Hello everyone, and welcome back to Wrong Every Time. Today I’m delighted to be returning to The Big O, where the assumptions that define Roger’s world are collapsing with terrifying rapidity. More and more, it’s seeming like the entire city of Paradigm is some vast fabrication, a dream of a city more than the genuine article. As last episode quotes from Hobbes, “Imagination and memory are but one thing, which for diverse considerations hath diverse names.” What we don’t know or remember, we fill in with creations that feel just as substantive as our true memories. And in a city without memory, who is to stop a man like Rosewater from painting our collective consciousness in the hues of his dream?

In a city that’s already seeming like cardboard facades on wooden struts, Roger feels like the greatest fabrication of all. He’s already learned he’s a product of Rosewater’s conditioning, specifically bred and brainwashed to pilot the Megadeus. Given that knowledge, how could he possibly believe he’s acting of his own volition, rather than simply playing out some minor thread in Rosewater’s grand opera? Given the profound incuriosity of Paradigm’s general population, perhaps Roger’s desire for the truth was also premeditated – perhaps Rosewater, having already claimed everything else, now desires an observer to witness his ascension. Did Rosewater intend for all of this, and to ultimately claim Roger as his chosen son? Let’s find out!

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Hello everyone, and welcome back to Wrong Every Time. Today we’ll be journeying back to Paradigm, as Roger continues to uncover the secrets of his amnesiac city. That process has actually been going quite smoothly lately; this season has already offered new context for the histories of Roger and Dorothy, and the last episode even saw Roger trading barbs with Rosewater directly. Explaining that his plans are predicated on the “memories of the future” extracted from his stolen data disc, Rosewater seemed almost eager to reveal his grand designs. As we move further into what was always intended as Big O’s second half, it seems the series is gearing up for both a physical and metaphorical paradigm shift.

I apologize for that awful play on words, but seriously, Paradigm’s name is feeling more appropriate all the time. The city of Paradigm is not a stable reality – it is one way of seeing reality, a specific set of assumptions underpinning an artificially conjured present. Paradigm is a state of mind, a world that could only be created through cultural manipulation on a mass scale: the great wave of amnesia. Now, Rosewater holds the blueprints of a new Paradigm, and intends to use that knowledge to remake the city in his image. Whether he succeeds or fails, the dream that is Paradigm is sure to dissipate in the harsh morning light. Let’s get to it!

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Hello everyone, and welcome back to Wrong Every Time. Today I am eager to return to the streets of Paradigm, where Roger and Dorothy have recently been making incredible strides in illuminating their shadowed histories. After a first season largely defined by external, episodic mysteries, The Big O’s second half opened with dual investigations of our heroes’ own stories. Roger confronted his fabricated identity directly, casting away any doubts about his personhood by reasserting his current self. And Dorothy returned to the place of her birth, confronting her “siblings” and finding validation in Rosco’s unambiguously human existence.

The two have each cleared some key psychological hurdles, but for all that, the forces surrounding them are still shrouded in mystery. We know Roger was indoctrinated as a child, but not why, or what happened to the other children. We know that our Dorothy is one of many siblings, but almost nothing about her father’s ultimate intentions. Both Roger and Dorothy feel like the castaway orphans of a grand conspiracy, each tethered by their nature to Rosewater’s plan, but without a clue as to its nature or objective. Each of them fiercely value their independence, but exist within a world so artificial and tightly managed that true agency feels like a fantasy, forcing them to suffer continuous reminders that they are guided by forces outside their control. Can our fledglings crack the shell that is Paradigm, and reveal the truth of the world? Let’s find out!

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Hello folks, and welcome back to Wrong Every Time. Today I am delighted to be returning to The Big O, in the wake of a season premiere that was more boldly surreal than anything the show’s first season threw at us. With the revelation of his origins having shaken his faith in his own identity, Roger Smith walked the streets of a city that was alien to him, and saw his own life story refracted through theater and fiction. After a season of repeatedly dipping its toe in the water, The Big O at last took a plunge into the waters of existentialism.

