THE BIG O

is an anime TV series produced by Sunrise, Inc. It was directed by Kazuyoshi Katayama (animation director, ''Giant Robo''), with character and mecha designs by Keiichi Sato (original concept, ''Karas''), and script by Chiaki J. Konaka (''Serial Experiments Lain'').
Forty years prior to the events of the series, a mysterious occurrence caused the residents of Paradigm City to lose their memories. The series follows Roger Smith, Paradigm City's top Negotiator. He provides this much needed service with the help of an android named R. Dorothy Wayneright and his butler Norman Burg. When the need arises, Roger calls upon Big O, a giant relic from the city's history that may hold the key to its future.
''The Big O'' is designed as a tribute to Japanese and Western shows from the 1960s and 1970s. The series is done in the style of ''film noir'' and combines the feel of a detective show with the mecha genre of anime. The setpieces are reminiscent of Toho monster movies and the score is an eclectic mix of styles and musical homages.
The series premiered October 13, 1999 on WOWOW satellite television. It finished its run on January 19, 2000. The English language version premiered on the American Cartoon Network on April 2, 2001. Originally a thirteen-episode series, positive fan response internationally resulted in a second season co-produced by Cartoon Network, Sunrise, and Bandai Visual. Season two premiered on Japan's SUN-TV on January 2003, with the American premiere taking place seven months later.

Contents

Plot

Characters

Production

Music

Adaptations

Design

Style

Influences

Reception

References

External links

Plot

Forty years prior to the events of the series, disaster struck.^[2] The world was turned into a vast desert wasteland and the survivors were left without memories. The story takes place in 'Paradigm City', a corporate police state run by the Paradigm Corporation.^[3] The town is recognized for its geodesic domes, a giant structure that houses the richer citizens and segregates the poor to living outside the domes.
''The Big O'' deals with the nature of memories. A memory is a record stored in the brain of an organism, but in Paradigm City memories can mean so much more.^[4] embody the lost knowledge of its residents, and can take the form of records from before the Event,^[5] forgotten artifacts from the previous era or manifest themselves as recollection, hallucinations or recurring dreams.'Dan Dastun' (over scenes from a black-and white movie): I don't remember when I first saw it, but I know that the dream is based on a scene from an old movie I watched when I was a kid. It's bone-chilling cold as snow falls softly onto a winter sea. The woman is shot. Presumably by the man she loves. // 'Roger Smith': "''Vous etes si gentil''"? // 'Dastun': Sounds like a language from some other country, probably where the movie was made. (Act:10, "Winter Night Phantom")
The first half of the series is episodic. Each Act revolves around different citizens of Paradigm dealing with the resurgence of lost Memories and how they manage to go on living without knowledge of what did or did not happen. The final episodes introduce elements that come into play during season two like the existence of people outside of Paradigm City, the nature of the Cataclysm that destroyed the world and the "Power of God wielded by the hand of man."
The second season takes an arc-based approach. Instead of self-contained stories like in season one, season two features a continuous storyline. This season makes Alex Rosewater, CEO of the Paradigm Corporation, a direct antagonist to The Negotiator and introduces The Union, agents of a foreign power working within Paradigm.

Characters

'Roger Smith' is the series protagonist. As a Negotiator, his job entails finding a resolution for the troubles of the City of Amnesia. He'd negotiate almost anything for anyone, but he is a professional and expects the parts to behave professionally. When memories betray the people and force them to reawaken monstrosities of the city's past, Roger's only option is to fight back with a monstrosity of his own, the black megadeus 'Big O'.

'R. Dorothy Wayneright' is Roger's assistant. Introduced in Act:01 as Dorothy Soldano, daughter of rich industrialist Miguel Soldano, she is later revealed to be an android constructed by him. Her actual "father" would be Timothy Wayneright, the man who commissioned her construction and father of the ''real'' Dorothy Wayneright. To show her gratitude, and as a form of payment for Roger's help, she decides to move in with him and help out Norman with the chores.

'Norman Burg' is Roger's butler. Forty years before the commencement of the story, Norman, like the rest of Paradigm, lost all memories from before that day, but he would not think twice before going once more unto the breach for his master. Resourceful and talented, he is also caretaker of the Big O. Norman's skills give him a purpose and a mission to accomplish for Roger.
''Voiced by'': Motomu Kiyokawa (Japanese), Milton James (English) in season one, Alan Oppenheimer (English) in season two

'Dan Dastun' is the middle-aged Chief of the Military Police, introduced in Act:01. He is Roger's former commander, but they still maintain contact with each other. Dastun resents the opinion some have of his job, calling him a "lapdog" of the Paradigm Corporation, but is proud of what he does. No matter how big the threat, the Military Police are needed in Paradigm.

