The Big O
| Company type | Anime television series |
|---|---|
| Industry | Animation, Entertainment |
| Founded | 1999 |
| Founder | Keiichi Sato, Kazuyoshi Katayama, Chiaki J. Konaka (head writer) |
| Headquarters | Japan |
| Products | Television series, merchandise |
| Parent | Sunrise |
The Big O is a Japanese mecha-anime television series developed by designer Keiichi Sato and director Kazuyoshi Katayama for Sunrise. The narrative was crafted by a writing team led by head writer Chiaki J. Konaka, recognized for works such as Serial Experiments Lain and Hellsing. Set four decades after a mysterious event causes the inhabitants of Paradigm City to lose their memories, the story follows Roger Smith, the city's premier Negotiator. He is supported by a robot named R. Dorothy Wayneright and his loyal butler Norman Burg. When situations escalate, Roger calls upon Big O, a colossal relic from the city’s forgotten past.
Conceived as an homage to Japanese and Western television programs from the 1960s and 1970s, the series merges elements of film noir, detective fiction, and mecha anime. Its visual style recalls the tokusatsu productions of the 1950s and 1960s, particularly Toho’s kaiju movies, while its soundtrack incorporates a variety of musical tributes.
The Big O originally aired on Wowow satellite channel from October 13, 1999, through January 19, 2000. The English adaptation debuted on Cartoon Network’s Toonami block on April 2, 2001. Although initially intended to span 26 episodes, low ratings in Japan resulted in only 13 episodes being produced at first. Nevertheless, strong international enthusiasm prompted a second season of 13 episodes co-produced by Cartoon Network, Sunrise, and Bandai Visual. This second season premiered on Japan’s Sun Television on January 2, 2003, followed by its U.S. debut seven months later. Following Bandai Entertainment’s closure in 2012, Sentai Filmworks acquired licensing rights for both seasons as announced by Sunrise at Otakon 2013.
Setting
The narrative unfolds in Paradigm City, a fictional coastal metropolis encircled by desert wasteland. The city is partially enclosed within domes and dominated by Paradigm Corporation, which enforces a corporate police state known as . Forty years prior, an event referred to as "The Event" erased all collective memories and devastated the outside world. Stark socioeconomic disparities exist between residents living within affluent domed areas and those confined to tenement housing beyond them. The citizens believe they are among the last survivors on Earth. Within this environment, androids coexist with giant robots known as "Megadeus".
Plot
Roger Smith works as a negotiator who assumes responsibility for Dorothy Wayneright—a female android—following a negotiation that ends with his client’s death. Throughout the series, Roger manages various negotiation cases across Paradigm City while unraveling its secrets and confronting threats posed by megadeus and other enormous adversaries that necessitate deploying Big O. Key allies include Angel, who seeks to recover lost memories; Dan Dastun, chief of military police and Roger’s longtime friend; and Norman Burg, Roger’s butler and mechanic responsible for maintaining Big O.
The main antagonist is Alex Rosewater, chairman of Paradigm Corporation, who aims to resurrect the megadeus "Big Fau" to seize control over the city. Other recurring foes include Jason Beck, a swindler targeting Roger; Schwarzwald, a former journalist obsessed with uncovering Paradigm’s truth and pilot of "Big Duo"; Vera Ronstadt, leader of foreign insurgents bent on revenge; and Alan Gabriel, a cyborg assassin loyal to Rosewater and the Union.
The series culminates with the emergence of a new megadeus and reveals that their world exists within a simulated reality. In the climactic battle between Big O and Big Fau, reality itself is erased by "Big Venus," an incarnation of Angel. Roger urges Angel to let go of the past and embrace the present and future. Meanwhile, the true Angel observes from a control room filled with monitors displaying their previous encounters. As virtual reality resets with Big Venus merging into Big O, the final scene depicts Roger driving through a restored Paradigm City with Dorothy and Angel watching alongside him.