The Big O has dabbled in surrealism and art-horror before. After all, these genres make for comfortable bedfellows with Big O’s central noir and giant robot influences. Noir has a tendency to embrace ambiguity of all kinds – moral ambiguity, of course, but also a more existential sort of uncertainty, a sense that this world is more vast and inexplicable than our capacity to contain it. Noir heroes know they cannot tame this world – they struggle against it, but the genre’s best moments are often acts of surrender, the “forget it Jake, it’s Chinatown” or “stuff that dreams are made of” moments. In these moments, the distance between noir and conventional crime dramas becomes clear – crime dramas are a fantasy of order and control, whereas noir understands this world is too strange and terrible to ever be pinned down.

Unsurprisingly, this sense of existential unease fuses naturally with The Big O’s psychological inquiry, presenting a world where the boundaries between reality and fantasy, or mystery and horror, are frequently blurred. Whether investigating his client’s requests or his own past, Roger is beginning to discover secrets that are perhaps better left undisturbed. The question is shifting from “can Roger discover the secret of Paradigm” to “should Roger discover the secret of Paradigm, and will his own sense of self survive the process?”

Let’s find out.

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Hello everyone, and welcome back to Wrong Every Time. Today I’m eager to return to The Big O, where we last left Roger staring out at an approaching wave of Megadeus. After a full season of slowly chipping away at the vast mysteries of Paradigm, The Big O’s first season ended in a flurry of ambiguous revelations, and ultimately offered far more questions than answers.

And for two years, that was it. With the producers discouraged by poor viewership numbers, The Big O’s original 26-episode run was cut in half, leaving only this open question of a finale. It was only two years later, buoyed by additional funding from Cartoon Network, that The Big O would finally reach its conclusion. Based on the show credits, it appears that The Big O’s second half might be shifting in an even more cerebral, ambiguous direction over its second half – after all, Chiaki Konaka wrote every script for the second half, rather than splitting duties with a variety of other writers. Fortunately, the show’s surfeit of excellent directors remains, with this first episode featuring Ikuro Sato, a Sunrise/BONES mainstay who also directed The Big O’s first season premiere. I don’t know what to expect and I couldn’t be happier for it, so let’s not waste any more time, and dive into The Big O’s second half!

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Hello everyone, and welcome back to Wrong Every Time. Today I’m pretty much bubbling over with excitement, as we’re about to explore the original “final” episode of The Big O. Though the production was slated for twenty-six episodes from the start, poor viewership numbers in Japan forced them to cut back to a lean thirteen. It was only a couple years later, after a successful Toonami run resulted in Cartoon Network co-funding the followup, that The Big O’s second half was produced; because of this, I assume this original thirteenth episode is going to attempt to serve as a “conclusion” to a story it cannot possibly conclude.

Roger has barely learned a thing about Paradigm’s history, and the last episode only just introduced the idea that Megadeus have some intrinsic connection with the city, and a will of their own. Fortunately, considering this is a noir-soaked property that delights in ambiguity, I imagine there won’t be any clumsy rush to tie up loose ends; I’m mostly just eager to see how such a talented team handled this unfortunate reality of the industry, and what Chiaki Konaka chooses to leave us with. Let’s return once more to Paradigm!

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Hello everyone, and welcome back to Wrong Every Time. Today we’ll be returning to The Big O, as Roger continues to unravel the secrets of Paradigm. Well, I certainly hope Roger unravels some secrets, because at the moment, we’re actually some distance ahead of him in terms of our understanding of this world.

