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1999 Japanese animation series

The Large O
Big o.jpg

Comprehend art for The Big O Complete Collection North American DVD release past Bandai Entertainment
THE ビッグオー
( Za Biggu Ō )
Genre Mecha, [i] [2] tech-noir, [one] [ii] neo-noir [1] [ii]
Created by Hajime Yatate
Kazuyoshi Katayama
Manga
Written by Hitoshi Ariga
Published by Kodansha
English publisher
Magazine Monthly Mag Z
Demographic Seinen
Original run July 1999 – October 2001
Volumes 6 (List of volumes)
Anime television series
Directed by Kazuyoshi Katayama
Produced past Tsutomu Sugita
Eiji Sashida
Ohashi Chieo
Written past Chiaki J. Konaka
Kazuyoshi Katayama
Music by Toshihiko Sahashi
Studio Sunrise
Licensed by
Original network Wowow
English network
Original run 13 Oct 1999 – 19 Jan 2000
Episodes 13 (List of episodes)
Anime television series
The Large O Ii
Directed by Kazuyoshi Katayama
Produced past Charles McCarter
Atsushi Sugita
Chieo Ohashi
Eiji Sashita
Written by Chiaki J. Konaka
Kazuyoshi Katayama
Music past Toshihiko Sahashi
Studio Sunrise
Licensed by

AUS

Madman Amusement

NA

Sentai Filmworks
Original network Sunday, Wowow
English network

US

Adult Swim
Original run two Jan 2003 – 23 March 2003
Episodes 13 (Listing of episodes)
Manga
The Large O: Lost Memory
Written by Hajime Yatate
Illustrated by Hitoshi Ariga
Published by Kodansha
Mag Magazine Z
Demographic Seinen
Original run Nov 2002 – September 2003
Volumes 2 (List of volumes)
Wikipe-tan face.svg Anime and manga portal

The Large O (Japanese: THE ビッグオー, Hepburn: Za Biggu Ō ) is a Japanese mecha-anime telly series created by designer Keiichi Sato and director Kazuyoshi Katayama for Sunrise. The writing staff was assembled by the series' head writer, Chiaki J. Konaka, who is known for his piece of work on Series Experiments Lain and Hellsing . The story takes place forty years subsequently a mysterious occurrence causes the residents of Epitome City to lose their memories. The serial follows Roger Smith, Paradigm Urban center'south top Negotiator. He provides this "much needed service" with the assist of a robot named R. Dorothy Wayneright and his butler Norman Burg. When the demand arises, Roger calls upon Big O, a giant relic from the city's past.

The tv serial was designed as a tribute to Japanese and Western shows from the 1960s and 1970s. The series is presented in the style of film noir and combines themes of detective fiction and mecha anime. The setpieces are reminiscent of tokusatsu productions of the 1950s and 1960s, particularly Toho's kaiju movies, and the score is an eclectic mix of styles and musical homages.

The Big O aired on Wowow satellite tv from Oct xiii, 1999, and Jan xix, 2000. The English language-language version premiered on Cartoon Network's Toonami on Apr ii, 2001, and ended on April 23, 2001. [3] Originally planned as a 26-episode series, depression viewership in Japan reduced production to the first 13. Positive international reception resulted in a second season consisting of the remaining thirteen episodes; co-produced by Drawing Network, Sunrise, and Bandai Visual. Flavour two premiered on Nippon'southward Sun Goggle box on January two, 2003, and the American premiere took place seven months after. Following the closure of Bandai Amusement by parent company Bandai (owned by Bandai Namco Holdings) in 2012, Sunrise appear at Otakon 2013 that Sentai Filmworks caused both seasons of The Large O. [4]

Synopsis [ edit ]

Setting [ edit ]