'Angel' is the beautiful woman Roger encounters throughout the series. Introduced in Act:03 as Casey Jenkins, investigator for Paradigm Power Management, then again in Act:04 as Patricia Lovejoy, secretary for the publisher of Paradigm Press. Angel's true identity is a mystery, her motives questionable and her allegiance to no one but herself.

Production

Development of the retro-styled series began in 1996. Keiichi Sato came up with the concept of ''The Big O'': a giant city-smashing robot, piloted by a man in black, in a Gotham-like environment.^[6] He later met up with Kazuyoshi Katayama, who had just finished directing ''Those Who Hunt Elves'', and started work on the layouts and character designs. But when things "were about to really start moving," production on Katayama's ''Sentimental Journey'' began, putting plans on-hold. Sato was also heavily involved with his work on ''City Hunter''.
Sato admits it all started as "a gimmick for a toy" but the representatives at Bandai Hobby Division did not see the same potential. From there on, the dealings would be with Bandai Visual, but Sunrise still needed some safeguards and requested more robots be designed to increase prospective toy sales. In 1999, with the designs complete, Chiaki J. Konaka was brought on as head writer. Among other things, Konaka came up with the idea of "a town without memory" and his writing staff put together the outline for a 26-episodes series. THE BIG O! Chiaki J. Konaka Interview '(Archive)'
''The Big O'' premiered on October 13, 1999 on WOWOW. When the production staff was informed the series would be shortened to thirteen episodes, the writers decided to end it with a cliffhanger, hoping the next 13 episodes would be picked up.^[7] In 2001, ''The Big O'' premiered on Cartoon Network's Toonami lineup.
;Second season
The series garnered positive fan response internationally which resulted in a second season co-produced by Cartoon Network, Sunrise, and Bandai Visual. Season two premiered on Japan's SUN-TV on January 2003, with the American premiere taking place seven months later in the Adult Swim lineup. Comic-con Adult Swim News All the scripts for season two were written by Konaka.
Along with the 13-episodes of season two, Cartoon Network had an option for 26 additional episodes to be written by Konaka.^[8] According to Jason DeMarco, executive producer for season two, the middling ratings and DVD sales in the United States and Japan have made it impossible for further episodes to be produced. Ask Kim Manning -- And what is up with ''Big O'' Season 3?

Music

''The Big O'' was scored by ''Geidai'' alumnus Toshihiko Sahashi. His composition is richly symphonic and classical, with a number of pieces delving into electronica and jazz. ''The Big-O'' Original Sound Score Chosen because of his "frightening amount of musical knowledge about TV dramas overseas," Sahashi integrates musical homages into the soundtrack. The background music draws from ''film noir'', spy films and sci-fi television series like ''The Twilight Zone''. The battle themes are reminiscent of Akira Ifukube's compositions for the ''Godzilla'' series.
The first opening theme is the Queen-inspired "Big-O!"^[9] Composed, arranged and performed by Rui Nagai, the song resembles the theme to the ''Flash Gordon'' film.^[10] The second opening theme is "Respect," composed by Sahashi. The track is an homage to the music of Gerry Anderson's ''UFO'', composed by Barry Gray. In 2007, Rui Nagai composed "Big-O! Show Must Go On," a 1960s hard rock piece, for Animax's reruns of the show. The closing theme is the slow love ballad "And Forever," written by Chie and composed by Ken Shima. The duet is performed by Robbie Danzie and Naoki Takao.
Along with Sahashi's original compositions, the soundtrack features Chopin's Prelude No. 15 and a jazz saxophone rendition of “Jingle Bells.” The complete score was released in two volumes by Victor Entertainment.

Adaptations

''The Big O'' was conceived as a media franchise. To this effect, Sunrise requested a manga be produced along with the animated series. ''The Big O'' manga started serialization in Kodansha's ''Magazine Z'' on July 1999, three months before the anime premiere. ''The Big O'' section at Hitoshi Ariga's site Authored by Hitoshi Ariga, the manga uses Keiichi Sato's concept designs in an all-new story. The series ended on October 2001. The issues were later collected in six volumes. The English version of the manga is published by VIZ Media.
In anticipation to the broadcast of the second season, a new manga series was published. , authored by Hitoshi Ariga, takes place between volumes five and six of the original manga. The issues, serialized in ''Magazine Z'' from November 2002 to September 2003, were collected in two volumes. As of August 2007, no English translation is available.
, a novel by Hiroki Taniguchi, was released July 16, 2003 (Tokuma Shoten: ISBN 4-19-861708-2).

