely listen to them if you haven’t already!)

But, for MAVS and Sferro, that lush analog sound was not infused into “Wavefinder” for the often-cited stereotypical reason of feeling “warm” or “fat” – but instead to add a sense of organic decay and randomness. Chance.

“Anytime I can add unpredictability, I’m surprised by what it’s doing…” MAVS related in the same interview. “In a lot of ways, [through analog effects] the music sort of… tells me what it needs, you know? Then I just sort of let it happen.”

Makeup and Vanity Set at Human Music 2

Surprisingly, Sferro also related that although his workflow is digital, chance plays a large role in his production as well. “I can’t really explain it, but it happens to me digitally as well, because my computer sold. Like every render, dude… every render is different.”

“I don’t want to do the typical synthwave stuff anymore. I’ve done that beat and that to death… so the early 2000s, late 90s kind of thing – that’s what seemed attractive to me.” – Sferro

Perhaps most surprising is that MAVS and Sferro had never created together before, in spite of growing up within a few miles of one another in northern Ohio. In fact, the closest they had come to working together was when they both independently created tracks for the Demin’s “Initiate (Remixes)” – which happened to be very important to the genesis of “Wavefinder.”

Demin’s work sounds a lot like a sort of shimmering Com Truise. In fact, when “Initiate” was released, it led many to speculate that Demin may actually be a side project of Seth’s. This rumor is false, of course – as MAVS related perfectly in our recent interview, “…having talked to Seth over the years, I know that he’s into drum and bass and other stuff…. it would be weird for him to just do another thing that sounds like Com Truise.”

In fact, that sound – the Com Truise sound – is quickly becoming it’s own small microgenre called “Datawave,” Similar to how HOME’s work spawned Chillsynth. After working on the Demin tracks seperately, MAVS and Sferro thought that datawave sound would be perfect for “Wavefinder.”

“I didn’t want to deviate in the remix too much from [Demin’s] sound because I liked the sound. I was curious about the ‘datawave’ space…. so I just sort of leaned into that for the remix…and… it felt good. [Later] when I started to dig into the stuff [Sferro] had sent me, it just seemed like the logical progression, like the place to go. You always want to do something that’s exciting to you…and in that moment, that was what was exciting.”

Sferro at Neon RetroFest

But, in spite of finding inspiration in the Com Truise / datawave sound, no part of “Wavefinder” feels pastiche. Instead, the entire sound feels somehow new again – like re-experiencing your favorite movie for the first time. (Or, in my case, my favorite album.) That… genuine feeling – I think that’s what makes “Wavefinder” feel so special. At times it feels like so much synthwave today has been over-produced and polished into nothing but a rose-tinted mirror. It’s so incredibly refreshing to hear two old-guard synth artists creating sounds so new and fresh.

Like I said in the beginning of this review, it’s rare to find a release that reminds me of why I started writing about music in the first place. Those are nice words, sure – but what does that really mean? Well, the reason why I started writing about music was because I wanted to share the music that I loved with as many people as possible – and that sort of sums up how I feel about “Wavefinder.”

I love it.

Top tracks: “Hit Bit,” “Rubber City,” “Memory Screen,” and “Wavefinder.”

But, believe it or not, this brilliant collaboration almost slipped through the cracks of history. Heck, even this interview almost didn’t happen!

“…would it be possible to reschedule the call for tomorrow? Eric’s been out of commission today with a migraine…” – Makeup and Vanity Set (hereafter referred to as MAVS)

My heart sank. I’d been interested in interviewing these two “reclusive” synth pioneers (separately) for years. But the truth is, in spite of MAVS infamous robber mask and Sferro’s disdain for being photographed, neither of them are truly reclusive. They’d just rather focus on what really matters – creating music – instead of being a “brand.” MAVS is also notoriously busy, often working on multiple film soundtracks and albums at once.

Sferro’s Only Known Photograph – Trust Me, I looked!

All that work and a surprise bout of COVID almost stopped this album from being produced. Thankfully, sometimes the stars align even in this, the darkest of timelines. Never say never.

Looking back it was kind of like a very nice,  “…you blew it.” – MAVS

So, what was the genesis of the album? How did you two come to work together?

Sferro: “I reached out to Matt just to see if he was busy…. if he had time to maybe do a track. I thought it was just gonna be a single track…and yeah, he’s a very busy guy so it took a while.”