The Big O is set up in the fictional city-country of Epitome City [a] . The city is located on a seacoast and is surrounded past a vast desert wasteland. The partially domed city is wholly controlled by the monopolistic Prototype Corporation, resulting in a corporate police land. Paradigm is known every bit "The Metropolis of Amnesia" [b] because of 40 years prior to the story, "The Event" [c] destroyed the earth outside the city and left the survivors without any prior memories. The city is characterized past astringent course inequity; the higher-income population resides inside the more pleasant domes, with the residuum left in tenements outside. Residents of the city believe that they are the concluding survivors of the earth and no other nations exist outside the urban center. Androids and behemothic robots known as "Megadeus" coexist with the residents of Epitome City and residents do not observe them unusual. [six]

Plot [ edit ]

Afterwards failing to negotiate with terrorists at the cost of his customer'due south life, Roger Smith is obligated to care for Dorothy Wayneright, a immature female android. Over the course of the series, Roger Smith continues to take negotiation piece of work from the residents of Prototype Urban center, he often leads to uncovering the nature and mystery of Paradigm City and encountering megadeus or other behemothic enemies that require Big O. Supporting characters are Angel, a mysterious woman in search of memories; Dan Dastun, chief of the war machine law of Paradigm city and erstwhile friend of Roger Smith; and Norman Burg, the butler of Roger Smith and mechanic of Large O.

The main antagonist is Alex Rosewater, chairman of Paradigm Urban center whose goal is to revive the megadeus "Big Fau" in attempts to become the god of Paradigm Urban center. Other recurring antagonists are Jason Beck, criminal and con-artist attempting to humiliate Roger Smith; Schwarzwald, an ex-reporter obsessed with finding the truth of Paradigm City and also pilot of the megadeus "Big Duo"; Vera Ronstadt, leader of a group of foreigners known as the Union searching for memories and revenge against Paradigm Urban center; and Alan Gabriel, a cyborg assassin working for Alex Rosewater and the Spousal relationship.

The series ends with the enkindling of a new megadeus, and the revelation that the earth is a simulated reality. A climactic boxing ensues between Big O and Big Fau, after which reality is systematically erased by the new megadeus, an incarnation of Angel, recognized as "Big Venus" by Dorothy. Roger implores Affections to "let go of the past" regardless of its existential reality, and focus only on the present and the future. In an isolated control room, the real Angel observes Roger and her by encounters with him on a series of television monitors. On the control panel lies Metropolis, a book featured prominently since the thirteenth episode; the encompass features an illustration of angel wings and gives the author's name as "Angel Rosewater". Large Venus and Big O physically merge, causing the virtual reality to reset. The last scene shows Roger Smith driving down a restored Paradigm metropolis with Dorothy and Angel observing him from the side of the road.

Production and release [ edit ]

Evolution of the retro-styled serial began in 1996. Keiichi Sato came upwards with the concept of The Big O: a behemothic city-smashing robot, piloted by a man in black, in a Gotham-like surroundings. He later met upward with Kazuyoshi Katayama, who had but finished directing Those Who Hunt Elves , and started work on the layouts and character designs. But when things "were about to really beginning moving," product on Katayama's Sentimental Journeying began, putting plans on hold. Meanwhile, Sato was heavily involved with his work on City Hunter . [7]

Sato admits it all started equally "a gimmick for a toy" merely the representatives at Bandai Hobby Segmentation did not run into the same potential. [7] From there on, the dealings would be with Bandai Visual, but Sunrise still needed some safeguards and requested more robots exist 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 upward with the idea of "a town without retentiveness" and his writing staff put together the outline for a 26-episodes series. [8]

The Big O premiered on xiii October 1999 on Wowow. When the product staff was informed the series would exist shortened to 13 episodes, the writers decided to end it with a cliffhanger, hoping the next 13 episodes would exist picked up. [ix] In April 2001, The Big O premiered on Drawing Network's Toonami lineup. [10]

The serial garnered positive fan response internationally that resulted in a second season co-produced past Drawing Network and Sunrise. Season two premiered on Japan's Sun Tv in January 2003, with the American premiere taking identify 7 months later as an Developed Swim exclusive. [nine] [11] The 2nd flavor would not be seen on Toonami until July 27, 2013, 10 years after information technology began ambulation on Adult Swim.