Design

''The Big O'' is the brainchild of Keiichi Sato and Kazuyoshi Katayama, an homage to the shows they grew up with. The show references the works of Gerry Anderson and ITC Entertainment, the superhero shows produced by the Toei Company and "old school" super robots. The series is done in the style of ''film noir'' and pulp fiction and combines the feel of a detective show with the giant robot genre.^[11]

Style

''Film noir'' is a stylistic approach to genre films forged in Depression-era detective and gangster films and hard-boiled detective stories which were a staple of pulp fiction.Silver, A. & Ursini, J. "What is 'Noir'?" In ''Film Noir''. Los Angeles, CA: Taschen Books. ISBN 3-8228-2261-2 ''The Big O'' shares much of its themes, diction, archetypes and visual iconography with the ''film noirs'' of the 1940s.^[12]

The shadows of Venetian blinds cast upon the hero, a signature visual of ''film noir''.

Low-key lighting schemes marks most ''noirs''. The series incorporates the use of long dark shadows in the tradition of ''chiaroscuro'' and tenebrism. ''Film noir'' is also known for its use of odd angles, such as Roger's low shot introduction in the first episode. ''Noir'' cinematographers favoured this angle because it made characters almost rise from the ground, giving them dramatic girth and symbolic overtones. Other disorientating devices like dutch angles, mirror reflection and distorting shots are employed throughout the series.
The characters of ''The Big O'' fit the ''noir'' and pulp fiction archetypes. Roger Smith is a protagonist in the mold of Chandler's Philip Marlowe or Hammett's Sam Spade.^[13] He is canny and cynical, a disillusioned cop-turned-negotiator whose job has more in common with detective-style work than negotiating. Big Ear is Roger's street informant and Dan Dastun is his friend on the police force. The recurring Beck is the imaginative thug compelled by delusions of grandeur while the lovely Angel fills the role of the ''femme fatale''. Minor characters include crooked cops, corrupt business men and deranged scientists. The Big O, un animé sous influence
''Noir'' characters often "crack wise" and speak in double entendres. The dialogue in the series is recognized for its witty, wry sense of humor.'Roger Smith' (meeting Dorothy): I have a special house rule that only lovely young women can unconditionally enter this mansion. Sorry to keep you waiting. I'm Roger Smith. How may I be of service, Miss... // 'Roger' (Dorothy turns to face him): What's going? You're Miss Wayneright? // 'R. Dorothy Wayneright': How do you do? // 'Roger': Norman must be senile. How else could he confuse an android for a woman? // 'Dorothy': You couldn't tell the difference at first, either. // 'Roger': It was dark! I couldn't see in that dump! (Act:01) The characters come off as charming and exchange banter not often heard in anime dialogue, which tends to be straightforward. The plot is moved along by Roger's voice-over narration, putting the viewer into the mind of the protagonist so it can intimately experience the character's angst and partly identify with the narrator.
The urban landscape, Paradigm City, is the perfect ''noir'' milieu. The tall buildings and giant domes create a sense of claustrophobia and paranoia characteristic of the style. The rural landscape, Ailesberry Farm, contrasts Paradigm City. ''Noir'' protagonists often look for sanctuary in such settings but, as seen in Act:23, they just as likely end up becoming a killing ground. The series score is representative of its setting. While no classic ''noir'' possesses a jazz score, the music could be heard in nightclubs within the films.^[14] The recurring , a lone saxophone accompaniment to the protagonist's narration, best exemplifies the ''noir'' stylings of the series.
Amnesia is a common plot device in ''film noir''.^[15] Because most of these stories focused on a character proving his innocence, authors up the ante by making him an amnesiac, unable to prove his innocence even to himself. ''The Big O'' goes further, by removing the memories of the whole population. The convoluted past is told through the use of flashbacks. Like most ''noirs'', the past in ''The Big O'' is tangible and menacing. The characters are often trying to escape some trauma or crime tied to the Event, and confronting it becomes their only chance at redemption.

