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The Big O

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This article is about The Big O anime series. For Big O, see The Big O (disambiguation).
The Big O
left to right: Norman Burg, Roger Smith, R. Dorothy Wayneright. back: The Big O
GenreFilm noir, Science fiction, Action adventure, Mecha, Psychological thriller
Anime
Directed byKazuyoshi Katayama
StudioSunrise
Manga
Written byHitoshi Ariga
Published byJapan Kodansha
Canada United States Viz Media

The Big O (THE ビッグオー, Za Biggu Ō) is a TV anime 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, Armitage III).

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 The Big O, a giant relic from the city's history that may hold the key to its future.

The series premiered on 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.

Plot

See also: List of The Big O media

The Big O's main theme is the nature of memories. A memory is a record of a thing or an event stored in the brain of an organism. But in Paradigm City, the "City of Amnesia", memories are much more. Memories are a precious thing and "can appear when you least expect them."[1] Memories embody the lost knowledge of its citizens. Memories can take the form of records from before the Event, or forgotten artifacts of times gone by.[2] Memories can manifest themselves as mere recollection, hallucinations or a recurring dream.[3]

Season one is episodic, each Act presents how different citizens of Paradigm deal with the resurgence of these Memories and how they manage to go on living without knowledge of what did or did not happen. The season ends by introducing elements that will come into play during season two: the existence of people outside of Paradigm City, the book "Metropolis" written by Gordon Rosewater, the Cataclysm that destroyed the world and the "Power of God wielded by the hand of man."

Season two takes a more arc-based approach. Instead of self-contained stories like in season one, season two features an 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 and setting

Main article: Paradigm City
Aerial shot of Paradigm City

Forty years before the series, disaster struck. The world was turned into a vast desert wasteland and the survivors were left without memories. In the aftermath, a new city was estabished: Paradigm City. The city shares its name with the Paradigm Corporation, the firm that runs the city. From the bread store down the block to the police force that protects the citizens, everyone's on the company's payroll. In Paradigm City, the firm is "both God and State."[4] Paradigm City's most notable feature is the giant domes that house its richer citizens, while the poor are left to their luck outside the domes.

A number of clues as to the nature of the disaster appear through the series. First and foremost are the megadeuses [sic], giants from the previous era. There's a subway system from before the disaster, but it's never been used out of fear; below it, there are newer better-kept facilities.[5] There's a small android community, but pets are extremely rare.[6] There are Germans and German-speakers, but the French language is foreign, and largely unknown.[3]

Paradigm City has been likened to other fictional, and real, cities. Keiichi Sato used DC Comics' Gotham City as inspiration for the world of The Big O.[7] The class conflict of Fritz Lang's Metropolis, and "The Mediator", are referenced.[8] While not technically a city, Paradigm's android community and domes are drawn from Isaac Asimov's Caves of Steel,[9] and its contour resembles Manhattan.[α]

Characters

Main article: Characters of The Big O
File:Roger Smith (Big O).JPG
The Negotiator

Roger Smith is the series protagonist. He is the Negotiator. His job entails finding a resolution for the troubles of the City of Amnesia. He'd negotiate 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.

Voiced by: Mitsuru Miyamoto (Japanese); Steven Blum (English)

File:R. Dorothy (Big O).JPG
The Android

R. Dorothy Wayneright is Roger's assistant. Introduced in Act:01 as Dorothy Soldano, daughter of rich scientist 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.

Voiced by: Akiko Yajima (Japanese); Lia Sargent (English)

File:Norman Burg (Big O).JPG
The Butler

Norman Burg is Roger's butler. Forty years before the commencement of the story he, along with all of Paradigm, lost all memories, 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

File:Dan Dastun (Big O).JPG
The Officer

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.

Voiced by: Tesshou Genda (Japanese); Peter Lurie (English)

File:Angel (Big O).JPG
The Enigma

Angel is the beautiful young 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.

Voiced by: Emi Shinohara (Japanese); Wendee Lee (English)

Development and design

Development of the retro-styled series began in 1996. Keiichi Sato came up with the concept of The Big O:[7] a giant city-smashing robot, piloted by a man in black, in a Gotham-like environment.[β] 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.

File:The Big O (concept art).jpg
The Big O concept art

Sato admits it all started as "a gimmick for a toy." They tried including detachable hands, a cargo container and a vehicle with a Thunderbirds-style design.[7] 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 toy sales.