The 2nd season was scripted by Chiaki Konaka with input from the American producers. [9] [12] Cartoon Network raised two requests for the second season: more action and reveal the mystery in the kickoff flavor, although Kazuyoshi Katayama admitted that he did not intend to reveal it, just to make an album of adventures setting in the universe. [13] Forth with the 13 episodes of season two, Cartoon Network had an option for 26 additional episodes to be written past Konaka, [14] only co-ordinate to Jason DeMarco, executive producer for season two, the middling ratings and DVD sales in the United states of america and Japan made any further episodes impossible to be produced. [15]

Post-obit the closure of Bandai Entertainment past parent company in 2012, Sunrise announced at Otakon 2013 that Sentai Filmworks rescued both seasons of The Large O. On June 20, 2017, Sentai Filmworks released both seasons on Blu-ray. [16] [17]

Music [ edit ]

The Big O was scored by Geidai alumnus Toshihiko Sahashi. His limerick is richly symphonic and classical, with a number of pieces delving into electronica and jazz. [18] Chosen considering of his "frightening amount of musical knowledge near Tv dramas overseas," [xix] Sahashi integrates musical homages into the soundtrack. The background music draws from moving-picture show noir , spy films and sci-fi television series like The Twilight Zone . The boxing themes are reminiscent of Akira Ifukube's compositions for the Godzilla series. [20]

The first opening theme is the Queen-influenced "Big-O!". [21] Composed, arranged and performed by Rui Nagai, the song resembles the theme to the Wink Gordon film. The second opening theme is "Respect," composed by Sahashi. The track is an homage to the music of Gerry Anderson's UFO , equanimous past Barry Grey. [22] In 2007, Rui Nagai composed "Large-O! Show Must Go along," a 1960s hard rock slice, for Animax'southward reruns of the evidence. The closing theme is the irksome love carol "And Forever..." written by Chie and composed past Ken Shima. The duet is performed by Robbie Danzie and Naoki Takao.

Along with Sahashi'due south original compositions, the soundtrack features Chopin's Prelude No. 15 and a jazz saxophone rendition of "Jingle Bells." The complete score was released in 2 volumes by Victor Entertainment.

Design [ edit ]

The Big O is the abstraction of Keiichi Sato and Kazuyoshi Katayama, an homage to the shows they grew up with. The evidence references the works of tokusatsu produced by the Toei Company and Tsuburaya Productions, equally well every bit shows such every bit Super Robot Red Businesswoman and Super Robot Mach Baron and "one-time school" super robot anime. The series is washed in the style of moving picture noir and lurid fiction and combines the experience of a detective show with the behemothic robot genre. [19] [23]

Style [ edit ]

The Big O shares much of its themes, wording, archetypes and visual iconography with film noirs of the 1940s similar The Large Slumber (1946). [24] The series incorporates the use of long nighttime shadows in the tradition of chiaroscuro and tenebrism. Film noir is besides known for its utilise of odd angles, such as Roger'south low shot introduction in the showtime episode. Noir cinematographers favoured this angle because it made characters well-nigh rise from the basis, giving them dramatic girth and symbolic overtones. Other disorientating devices similar dutch angles, mirror reflection and distorting shots are employed throughout the series. [20] [24]

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. [23] [25] He is canny and cynical, a disillusioned cop-turned-negotiator whose job has more in common with detective-mode work than negotiating. Big Ear is Roger's street informant and Dan Dastun is the friend on the law. The recurring Beck is the imaginative thug compelled by delusions of grandeur while Angel fills the part of the femme fatale . Minor characters include crooked cops, corrupt business men and deranged scientists. [20]

The dialogue in the serial is recognized for its witty, wry sense of humor. The characters come off as charming and substitution banter not often heard in anime series, every bit the dialogue has the trend to exist straightforward. The plot is moved forth past Roger's voice-over narration, a device used in film noir to identify the viewer in the heed of the protagonist so it can intimately experience the character'due south angst and partly identify with the narrator. [nineteen] [26]