Influences

''The Big O's most commented upon influence is DC Comics' Batman. Sunrise, the series production studio, was a subcontractor for Warner Bros. Animation's '',Clements, J. & McCarthy, H. (2001). ''The Anime Encyclopedia: A Guide to Japanese Animation Since 1917''. Berkley, CA: Stone Bridge Press. ISBN 1-88-065664-7.^[16] and Toonami promos acknowledged the Dark Knight's influence on Roger Smith.^[17]
Roger Smith is a pastiche of the Bruce Wayne persona and the Dark Knight Batman. The character design is pure Wayne, complete with slicked-back hair and double-breasted business suit. Like Bruce, Roger prides himself in being a rich playboy to the extent that one of his household's rules is only women may be let into his mansion without his permission. Like Batman, Roger Smith carries a no-gun policy, albeit more flexible. Unlike the personal motives of the Batman, Roger enforces this rule for "it's all part of being a gentleman."^[18] Among Roger's gadgetry is the Griffon, a large, black hi-tech sedan comparable to the Batmobile, a grappling cable that shoots out his wristwatch and the giant robot Angel calls "Roger's alter-ego."
''The Big O's cast of supporting characters includes Norman, Roger's faithful mechanically-inclined butler who fills the role of Alfred Pennyworth; R. Dorothy Wayneright, who plays the role of the sidekick; and Dan Dastun, a good honest cop who, like Jim Gordon, is a friend to the hero.

"Showtime!" In an homage to Giant Robo, Roger uses his wristwatch to summon Big O.

The other major influence is Mitsuteru Yokoyama's Giant Robo.^[19] Before working on ''The Big O'', Kazuyoshi Katayama and other animators were staffers on the ''Giant Robo OVA''. The feature, a "retro chic" homage to Yokoyama's career, took seven years to produce and suffered low sales and high running costs. Frustrated with the experience, the staff looked to make ''The Big O'' the series they hoped ''Giant Robo'' would be. Anime Central 2003 Panel
Like Giant Robo, the ''megadeuses'' of ''Big O'' are metal behemoths. The designs are strange and "more macho than practical," sporting big stovepipe arms and exposed rivets. Unlike the giants of other robot anime, the megadeuses do not exhibit ninja-like speed nor grace. Instead, the robots are armed with "old school" weaponry such as missiles, piston powered punches, machine guns and laser cannons.^[20]

Reception

''The Big O'' premiered on October 13, 1999. The show was not a hit in its native Japan, rather it was reduced from an outlined 26 episodes to 13 episodes. Western audiences were more receptive and the series achieved the success its creators were looking for. In an interview with AnimePlay Magazine, Keiichi Sato said "This is exactly as we had planned", referring to the success overseas.Shimura, Shinichi. (2004). Anime rebel with a cause: The Big O's Keiichi Sato. ''AnimePlay, 5'', 22-26.
Several words appear constantly in the English-language reviews; adjectives like "hip," "sleek,"^[21] "stylish,"
^[22] "classy," and, above all, "cool"^[23][24] serve to describe the artwork, the concept, and the series itself. Reviewers have pointed out references and homages to various works of fiction, namely Batman,^[25][26] Giant Robo,^[27][28] the works of Isaac Asimov,^[29][30] Fritz Lang's ''Metropolis'', James Bond,^[31][32] and ''Cowboy Bebop''.^[33][34] But "while saying that may cause one to think the show is completely derivative", reads an article at Anime on DVD, "''The Big O'' still manages to stand out as something original amongst the other numerous cookie-cutter anime shows." One reviewer cites the extensive homages as one of the series problems and calls to unoriginality on the creators part. ''The Big O/The Big O II''
The first season's reception was positive. Anime on DVD recommends it as an essential series. Chris Beveridge of the aforementioned site gave an A- to Vols. 1 and 2, and a B+ to Vols. 3 and 4. ''The Big-O'' (Meta Review) The review at the Anime Academy gave it a grade of 83, listing the series high points being "unique", the "interesting characters" and the "nice action." Mike Toole of Anime Jump, who gave it a 4.5 (out of a possible 5) stars writes "''The Big O'' is a thoroughly excellent series." Reviewers,^[35] and fans alike, agree the season's downfall was the ending, or its lack thereof. The dangling plot threads frustrated the viewers and prompted Cartoon Network's involvement in the production of further episodes.
The look and feel of the show received a big enhancement in the second season.^[36] This time around, the animation is "near OVA quality"^[37] and the artwork "far more lush and detailed." Also enhanced are the troubles of the first season. The giant robot battles still seem out of place to some,^[38] while others praise the "over-the-top-ness" of their execution.
For some reviewers, the second season "doesn't quite match the first" ''The Big O II'' - Aggressive Negotiations Review addressing to "something" missing in these episodes. Andy Patrizio of IGN points out changes in Roger Smith's character, who "lost some of his cool and his very funny side in the second season." Like a repeat of season one, this season's ending is considered its downfall. Super Robot Reviews: The Big O II: 2nd Season ^[39] Chris Beveridge of Anime on DVD wonders if this was head writer "Konaka's attempt to throw his hat into the ring for creating one of the most confusing and oblique endings of any series." Patrizio states "the creators watched ''The Truman Show'' and ''The Matrix'' a few times too many." The reviewer at Japan Hero does not think the payoff was worth it, writing "the audience had been waiting on pins and needles for so long, and practically every episode upped the tension and suspense at least a little bit, if not a whole lot, and then we come to the big IT-moment, and... well, there it is. For me, it was honestly a little of a disappointment."