In 1999, with the designs complete, Chiaki J. Konaka was brought on as head writer. Konaka came up with the concept of a "town without memory", and worked on the characterization of R. Dorothy. Konaka and his writing staff scripted a 26-episodes series. The series 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.[10] In 2001, The Big O premiered on Cartoon Network's Toonami lineup.

Season Two

The series garnered positive fan response internationally, and the American fanbase asked for more.[10] This 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.[11] All the scripts from season two were written by Konaka.

Along with the 13-episodes of season two, Cartoon Network had an option for 26 additional episodes.[12] But Jason DeMarco, executive producer for season two, does not think it can happen. The middling ratings and DVD sales in the United States and Japan have made it impossible, though Chiaki Konaka has gone on record as to having an idea for a third season.[13]

Style

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

The Big O shares much of its visual iconography with the films noir of the 1940's.[γ][14] The series makes use of noir-standards such as chiaroscuro lighting, used by cinematographers to create tension, and low-angle shots, giving the impression of larger-than-life characters.[15] The series protagonist, originally envisioned as a private eye,[16] is canny and cynical,[8] a disillusioned cop-turned-negotiator whose job has more in common with detective-style work than straight-forward negotiating.[17]

Films noir are often set in urban environments, like New York City or L.A. The Big O's gritty backdrop goes by the name of Paradigm. The domed city achieves a sense of claustrophobia,[18] or paranoia, attained only by camera tricks in the classic noirs.[9] Bars, lounges, and nightclubs, factories, and power plants are some of the locales associated with detective fiction present in this anime series.[19]

Amnesia is a common plot device in film noir, far more common than in real life.[20] Because most of these stories focused on a character proving his innocence, authors up the ante by making him an amnesiac -- unable to even prove his innocence to himself. The Big O does one better: "one day 40 years ago, everyone here lost their memory of everything before that day." To explore the mystery, The Big O employs the noir tools-of-the-trade. The series features voice-over narration, the use of flashbacks, and a convoluted storyline.[δ]

The jazzy soundtrack owes to the noir style, even if jazz was not always used in noir films.[21] The Negotiator driving around the smoke-filled streets of Paradigm while the slow jazz tune of "Roger's Theme" (Audio file "Roger's Theme (Big O).ogg" not found) plays in the backgroud is the quintessential Big O moment. On his way, Roger Smith meets a number of hard-boiled archetypes: Big Ear, the helpful informant; Jason Beck, the thug with delusions of grandeur; Dan Dastun, the friend on the police force; and Angel, the femme fatale. Other staples of pulp fiction also show up: crooked cops, corrupt business men and deranged scientists.

Influences

One of The Big O's most commented upon influences is Batman.[16][22][19] Sunrise, the series' production studio, was a subcontractor for Warner Bros. Animation's Batman: The Animated Series,[23] and Toonami promos acknowledged the Dark Knight's influence on Roger Smith.[24]

Roger Smith is a pastiche of the Bruce Wayne persona and the Dark Knight Batman. His 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 led into his mansion without his permission.[25] 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."[26] Among Roger's gadgetry is the Griffon, a large, black hi-tech sedan comparable to the Batmobile, and a grappling cable that shoots out his wristwatch. In Act:15, Angel refers to The Big O as Roger's alter-ego.

The Big O's cast of supporting characters features: Norman, Roger's faithful mechanically-inclined butler who fills the role of Alfred Pennyworth; R. Dorothy Wayneright, taken in by Roger in Act:02, who plays the role of the sidekick; and Dan Dastun, Chief of the Military Police, a good honest cop who, like Jim Gordon, is a friend to the hero.

If Roger Smith is Batman, then Big O is Giant Robo.[ε] Released in seven volumes over the span of six years, the Giant Robo OVA's "retro chic steampunk" style of science-fiction influenced The Big O.[27] Members of the Big O staff, including series director Kazuyoshi Katayama, worked on the Giant Robo OVA; frustrated with its long-delayed production, the staff focused its energies into making The Big O "good."[28]

File:Showtime (Big O).JPG
"Showtime!" In an homage to Giant Robo, Roger uses his wristwatch to summon Big O.