Production and release
The development of this retro-inspired series commenced in 1996. Keiichi Sato originated the concept of The Big O, featuring a giant robot operated by a man dressed in black, set within a city reminiscent of Gotham. He partnered with Kazuyoshi Katayama, who contributed to layouts and character designs. However, production faced delays as Katayama began directing Sentimental Journey and Sato was occupied with City Hunter. The original plot centered around a devastating meteorite strike that annihilated most of humanity, leaving behind a lone city where the protagonist pilots a robot forged from a recovered superalloy to confront the ruling regime.
Initially conceived as "a gimmick for a toy," Bandai's Hobby Division found limited merchandising potential. Consequently, discussions moved to Bandai Visual, with Sunrise requesting additional robot designs to enhance toy appeal. By 1999, once designs were completed, Chiaki J. Konaka joined as lead writer, introducing the idea of "a town without memory" and planning a 26-episode run. Konaka described Paradigm City as suffering from amnesia to simplify the narrative complexity. When Cartoon Network financed the second season, they insisted the first season conclude satisfactorily, reinforcing the amnesia motif.
The Big O first aired on October 13, 1999, on Wowow. Upon discovering the series would be shortened to 13 episodes, the writers ended on a cliffhanger hoping for continuation. It premiered on Cartoon Network's Toonami block in April 2001.
Encouraged by strong international reception, Cartoon Network and Sunrise co-produced a second season. This installment debuted on Japan’s Sun Television in January 2003 and appeared on Adult Swim in the United States seven months later. It was broadcast on Toonami only in 2013, a decade afterward.
Konaka wrote season two with input from American producers. Cartoon Network requested increased action and resolution of unresolved storylines from season one, although director Katayama had originally envisioned an anthology approach. Alongside the initial 13 episodes ordered, Cartoon Network held an option for an additional 26 episodes penned by Konaka; however, moderate ratings and DVD sales in both Japan and the US prevented further continuation.
Following Bandai Entertainment's shutdown in 2012, Sunrise announced at Otakon 2013 that Sentai Filmworks had acquired distribution rights for both seasons. Sentai released them on Blu-ray on June 20, 2017.
Music
The soundtrack of The Big O was composed by Toshihiko Sahashi, a graduate of Geidai, whose richly orchestral and classical scores blend elements of electronica and jazz. Chosen for his deep understanding of international television drama music, Sahashi’s compositions pay tribute to film noir, spy films, and sci-fi series such as The Twilight Zone. The battle music draws inspiration from Akira Ifukube’s scores for the Godzilla franchise.
The opening theme for the first season, "Big-O!", composed by Rui Nagai and influenced by Queen, evokes the style of the Flash Gordon theme. The second season’s opening track, "Respect," written by Sahashi, honors Barry Gray’s work on UFO. In 2007, Nagai produced "Big-O! Show Must Go On," a hard rock piece with 1960s flair used for Animax reruns and Blu-ray editions. The ending theme, "And Forever...," is a slow romantic ballad by Chie and Ken Shima performed by Robbie Danzie and Naoki Takao.
Additionally, the soundtrack includes Chopin’s Prelude No. 15 alongside a jazz saxophone rendition of "Jingle Bells." Victor Entertainment issued the complete score in two separate volumes.
Design
Keiichi Sato and Kazuyoshi Katayama developed The Big O as a tribute to the classic series they admired. The show pays homage to tokusatsu productions from Toei Company and Tsuburaya Productions, as well as vintage titles like Super Robot Red Baron and Super Robot Mach Baron, embracing the traditional aesthetics of "old school" super robot anime. This series merges the stylistic elements of film noir and pulp fiction with the giant robot genre, creating a fusion of detective storytelling and mecha action.