References

1. ''The Big O Visual'': Official Companion to "The Big-O" TV series (ISBN 4-57-529579-5), p. 39.
2. 'Roger Smith' (voice-over): This place, Paradigm City, is a town of forgetfulness. One day forty years ago, every person here lost all memory of everything which had occurred before that day. But humans are adaptable creatures, they make do and go on with life. If they're smart enough to figure out how to operate machinery and get electricity, they can still have something of civilization even without a history. (Act:01, "Roger the Negotiator")
3. 'Thug': Negotiator... // 'Roger Smith': My work here is done. // 'Thug': This is about a ''new'' job. I hear my parent company is interested in hiring you. // 'Roger': Your ''parent'' company? // 'Roger' (voice-over): Whether you're a bread store or a real estate agency, or even the Military Police for that matter, it doesn't make a bit of difference. When you say "parent company", it always means the same place. In this city, the firm called Paradigm is considered both God and State. (Act:04)
4. Note the series uses the spelling instead of .
5. 'Schwarzwald': Forty years ago, something happened, and we all lost our memory! We even forgot the untold power we once possessed! // 'Roger Smith' (about a megadeus archetype): You call this power? // 'Schwarzwald': A Megadeus was nothing special, Negotiator. I could possess power like that if I could only regain those Memories. (Act:04)
6. "Birth of the Big O". ''The Big O'' DVD Volume 1. Bandai Entertainment.
7. ''The Big O'' (production notes) Chiaki J. Konaka
8. More Big O
9. The Big O! CD Single
10. On his website, Rui Nagai names Queen as one of this favorites bands.
11. ''Big O'' Review
12. The Big O
13. The series name resembles ''The Big Sleep'' (1946). Other "Big" ''film noirs'' include ''The Big Clock'' (1948), ''The Big Steal'' (1949), ''The Big Heat'' (1953), and ''The Big Combo'' (1955).
14. Interview with Eddie Muller
15. Rafferty, T. (November 2, 2003) The Last Word in Alienation: I Just Don't Remember. ''The New York Times''.
16. For detail on which episodes Sunrise worked on, see The World's Finest.
17. For the '' promo "Like a Shadow", Toonami used the tagline "Good guys wear black." ''The Big O'' promo was named "Good Guys Still Wear Black" as a reference to Batman. Available for download at Toonami Digital Arsenal.
18. 'Angel' (hands Roger a gun): Try this! // 'Roger Smith' (under heavy-fire): Goes against my principles... but I don't have a choice! // 'Angel' (after Roger shoots the water pipes behind the soldiers): So no matter what, you won't shoot people? // 'Roger': It's all part of being a gentleman. (Act:08, "Missing Cat")
19. New from Japan: ''The Big O'' Volumes 1 - 4
20. Super Robot Review: ''The Big O''
21. ''The Big O II'': Missing Pieces (Volume 2) Review
22. ''Big O'' Review
23. ''Big O'' Review
24. ''The Big O II'': Paradigm Lost (Volume 1) Review
25. ''The Big O'' Preview
26. ''The Big-O''
27. ''The Big O'' vols. 1-4
28. The Big O
29. Anime on DVD Reviews: ''The Big O'' Vol. #1
30. ''The Big O'' Complete Collection DVD Review
31. Anime on DVD Recommends: ''The Big O''
32. The Toonami promo "Recipe of Justice" calls the series "one part Bond." It is available for download at Toonami Digital Arsenal.
33. ''Big O''
34. Steven Blum voices 'Spike Spiegel' in the English-language version of ''Cowboy Bebop''. Wendee Lee voices 'Faye Valentine'.
35. Anime on DVD Reviews: ''The Big O'' Vol. #4
36. Anime on DVD Reviews: ''The Big O'' II Vol. #1
37. ''The Big O II'' DVD 1: Paradigm Lost
38. ''The Big O II''
39. Big O II Vol. #4 (of 4)

External links