Big O

>t. brainlet

It was shit because it was made in that post-Evangelion landscape of "gotta make 2deep4u mindfuck bullshit" thus the series makes no sense. 10 people will have 20 different interpretations of what was going on and all will be simultaneously right and wrong because a.) the series wasn't finished and b.) the writers probably didn't actually know what they were doing and were adding symbolism for the sake of it even though they had little to no idea what any of it was supposed to mean.

Far as I'm concerned, the whole world is taking place inside a computer, which is attempting to recreate life one upgrade at a time. While the world outside of that simulation is nothing more than ash.

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I think certain aspects of the prior visions shouldn't be discounted. It was definitely fake and staged, but the purpose I don't think was for entertainment but rather an attempt to rebuild the previously destroyed civilization.

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Consider Big O as a stage play. Skip outside the "how" and go into the "Why", since it really doesn't matter if it's a simulation, simulacrum or pocket universe.

Amnesia is a stage. The people who enter it are actors and they appear to have no role besides: There is no "foreign" country for them to hail from: They exist in whole cloth as foreigners.

In this play; there are three protagonists: The Dominus's. Roger is "The Hero": The man who exists to help the characters with their problems and protect them from their threats. He thinks of the city as the people in it. Schwartzvald is "The Magician"; an enigmatic character who intends to push aside the status quo and see the truth behind the curtain. He sees the city as a puzzle to be solved. Rosewater is "The Noble"; the man who wishes to consolidate his power and impose his will on others. He sees the city as a toy for his amusement.

Behind all of this, the stage has seen many plays with similar characters. This is the reason for the analogy of tomatoes: The characters are not literally clones or duplicates, but they are recycled much in the style of Osamu Tezuka's work. Roger has played many roles, which he recalls occasionally in his current one.

Angel (and Big Venus) represent the director of this play, and the myth arc of the story comes from that director's pathos: She does not like how her story is going, and is ultimately rather close to trashing the entire thing, despite the support of her mentor.

The heroes, in their own way, appeal to the director: Rosewater ineffectually groveling for his own role, and Schwartzwald, seeing backstage, is satisfied in his knowledge of the story. Roger is the only one who intercedes for the sake of the story and its characters: He challenges the Director, knowing her talents are more than enough to save the story she's grown dissatisfied with.

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If you take the cop episode with the terrorist does that mean that the memories are continuously harvested for new clones?

Since they were both reliving a past version.

This more allegorical explanation of the show honestly makes more sense to me than any of the rational or realistic interpretations ever did. People like to compare Big O to Evangelion but apart from the giant robots it always felt a little closer in theme and tone to an Ikuhara anime.

It also fits the meaning of the title in and of itself.

The Big O means three very different things: It is of course the Megadeus we know and love, but also is referring quite literally to a capital O: Omega as it is referred to: He is the end, both to his foes, and to the play itself. Of course, his name is finally an homage to Shakespeare's theater: The Globe, which was also called the Big O.

Taking the metaphorical track explains a lot of characters arcs and issues: Alan Gabriel quite literally is done in by being a poor replacement for a beloved actor, lacking the depth and richness of Schwartzvald. Rosewater is ostensibly an important character, who is virtually ignored in his powerful role: He lacks interesting motivations or convictions.

Beck acts as the fool in the plot, but beyond that, he holds a deeper understanding of the former plots, that he both uses for his antics, and in the eventual support of Rodger as the true hero.

The deeper meaning, if you wish to draw one, is the value and meaning of a story in itself, which is a kinda meta response to the way the second season was drummed up in the first place: The show quite literally must go on for its own sake, as the audience craves it and the actors demand it.

Ironic that it got cancelled.

Yes, but that's the point: The Gaijin insisted on more of the play.

>20 years old and still no mech anime can top it

what went right?

any other anime like this where there is a big mistery throughout the entire show and it turns out to be one giant mindfuck?

A powerful (but not indominable) protagonist, a unique and not self evident moral, a decent mix of humor and drama.

And some really fucking good action. The Big O starts and ends the series as a titanic force.

You're going to have to be more specific, there's a pretty decent amount of shows like that.

Great direction, great art direction, great music, great mecha designs, pre-digital animation, one of the few good dubs with peek Steve Blum

Just do ctrl+s, my dude

Reminder that Season 1 was meant to be the entire series until adult swim demanded another season. the second season is confusing as hell because it was literally pulled out of an ass that didnt want to produce it
i still liked it a lot, though. some good interpretations here, might be time to rewatch it soon

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Mech anime took an olympic nosedive starting this century

Yea i mean most animes use some kind of ad hok plot twist at the end that really blows our minds, but i mean how many bad series do you have to watch before you find one that scratches the box like big o.

BIG O
SAVIOUR OF THE UNIVERSE

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Dorothy being a top tier waifu is the most important message

I always yearn for a book cover of "Metropolis", like an exact replica of it. Maybe with Big O in novelized form as the contents. How great would that look in a bookshelf

It's a meta plot about Gnosticism.
serialwordsmith.blogspot.com/2013/09/the-big-o-showtime-we-have-come-to-terms.html?m=1

BIG O
KING OF THE IMPOSSIBLE

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Tomatoes

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Nuts. I remember reading this now.

I think the stage analogy is more digestable, but this was the inspiration for it.

>implying you didn't do this on purpose to show us THE TRUTH
i'm onto you, Schwarzwald you fuck

it was god damn retarded and you know it. not even god himself could have understood the bullshit that was season 2. it should have stayed off air