Style
The visual and thematic approach of The Big O is heavily inspired by 1940s film noir masterpieces such as The Big Sleep. It utilizes deep shadows reminiscent of chiaroscuro and tenebrism, alongside disorienting visual techniques like dutch angle shots, mirror reflections, and unconventional camera perspectives. Roger’s introduction from a low angle accentuates his commanding presence, a classic noir cinematic device.
Characters within the series reflect iconic noir and pulp fiction tropes. Roger Smith channels figures like Chandler’s Philip Marlowe or Hammett’s Sam Spade, portraying a shrewd, world-weary former detective turned negotiator—his role paralleling that of a private eye. The supporting cast includes Big Ear, an informant on the streets; Dan Dastun, an ally within law enforcement; Beck, an ambitious criminal; and Angel, embodying the archetypal femme fatale. Additional minor characters encompass corrupt officials and unhinged scientists.
The dialogue stands out for its sharp, straightforward exchanges, which are rare in anime. Roger’s voice-over narration propels the story forward and aligns with noir’s typical use of first-person perspective to deepen audience immersion into the protagonist's mindset.
The city environment—with its towering skyscrapers and domed structures—conveys a sense of confinement and paranoia typical of noir settings. In contrast, Ailesberry Farm offers a rural refuge that quickly transforms into a perilous zone, consistent with noir’s tendency to turn sanctuaries into sites of danger. While traditional noir films seldom feature jazz soundtracks, The Big O incorporates jazz motifs reflecting its nightclub scenes; Roger’s recurring saxophone theme further reinforces the noir ambiance.
Amnesia, a frequent noir narrative device used to intensify themes of innocence and identity crisis, is also a prominent element in the storyline.
Influences
Prior to producing The Big O, Sunrise contributed to Warner Bros. Animation's Batman: The Animated Series, which influenced this series’ development. Cartoon Network's Toonami promoted it as "One part Bond. One part Bruce Wayne. One part City Smashing Robot."
Roger Smith is fashioned as a blend of Bruce Wayne/Batman, sporting slicked-back hair and tailored business attire. Similar to Batman, Roger is portrayed as a wealthy playboy who adheres to a no-firearm policy rooted in gentlemanly ethics. His arsenal includes the Griffon sedan, a wristwatch equipped with a grappling cable, and his giant robot—referred to as his "alter ego."
Supporting characters parallel figures from Batman’s world: Norman serves as the butler akin to Alfred; R. Dorothy Wayneright acts as the sidekick; Dan Dastun represents the honest police officer comparable to Jim Gordon.
Another significant inspiration is Mitsuteru Yokoyama's Giant Robo. Before working on The Big O, Kazuyoshi Katayama and colleagues were involved in Giant Robo: The Day the Earth Stood Still, a retro tribute that faced commercial challenges due to low sales and high production costs. This experience motivated Katayama to emphasize quality in The Big O.
In line with Giant Robo, The Big O showcases colossal metallic megadeuses characterized by strong, masculine designs that prioritize heavy artillery—such as missiles, piston-powered punches, machine guns, and laser cannons—over speed or agility.
Katayama also acknowledged influences from Super Robot Red Baron and Super Robot Mach Baron. Unlike Gundam, which was created primarily around merchandising strategies, he initially designed robots with toy appeal in mind. For instance, Big O’s piston-driven "Sudden Impact" arms were conceived to be visually striking features for potential toys.
Publications
The Big O was created as a multimedia franchise. Sunrise arranged for a manga to be published concurrently with the anime. This manga, written by Hitoshi Ariga and based on Keiichi Sato's character designs, was serialized in Kodansha's Magazine Z starting in July 1999, prior to the anime's debut. The series, featuring an original storyline, concluded in October 2001 after six volumes, with Viz Media handling its English release.
Before the second season aired, Ariga released Lost Memory, a story set between the fifth and sixth volumes of the initial manga. It ran from November 2002 through September 2003 in Magazine Z and was compiled into two volumes. Additionally, Yuki Taniguchi published a novel in July 2003.