The tall buildings and behemothic domes create a sense of claustrophobia and paranoia characteristic of the style. [27] [28] The rural landscape, Ailesberry Farm, contrasts Paradigm City. Noir protagonists often look for sanctuary in such settings but they just every bit probable end up condign a killing footing. [20] The series score is representative of its setting. While no archetype noir possesses a jazz score, the music could be heard in nightclubs inside the films. [29] Roger's recurring theme, a lone saxophone accompaniment to the protagonist's narration, best exemplifies the noir stylings of the serial. [24]

Amnesia is a mutual plot device in moving picture noir. Because most of these stories focused on a character proving his innocence, authors up the ante by making him an amnesiac, unable to show his innocence even to himself. [30]

Influences [ edit ]

Earlier The Big O, Sunrise was a subcontractor for Warner Bros. Animation's Batman: The Animated Serial , [31] [32] i of the series' influences. [vii] Cartoon Network, under the Toonami flag advertised the series as "I office Bond. One part Bruce Wayne. One part Urban center Corking Robot."

Roger Smith is a pastiche of the Bruce Wayne persona and the Batman. The character design resembles Wayne, complete with slicked-back hair and double-breasted business concern suit. [33] Like Bruce, Roger prides himself in existence a rich playboy to the extent that i of his household's rules is only women may be permit into his mansion without his permission. [26] Similar Batman, Roger Smith carries a no-gun policy, albeit more than flexible. Dissimilar the personal motives of the Batman, Roger enforces this rule for "it's all part of being a admirer." [34] Amidst 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 behemothic robot that Affections calls "Roger'southward alter ego." [twenty] [35]

The Big O'southward bandage of supporting characters includes Norman, Roger'due south faithful mechanically-inclined butler who fills the office of Alfred Pennyworth; R. Dorothy Wayneright, who plays the office of the sidekick; and Dan Dastun, a practiced honest cop who, like Jim Gordon, is both a friend to the hero and greatly respected by his comrades. [xx]

The other major influence is Mitsuteru Yokoyama's Giant Robo . [26] [31] Before working on The Large O, Kazuyoshi Katayama and other animators worked with Yasuhiro Imagawa on Giant Robo: The Day the Earth Stood Yet . The feature, a "retro chichi" homage to Yokoyama's career, [36] took seven years to produce and suffered low sales and loftier running costs. Frustrated past the experience, Katayama and his staff put all their efforts into making "good" with The Big O. [22]

Like Giant Robo, the megadeuses of Big O are metal behemoths. The designs are strange and "more than manlike than practical," [33] sporting big stovepipe arms and exposed rivets. Unlike the giants of other mecha series, the megadeuses do non exhibit ninja-like speed nor grace. Instead, the robots are armed with "old school" weaponry such every bit missiles, piston powered punches, machine guns and laser cannons. [37]

Katayama likewise cited Super Robot Red Baron and Super Robot Mach Baron among influences on the inspiration of The Big O. Assertive that because Reddish Businesswoman had such a low budget and the big fights always happened exterior of a metropolis setting, he wanted Large O to exist the show he felt Ruby Baron could be with a bigger budget. He as well spoke of how he first came upward with designs for the robots first as if they were making designs to appeal to toy companies, rather than how Gundam was created with a toy company wanting an anime to represent their new product. Big O's large pumping piston "Sudden Touch" artillery, for example, he felt would be absurd gimmicks in a toy. [38]

[ edit ]

Publications [ edit ]

The Big O was conceived as a media franchise. [7] To this effect, Sunrise requested a manga exist produced forth with the animated series. The Big O manga started serialization in Kodansha's Magazine Z in July 1999, three months earlier the anime premiere. Authored past Hitoshi Ariga, the manga uses Keiichi Sato'south concept designs in an all-new story. The series concluded in Oct 2001. The issues were after collected in six volumes. The English language version of the manga is published by Viz Media. [39]