MAVS: “I had a million things going on – and I just sort of sat on it. It was totally my fault. He had followed up a few times, and I said “I still want to do it!” but… it just kept slipping to like the bottom of the stack.”

I’ve loved Eric’s stuff for so long – and we have the Ohio connection – and I thought this would be super cool to do. So finally I scratched out some time and I sat down one day and did a track…and immediately after, I got COVID. So I was bedridden for a week, and Eric DM’d me on Instagram and said, “Hey, man if you’re not gonna do anything with these tracks, I think I’m just gonna… uh, finish them.” Looking back it was kind of like a very nice,  “…you blew it.”

Sferro: *Laughter*

MAVS: “So I replied back and was like, “NO no, no, no, no – I did one! I did one!” and I sent him a dropbox link and he was really into it. I got better from COVID, and we just… kept going. After that the record itself came together super fast. I mean, it took like three weeks.”

That’s a great story! But what’s this “Ohio connection”? I’m from Ohio myself.

MAVS: It’s funny, Eric and I have never met in person – but he actually lives in [Northern Ohio,] which is where I’m from. He’s actually super close to where my family lives.

Sferro: We had no idea until he posted a picture while visiting and I was like, “Oh Shit you’re like two minutes away from my house!”

MAVS: *Laughs* “Yeah, so we had flirted a few times by having our remixes featured on the same album. More recently we were both on the Demin Initiate (Remixes) album – but yeah we’d never worked together properly before this one.

A lot of people seem to think Demin’s work is actually a Com Truise side project.

MAVS: “I don’t know man…Having talked to Seth over the years, I know he’s into drum and bass and some other stuff. It would be kinda weird for him to just do another project so close to his sound, sonically.”

That tracks. So, other artists have started making more music in that “Com Truise” style and calling it “Datawave” – and your new album “Wavefinder” definitely seems to fit that category. Was that intentional? what’s your take on that?

MAVS: “Don’t get me wrong, I love Seth’s work – and the idea wasn’t just to make something derivative… But we had just finished the Demin remixes, and…man, I really loved Demin’s track. I didn’t want to deviate too much in the remix… because I just liked the sound. I was curious about it. I had never done anything in the sort of “Datawave” space.

The last couple records I’ve been working on have also been masted by Ben Braun – Hotel Pools. I’m a big fan of his music. So, I started listening to a lot more chillsynth… and one of the things I thought was really interesting about it is that the tempos are way slower… I started to think about the fact that it really took my back to my roots-roots. Like, as a kid, finding Autechre… you know, all those guys were Hip Hop guys. And I feel like, chillsynth, datawave, these kinds of artists have a similar root. They have one foot in that genre – that kind of “head nod” feeling. There’s something appealing about that.

So no, it wasn’t like, “Hey this sounds like datawave” – that was the last thing on my mind. It was more that I just enjoyed going back…so I thought, “How can we slow this down even more?” And then the when you slow things down, the resolution gets a little wider. So you can suddenly like, bit more, you know, interesting things and have more interesting sort of syncopation happening musically.

So later on when I started to dig into the stuff Eric had sent me, it just seemed like the logical progression, like the place to go. You always want to do something that’s exciting to you – you know? And so in that moment, that was what was exciting.”

I also felt like there were some strong 90s references in “Wavefinder,” and you seemed to have really delved into the 90s vibes on “Emotion Engine” too. Was that move away from the 80’s intentional – or a sort of spontaneous occurrence like the “datawave” sound?

Sferro: “I will say that at least one, maybe two of the tracks were actually “Emotion Engine” outtakes I had sent over…but [in general, it does feel like a progression.] I definitely don’t want to do the typical synthwave stuff anymore. I’ve done that, beaten that to death. It just kind of felt right and it’s what seemed attractive to me: an early 2000s, late 90s kind of thing.

I don’t think the next Sferro album will be datawave though. I think “Wavefinder” is really awesome, and I think it’s awesome as a collaboration – but I don’t think I’ll explore that direction myself. It’s not the direction I want to go. I think I’m going to lean more heavily toward the early 2000s kinda… well, you’ll see in the new Hyperlinked Dream Sync album! It’s more like, Portishead-y.

“I definitely don’t want to do the typical synthwave stuff anymore. I’ve done that, beaten that to death. It just kind of felt right and it’s what seemed attractive to me: an early 2000s, late 90s kind of thing.” – Sferro

BUT, I do think datwave is awesome. The term is still kinda fresh to me… honestly I only recently heard of it when we started making [Wavefinder.]”

