The best aspect of this series is that it very much resembles the cross between Samurai Champloo’s irreverent, freewheeling story-telling (there is a main goal and narrative, the show just goes around episodically) and Cowboy Bebop’s strong character work. This set actually demonstrates the range that the series can get, and that is definitely a good thing.
The first two episodes, “The Idiot’s Suadade”, follows Michiko as she asks a friend about Hiroshi’s whereabouts. With the information she’s given, she feels that it will be to dangerous for Hatchin and leaves her with Zelia Bastos, Michiko’s guardian when she was a kid. Zelio turns her away (because of money) and Hatchin gets kidnapped. The next episode follows Michiko in an island village while her bike is being repaired. She becomes attracted to a man she sees that offers her tobacco and it causes strife between her and Hatchin ……… and the man’s wife. And episode 8 follows the pair as Hatchin leaves Michiko (she can’t stand the fighting) and Michiko follows a lead on where Hiroshi is, only for it to be someone using a false name.
The best aspect of this run is the slow pace used often. Not that there isn’t any action (almost all of part 2 of “The Idiot’s Suadade” is action), but it allows for pauses to develop the characters and to show that they are characters worth watching. These quiet moments are where the show more resembles Bebop rather than Champloo. That said, “The Idiot’s Suadade” is a fun story that wouldn’t be out of place in Samurai Champloo.
Unfortunately, the flaw I’m finding now is that it reminds me so much of Shinchiro Watanabe’s work that I can’t see this as standing up on it’s own, even though it does. Still, it is still enjoyable and highly recommended.