In anticipation of the broadcast of the 2nd season, a new manga series was published. Lost Memory [d] , authored by Hitoshi Ariga. Lost Retentiveness takes place between volumes five and vi of the original manga. The issues were serialized in Mag Z from November 2002 to September 2003 and were collected in two volumes. [39] Image Noise [eastward] , a novel by Yuki Taniguchi, was released 16 July 2003 by Tokuma Shoten. [40]

The Big O Visual: The official companion to the Tv series (ISBNiv-575-29579-5) was published by Futabasha in 2003. The volume contains full-color artwork, character bios and concept fine art, mecha sketches, video/LD/DVD jacket illustrations, history on the making of The Big O, staff interviews, "Roger's Monologues" comic strip and the original script for the final episode of the series.

Audio drama [ edit ]

"Walking Together On The Xanthous Brick Route" was released past Victor Amusement on 21 September 2000. [41] The drama CD was written by series head writer Chiaki J. Konaka and featured the serial' phonation cast. An English language translation, written by English dub translator David Fleming, was posted on Konaka'south website. [42]

Video games [ edit ]

The first flavour of Big O is featured in Super Robot Wars D for the Game Male child Advance in 2003. The series, including its second season, is too featured in Super Robot Wars Z , released in 2008. The Big O became a mainstay of the "Z" games, appearing in each entry of the subseries.

Toys and model kits [ edit ]

Bandai released a non-scale model kit of Large O in 2000. Though it was an easy snap-together kit, it required painting, as all of the parts (except the articulate orangish crown and canopy) were molded in dark greyness. The kit included springs that enabled the slide-activity Side Piles on the forearms to simulate Big O's Sudden Affect maneuver. Too included was an unpainted Roger Smith figure.

PVC figures of Big O and Large Duo (Schwarzwald's Megadeus) were sold by Bandai America. Each came with non-poseable figures of Roger, Dorothy and Angel. Mini-figure sets were sold in Nippon and America during the run of the second season. The characters included Large O (standard and set on modes), Roger, Dorothy & Norman, Griffon (Roger's car), Dorothy-1 (Large O's first opponent), Schwarzwald and Large Duo.

In 2009, Bandai released a plastic/diecast figure of the Large O under their Soul of Chogokin line. The effigy has the aforementioned features as the model kit, but with added detail and accessories. Its design was closely supervised by original designer Keiichi Sato. [43]

In 2011, Max Factory released action figures of Roger and Dorothy through their Figma toyline. Similar almost Figmas, they are very detailed, articulated and come up with accessories and interchangeable faces. In the aforementioned year, Max Manufactory also released a 12-inch, diecast figure of Big O under their Max Gokin line. The figure contained most of the accessories equally the Soul of Chogokin figure but also included some others that could be bought separately from the SOC figure, such every bit the Mobydick (hip) Anchors and Roger Smith's car: the Griffon. Like the Soul of Chogokin figure, its design was also supervised by Keiichi Sato. As well, in that same year, Max Manufacturing plant released soft vinyl figures of Large Duo and Big Fau, in-scale with the Max Gokin Large O. These figures are high in detail merely limited in articulation, such as the arms and legs being the only things to move. To engagement, this is the only action figure of Big Fau.

Reception [ edit ]

The Big O premiered on xiii October 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 serial achieved the success its creators were looking for. [9] [44] In an interview with AnimePlay, Keiichi Sato said "This is exactly every bit we had planned", referring to the success overseas. [19]

Several words appear constantly in the English-linguistic communication reviews; adjectives like "hip", [28] "sleek," [45] "stylish", [46] "swish", [33] and, above all, "cool" [44] [46] [47] serve to describe the artwork, the concept, and the series itself. Reviewers accept pointed out references and homages to various works of fiction, namely Batman , [26] [48] Giant Robo, [25] [33] the works of Isaac Asimov, [27] [28] Fritz Lang's Urban center , [25] James Bail, [49] and Cowboy Bebop . [l] [51] But "while proverb 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 up out equally something original amongst the other numerous cookie-cutter anime shows." Ane reviewer cites the extensive homages as one of the series problems and calls to unoriginality on the creators' function. [52]