Eric, you’ve mentioned in interviews that your workflow is mostly digital – and Matt, you seem to mostly like analog – or as you like to say, “Play with the noodles.” Did those difference cause any conflict?

MAVS: “First of all, in spite of the room around me, I’m not an analog purist. Whatever works, you know? If you can make cool stuff in GarageBand, go for it. I’m not precious about that. What’s exciting to me is figuring out new ways to approach a workflow.

MAVS In His Studio

Anyway, Eric had sent me fully formed ideas… that I thought was really cool, I dug it. But, it was different that what I’m used to and I had to totally reorient my thought process. I had to come out of that comfort zone and be challenged a little bit by someone else’s thought process – sonically.”

It was awesome trying to experiment while still being reverent to it too. It was it was fun – I had a blast working on it!”

“I’ve put out a lot of records, and when you go through that process, there’s always at least one thing that totally shits the bed….but with this one, none of that happened.”

Sferro: “That reminds me – at one point Matt was saying, “I think we need a couple songs in here without drums…” So I’d send some stuff over without drums… and then drums ended up on it. It just had to have it.”

MAVS: “Right? …Other times he would add stuff on the back end and send it back…. It was a total democracy the whole way through. We were just trying to make something that was exciting to the two of us.”

It sounds like perfect match! Was there anything that caused conflict? You know, caused some sort of problem?

MAVS: “The thing came together in a way that was the least forced, you know, like it, it all happened really fast, it all felt really good!”

Sferro: “That reminds me of one track in particular, I sent a demo over and said “Uh…I don’t know if this will work…. And Matt said “Never say never!” and then sent it back – and it sounded sick!”

MAVS: “Right? I gotta say… I’ve put out a lot of records, and when you go through that process, there’s always at least one thing that totally shits the bed. You’re forced to work with an artist you don’t want to work with, or you can’t release on a certain date, or there’s a huge backorder on vinyl…”

Right? Thanks Adele! 

MAVS + Sferro: *Laughter*

MAVS: “…but with this one, none of that happened. We went back and forth and thought, “Okay, we have an album here.” Then we sent it off to Ben Braun [Hotel Pools] to get it mastered, and that guy just knows how to make bass happen in ways that, well, I’m both comfortable and uncomfortable with! Then we started talking to Andrew from Stratford Court. Stratford Court was almost a shot in the dark… [I’m] a huge fan of the label. It’s so well curated. We waited a while, and then Andrew reached out and said he’d love to do it!”

And honestly, I was floored. I hadn’t sent it anywhere else, but I had a list of [labels]… I just figured you know, Stratford Court to me was like swinging for the fences…and there’s no preorder. It’s all ready to go on Friday.” [Today]

MAVS + Sferro Wavefinder Vinyl From Stratford Court Records

Sferro: “I really love how “into” the record [Andrew] seems. Every time he replies to an email he says how he’s like… ‘really excited about this.’ It’s so cool – it’s awesome!

I’m excited too – and not to spoil the review, but I really think this album is special. Do you two think you’ll be working together in the future?

MAVS: It’s funny with this record, this is the most PR I’ve done for a record in a long time. But I think it’s just because I’m proud of the thing we made, you know? I want to make sure that we do our due diligence to Stratford and present it to the world in the right way.

Really.. I’m just, I’m happy to make music. I’m happy to be able to process the all of the shit that’s happening around us through music…and I’m super happy to have somebody like Eric to collaborate with…

Sferro: “Likewise!”

MAVS: “…and to you know, to see it, see it go out into the world man. It’s all good at this point. So I’m just happy to be here.”

Sferro: “I mean, I have ideas for the future. Things I’ll bring up to Matt eventually, in due time.” *Laughs* But I’m just super stoked we got the opportunity to do this. Matt’s fucking awesome. He’s a super chill dude. I’ve loved his music forever. And it’s cool that some OG’s Got to work together. So… I’m stoked.

So perhaps this isn’t the end for this dangerous duo?

Sferro: “Never say never.”

Editors Note: There is so, so much more to this interview. Both MAVS and Sferro discussed their creative evolution, how they came to find electronic music and two kids stuck in Ohio, and how the digital age affects nostalgia, and their own approach when it comes to organic-feeling synthesis. For more of that, keep an eye out for my upcoming review of “Wavefinder” after it drops!