In episode ten, we learned that there are still human civilizations beyond Paradigm, and that Paradigm’s alleged city council all ultimately answers to one man. In eleven, we learned that that man is well aware of Christmas’ pre-amnesia cultural significance, yet chooses instead to frame it as a secular city festival. Given his awareness of humanity’s culture both pre-amnesia and outside Paradigm’s walls, it seems reasonable to assume that Paradigm’s monarch is enforcing a policy of strict information control – and beyond that, that he might even be responsible for Paradigm’s amnesia in the first place.

If he’s attempting to create a private kingdom, provoking a wave of mass amnesia is certainly a great way to start. While we generally think of confinement in terms of physical barriers, the most robust imprisonment is generally imprisonment of the mind – total inculcation into a specific way of thinking, or denial of the education that might inspire someone to question their circumstances. While we can rage against injustices we can define, if we can’t conceive of a world beyond our own, we tend to accept our circumstances as simply “the way it is.” By collectively frying Paradigm’s memory, a dedicated tyrant could reshape its society into whatever shape they choose, and fill in the blank slates of its populace with a wellspring of comforting propaganda.

So that’s probably not good. But as I said, Roger wasn’t actually there for most of the scenes that revealed this information – he’s currently some distance behind the audience, and I’m not exactly sure what use that dramatic irony could serve. For the moment, let’s quit with the conjecture, and find out what secrets the city will offer next!

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Hello everyone, and welcome back to Wrong Every Time. Today I’m eager to dive back into The Big O, and perhaps uncover a few more secrets regarding Paradigm’s strange history. The Big O’s last episode was actually brimming with information regarding the world of Paradigm, though in classic Big O fashion, all of that information was gracefully woven into the course of one more episodic investigation.

As Dastun sought answers regarding the identity of his destined woman, we in the audience learned a great deal about Paradigm, and the world around it. For one thing, it seems like Paradigm’s government is a sham. In spite of the city theoretically possessing a full board of representatives, all of those representatives in turn answer to the city’s true boss, with Angel at his side. Additionally, it appears that the show’s claim that the outside world has been destroyed is just another form of population control, as the episode culminated in outside forces sending a giant robot stomping through the city. Rather than the final holdout of a dying humanity, Paradigm is looking more and more like an isolated dictatorship, raising the question of whether even the mass amnesia was intentionally provoked in order to better control the populace.

But questions like that seem a little outside of Roger’s pay grade, at least while we’re still halfway through the first season. Whatever perils may come, I’m sure The Big O will convey them with genre-savvy finesse and plenty of style. Let’s get to it!

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Hello everyone, and welcome back to Wrong Every Time. Today I’d like to return to The Big O, if that’s okay with you all, as I feel this show is one of the most rewarding projects I’m currently working on. The show is just such a complete package – I’d be happy enough simply to marvel at its terrific architecture and use of visual geometry, but it also succeeds as a polished, tightly written noir drama, somehow finding a natural meeting point between mystery, horror, and giant robot drama. As for this episode, it apparently features a storyboard by Kazuyoshi Katayama himself, the series’ overall director, and also the architect of its first three storyboards. If anyone has a natural fluency in The Big O’s aesthetic mix, it’d be Katayama, so let’s see what he has in store for us in episode ten!

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Hello all, and welcome back to Wrong Every Time. Today I am eagerly awaiting our continued explorations of The Big O, a show that has impressed me anew with almost every new episode, marrying gothic grandeur and neo-noir smolder to dazzling effect. I say “almost” there as a specific nod to the show’s last episode, which was unfortunately a bit of a step down from the show’s standard; a little more monster-of-the-week than usual, and also a bit less impressive in terms of its overall storyboarding.

But of course, as we hopefully all understand at this point, an anime production isn’t really a singular, cohesive organism; it is a composite of many individual artists, all of whom tend to leave a definable signature on their work. And in this case, one of those artists happens to be Akihiko Yamashita, co-architect of the astounding Giant Robo, and one of The Big O’s most accomplished storyboarders. With him on boards and series mainstay Ikuro Sato on direction, I’m expecting great things from The Big O’s ninth episode. Let’s get to it!

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