The kickoff season's reception was positive. Anime on DVD recommends it equally an essential series. [49] Chris Beveridge of the aforementioned site gave an A− to Vols. 1 and ii, and a B+ to Vols. 3 and iv. [27] [53] [54] [55] Mike Toole of Anime Bound gave it four.five (out of a possible v) stars, [25] while the review at the Anime Academy gave information technology a form of 83, listing the series' high points every bit beingness "unique", the characters "interesting," and the action "nice." [56] Reviewers, [25] [49] [55] and fans alike, [9] [eleven] agree the season'due south 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. [11]

The await and feel of the bear witness received a big enhancement in the 2d flavour. [57] This time around, the blitheness is "near OVA quality" [58] and the artwork "far more lush and detailed." [44] Also enhanced are the troubles of the first season. The giant robot battles yet seem out of identify to some, [52] [59] while others praise the "over-the-top-ness" of their execution. [47] [56]

For some reviewers, the second season "doesn't quite match the first" [60] addressing to "something" missing in these episodes. [52] Andy Patrizio of IGN points out changes in Roger Smith's grapheme, who "lost some of his absurd and his very funny side in the second season." Similar a repeat of flavour one, this flavor's ending is considered its downfall. [61] [62] Chris Beveridge of Anime on DVD wonders if this was head writer "Konaka's attempt to throw his chapeau into the band for creating one of the most confusing and oblique endings of whatever serial." Patrizio states "the creators watched The Truman Show and The Matrix a few times too many."

The series continues to take a potent cult post-obit into the 2010s. In 2014 BuzzFeed writer Ryan Broderick ranked The Big O as one of the best anime series to binge-watch. [63] Dan Casey host of The Nerdist's Dan Cavern stated The Big O was the anime series he was almost eager to see rebooted or remade, along with Trigun and Soul Eater . [64] In 2017, Ollie Barder of Forbes wrote,"From the classic and retro styled mecha design of Keiichi Sato to the overall film noir visual tone of the series, The Large O was a fascinating and visually very different kind of show. Information technology also had a fantastic vocalisation bandage, with probably the most notable of these being Akiko Yajima as the voice of Roger's disapproving android Dorothy." [65] In 2022, Crunchyroll writer Thomas Zoth ranked The Big O every bit his pinnacle x anime since the 1990s. [66]

References [ edit ]

Notes
  1. ^ パラダイム・シティ , Paradaimu Shiti
  2. ^ 記憶喪失の街 , Kioku soushitsu no Machi
  3. ^ 何か , Nani ka , lit. "Something"
  4. ^ ロストメモリー , Rosuto Memorī
  5. ^ パラダイム・ノイズ , Paradaimu Noizu
Citations
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  2. ^ a b c Barder, Ollie (June viii, 2017). "'The Big O Complete Collection' Blu-Ray Review: Ye Not Guilty". Forbes . Archived from the original on June viii, 2017. Retrieved Oct 31, 2017.
  3. ^ Erickson, Hal (2005). Boob tube Cartoon Shows: An Illustrated Encyclopedia, 1949 Through 2003 (second ed.). McFarland & Co. pp. 138–139. ISBN 978-1476665993 .
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  5. ^ The Big O Visual: Official Companion to "The Big-O" TV serial (ISBNfour-575-29579-5), p. 39.
  6. ^ Hal Erickson (July 2005). Tv cartoon shows: an illustrated encyclopedia . Vol. 1. McFarland & Co. ISBN 978-0-7864-2255-five . Archived from the original on 2022-08-x. Retrieved 2016-09-26 .
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External links [ edit ]

What Anime Character Does Zoid Burg Look Like

Source: https://en.wikipedia.org/wiki/The_Big_O

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