The Top 10 Synthwave Albums of 2022:

10. Nosebleed (Deluxe) by Midnight Drift

9. Ultrasound by A.L.I.S.O.N & Hotel Pools

8. Heroes by The Midnight

7. The Textorcist OST by Gost

6. Triangle Unicode by We Are Magonia

5. Lovers Lake by Lovers Lake

4. I by Voyage

3. AKUMA 3 by ALEX & TOKYO ROSE

2. (Tie) In Motion I & II by Memorex Memories

2. (Tie) Tortured Waters by DEADLIFE

1. Sentimental by Miami Nights 1984

Honorable Mentions

(In No Particular Order)

In Search of Tomorrow (Original Documentary Soundtrack) – by Various Artists

Forgotten Shapes by Waveshaper

Payback by Neon Nox

Synth City by All the Damn Vampires

Distorted Memories by Lucy In Disguise

10. Simulation Heat by Midnightout
Album Art: ?

9. Lovers Lake by Lovers Lake
Album Art: Nibera Visuals
@nibera_visuals

8. Virtual Vega by Evertt
Album Art: The Real Theory
@the_real_theory

7. Earthwalker by Clyde Shelton
Album Art: Clyde Shelton
@clydeshelton._

6. Vector Feels by Pastel Graphics
Album Art: Andrew Walker
@designsince86

5. Ident by Baldocaster
Album Art: Brouemaster Visual Decay
@brouemastervisualdecay

4. Pressure Point by Eagle Eyed Tiger
Album Art: Eagle Eyed Tiger
@eagleeyedtiger

3. AKUMA 3 by ALEX & TOKYO ROSE
Album Art: HVNTER
@hvnt.ter

2. Deuce by OSC
Album Art: OSC
@opusscience

1. Driven to Madness by DANCE WITH THE DEAD
Album Art: Marc Schoenbach
Sadist Art Designs

10. Night of the Dark Prince by Jessie Frye

9. Youth by ALEX

8. Resurgence by Lyde

7. My Soul Burns As My Consciousness Is Uploaded Into The Virtual Afterlife by Trevor Something

6. Night Life by Sunglasses Kid

5. Nights by Droid Bishop

4. Ident by Baldocaster

3. Gradient Ultra by Makeup and Vanity Set

2. Pressure Point by Eagle Eyed Tiger

1.  Multiverse by Timecop1983

10. Night Quest – Adieu Aru

9. Caspro – Dream Tower

8. System96 – Emotion

7. Midnight Drift – Disintegrate

6. Synthwave Goose – Insect

5. Wayfloe – Ragnarok

4. Power Glove – 2043 (Vol 1.)

3. Hotel Pools – Baked

2. Tonebox – Last Encryption

1. Clyde Shelton – Obscure Means II

top 10 Retrowave EPs 2021

View our other Best of 2021 lists here!

Love our lists? Check out our Top 10’s from previous years:

Top 10 Retrowave EPs of 2020
Top 10 Retrowave Albums of 2019
Top Ten Retrowave Albums of 2018
Best of 2019 (All Lists)

10. Artist: System 96
System 96 – VHS

9. Artist: Caspar Newbolt
Makeup And Vanity Set – Time

8. Artist: Gaston Blanko
Stilz – Hyperspace Drifter 2

7. Artist: Eagle Eyed Tiger
Eagle Eyed Tiger – Untether, Unravel

Note: Eagle Eyed Tiger also made an astounding short video to accompany the album in Blender. Check it out here. 

6. Artist: Phono Ghost
Sferro – Emotion Engine

5. Artist: Tonebox
Tonebox – Last Encryption

4. Artist: Davansh Atry
The G – Wanderers

3. Artist: Andrew Tremblay
Street Cleaner – Slice

2. Artist: Emkade
Sellorekt/LA Dreams – Cherry Vice

1. Artist: Robert Beatty
The Weeknd – Take My Breath

View our other Best of 2021 lists here!

Love our lists? Check out our Top 10’s from previous years:

Top 10 Synthwave Albums of 2020

Top 10 Synthwave Album Art of 2020

Top Ten Synthwave Albums of 2019

All Best Synthwave of 2020 Lists

Top 10 Retrowave Album Art of 2020

10. Makeup And Vanity Set – Time

9. WOLFCLUB – Just Drive (Part 1)

8. Street Cleaner – EDGE

7. NØVMBR – TeleVisions

6. Waveshaper – Mainframe

5. DRYVE – Seulement L’amour

4. Sferro – Emotion Engine

3. The G – Wanderers

2. (TIE) Eagle Eyed Tiger – Untether, Unravel

2. (TIE) Arcade High – Kingdom 2

1. LukHash – We Are Stardust

(Very) Honorable Mentions

Hotel Pools – Palmscapes

Trevor Something – Love Me and Leave Me

Astrophysics – Someday I’ll See You Again

Michael Oakley – Odyssey

Baldocaster – Cult of Saturn

Dynatron – Origins

top 10 Retrowave Albums 2021

View our other Best of 2021 lists here!