The 2003 publication The Big O Visual: The official companion to the TV series by Futabasha offers fans artwork, character profiles, conceptual drawings, mecha designs, interviews with staff members, comics, and scripts.
Audio drama
In September 2000, Victor Entertainment launched the drama CD titled "Walking Together On The Yellow Brick Road," scripted by lead writer Chiaki J. Konaka and featuring the original voice cast. An English translation of this audio drama was later made available online.
Video games
The Big O has been featured in video games such as Super Robot Wars D for Game Boy Advance (2003) and subsequently in Super Robot Wars Z (2008), establishing itself as a recurring element within the series.
Toys and model kits
Bandai introduced a snap-fit model kit of Big O in 2000 that required painting. This non-scale kit included slide-action Side Piles to replicate the Sudden Impact move and came with an unpainted Roger Smith figure.
Bandai America offered PVC figurines of Big O and Big Duo alongside static Roger, Dorothy, and Angel figures. During the second season, miniature figure sets were released both in Japan and the United States.
In 2009, Bandai unveiled a highly detailed plastic and diecast Soul of Chogokin Big O figure overseen by Keiichi Sato.
By 2011, Max Factory produced articulated Figma figures of Roger and Dorothy as well as a 12-inch Max Gokin diecast Big O figure equipped with accessories like Mobydick Anchors and the Griffon car. Soft vinyl figures representing Big Duo and Big Fau were also manufactured; notably, the Big Fau figure remains unique as that character’s sole action figure.
Reception
Debuting on October 13, 1999, The Big O did not perform strongly in Japan, leading to its episode count being cut from 26 to 13; however, it achieved greater popularity internationally. Creator Keiichi Sato confirmed that this plan was intentional.
English-speaking critics often describe the series using terms such as "hip," "sleek," "stylish," "classy," and most notably "cool," commending its visual artistry and conceptual design. Reviewers have identified influences from Batman, Giant Robo, Isaac Asimov’s works, Fritz Lang's Metropolis, James Bond films, and Cowboy Bebop. While some critics view its extensive homage elements as lacking originality, others appreciate its distinctiveness within the anime genre.
The first season received favorable critiques; Anime on DVD considered it essential viewing. Chris Beveridge assigned grades ranging from A− to B+ across volumes. Mike Toole gave it a 4.5 out of 5 rating, while Anime Academy scored it 83 for its uniqueness, character development, and action sequences. Both fans and reviewers agreed that the unresolved conclusion was a significant shortcoming that led to Cartoon Network’s involvement to continue the story.
Season two showcased improved animation quality approaching OVA standards; however, opinions on the giant robot combat remained mixed. Some viewers praised the battles’ grandiosity.
Certain critics felt that season two lacked some of the qualities that made season one compelling. Andy Patrizio remarked that Roger Smith’s charm and humor diminished; both seasons' endings were criticized for their ambiguity and confusion. Chris Beveridge suggested that head writer Konaka may have deliberately crafted an obscure finale.
In response to fan questions about plot details, creators Sato, Katayama, Konaka, and Bandai provided clarifications through a 2004 art book companion. Katayama described Paradigm City as a fabricated world created by Angel with mechanisms resetting reality if her identity is exposed. Angel becomes involved in events due to her affection for Roger Smith but grows jealous of Dorothy. The narrative unravels when Gordon Rosewater realizes Angel’s role as creator. Angel attempts to terminate the world by piloting Big Venus; however, Roger negotiates a reset instead. The ambiguous ending leaves Paradigm City inhabited by amnesiacs despite characters’ desires to recover their memories.
The series has sustained a dedicated cult following into the 2010s. In 2014 BuzzFeed included it among top binge-worthy anime titles; Nerdist’s Dan Casey recommended it for reboot consideration alongside Trigun and Soul Eater. Forbes praised its retro mecha aesthetics and film noir atmosphere in 2017. Crunchyroll ranked it among the ten best anime since the 1990s in 2019.