Love our lists? Check out our Top 10’s from previous years:

Top 10 Retrowave Albums of 2020
Top 10 Retrowave Albums of 2019
Top Ten Retrowave Albums of 2018
Best of 2019 (All Lists)

Wait, no – that’s not totally genuine. I expected quite a bit. Cowboy Bebop has long been considered one of the best anime of all time, and many of Netflix’s recent originals have been outstanding. You would think Netflix would know to give a fan-favorite like Cowboy Bebop the absolute white-glove treatment. Get it right.

What I mean to say is that after so many live-action anime atrocities like Ghost in the Shell (I’m not even going to list the others, you know them well if you’re reading this article) – well, I’ve learned not to get my hopes up. For a moment there though I was excited when I heard they brought in Shinichirō Watanabe, the original director of Cowboy Bebop, as a creative consultant.

But after seeing this teaser, my small flickering flame of hope has finally been snuffed.

Cowboy Bebop: The Lost Session Teaser is All Style, No Mood

First, let’s start on a positive note: the camera work was gorgeous, and really nailed the difficult-to-shoot anime style. The personality of the characters was evident – in particular, Mustafa Shakir’s delivery of Jet Black was astounding. The short sequence was also filled with style…

…but wow, was that style tacky. It seems like they were shooting for a Tarantino stylization, but between the paper-thin CG backdrops, cardboard props, recoilless gunfire, and Marvel-style cheeky (read: soulless) one-liners, the teaser falls totally flat. It honestly felt like I was watching a low-budget indie short.

But perhaps most importantly: any semblance of the moody, melancholic, and serious tone of the original series was lost.

To me, the humor in the original Cowboy Bebop was a convenient way to lighten the mood after dealing with heavy subjects like terrorist attacks, drug addiction, and the death of loved ones. It also injected a wonderful personality into the series – but that humor was never the point. At its core, Cowboy Bebop was always a futuristic drama-noir dealing with themes of existential crises, morality, and loneliness – not a comedy-action comic book ripoff.

For example, in the first episode of the original series, we learn after a woman’s pregnant woman’s stomach gets shot that it is actually just a drug mule satchel – and soon after that, she blows her lover’s brains out just before being torn to pieces herself by a hail of low-orbit gunfire.

That poignant scene is a far cry away from the irreverent “Hey nut buckets, there’s no payout if you shoot him in the face!” we hear from Faye towards the end of this teaser.

Now, you might say, “But it’s just a teaser!” – and you’re totally right. Perhaps I’m reading into it too much. There is definitely still a chance this teaser isn’t a great representation of the rest of the series… but that would be surprising. After all, it’s supposed to tease us, no? When musical artists put out singles to build hype for their album, they usually choose one of the best tracks. Similarly, why tease content that’s not in the actual series? It seems clear to me that the creative direction here is very poor – unsurprising considering the live action’s developer, André Nemec, also helped write the heinous Teenage Mutant Ninja Turtles 2014 flop.

Judging from the approving comments I’ve seen in the comments section of the teaser on Youtube – a load of you are going to disagree with me. And let me be the first to say – I hope I’m wrong too. We’ll just have to wait and see – the trailer drops next week and the live-action Cowboy Bebop series is set to debut November 19th on Netflix.

Why Do They Keep Getting Live-Action Anime Reboots Wrong?

I think what we’re dealing with here is the same core reason why so many other anime adaptations failed. The showrunners fundamentally view the source material like they would a western cartoon – a show for kids and teens. They don’t take the source material seriously – or they don’t understand it – and the end result is always the same: a hollow shell lacking all semblance of the very substance that made that anime so beloved to begin with.

Now, not all live-action anime is bad. The Matrix is a fantastic example of how live-action anime can be done right. Shot-for-shot, The Matrix closely parallels Ghost in the Shell – so close in fact rumor has it they asked Mamoru Oshii for permission to make the movie. Of course, the story is different, so it’s not really a remake, but still – it is possible to make a good live-action anime movie.

Cowboy Bebop – Official Teaser Video “Lost Session”