Like Giant Robo, the megadeuses of Big O are metal behemoths. The designs are strange and "more macho than practical,"[29] sporting big stovepipe arms and exposed rivets. Unlike the giants of other robot anime, the megadeuses do not exhibit ninja-like speed nor grace. But for what they lack in agility, they more than make-up in power:[30] missiles, piston powered punches, machine guns, laser cannons, it's all there. The character designs also take a cue from Giant Robo.[31] Roger looks like a grown-up Daisaku Kusama, right down to the wristwatch. Angel follows in Ginrei's footsteps as a sexy secret agent-type character and Schwarzwald's trenchcoat and bandages look resembles that of Kenji Murasame in Volume 5 of the OVA.

Reception

The Big O, with its fusion of film noir, pulp fiction and giant robots, premiered on October 13, 1999.[17] The show was not a hit in its native Japan, rather it was shortened from its proposed 26 episodes to 13. Western audiences were more receptive and the series achieved the success its creators were looking for.[32][10] In an interview with AnimePlay Magazine, Keiichi Sato said "This is exactly as we had planned", referring to the success overseas.[16]

File:AnimePlay 2004 Vol5.jpg
The Big O on the cover of AnimePlay

Several words appear constantly in the English-language reviews; adjectives like "hip,"[9] "sleek,"[33] "stylish," [34] "classy,"[29] and, above all, "cool"[35][34][32] serve to describe the artwork, the concept, and the series itself. Reviewers have pointed out references and homages to various works of fiction: Batman,[22][36] Giant Robo,[8][29] the works of Isaac Asimov,[18][9] Fritz Lang's Metropolis,[8] James Bond,[37][38] and Cowboy Bebop.[39][ζ] 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.[40]

The first season received high marks all over. Anime on DVD recommends it as an essential series.[37] Chris Beveridge of the aforementioned site gave an A- to Vols. 1 and 2, and a B+ to Vols. 3 and 4.[41] 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."[17] 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."[8] Reviewers,[8][42][37] and fans alike,[10][11] 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.[11]

The look and feel of the show received a big enhacement in the second season.[43] This time around, the animation is "near OVA quality"[44] and the artwork "far more lush and detailed."[32] Also enhanced are the troubles of the first season. The giant robot battles still seem out of place to some,[40][45] while others praise the "over-the-top-ness" of their execution.[17][35]

For some reviewers, the second season "doesn't quite match the first"[46] adressing to "something" missing in these episodes.[40] Andy Patrizio of IGN.com 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.[47][48] 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 dissapointment."

Similar works

Notes

α. ^ See The Big O Visual: Official Companion to "The Big-O" TV series (ISBN 4-57-529579-5), p. 39.

β. ^ The name Big-O came from the opening of Daitetsujin 17, which is available here.

γ. ^ The series name resembles The Big Sleep (1939), the novel of Philip Marlowe's debut. Other "Big" films noir include The Big Clock (1948), The Big Steal (1949), The Big Heat (1953), and The Big Combo (1955).

δ. ^ Chris Beveridge of Anime on DVD sums up his review of the final volume of The Big O by writing "Now that's pretty messed up."[48]

ε. ^ Protoculture Addicts was the first to describe The Big O as a cross between Batman and Giant Robo.[22]

ζ. ^ Steven Blum voices Spike Spiegel in the English-language version of Cowboy Bebop. Wendee Lee voices Faye Valentine.[9]

References

  1. ^ 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 ocurred 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. People can survive without knowing what did or didn't happen in the past. And each day they try their hardest to do just that. The only ones who regret the loss of these memories are the city's elderly. But memories, like nightmares, sometimes come when you least expect them. (Act:01)
  2. ^ 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)
  3. ^ a b 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")
  4. ^ 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)
  5. ^ Roger Smith (voice-over): I've been using these underground tunnels in order to transport Big O. I understand there was once a transportation system at one time, called a "subway." It may only be thirty feet below the surface, but no one wants to set foot down here, not even bank robbers. Big Ear once told me that forty years ago, there were people who lived down here. Some wanted to, some had no choice. Even I haven't gone down any further than this. This is probably another world that no one in the city knows about. Except for one man. The further down I go, the newer the walls become. Items from a more recent era are buried deeper down. (Act:04)
  6. ^ R. Dorothy Wayneright (about a cat): He had been abandoned and left in the rain. // Roger Smith: No, that can't be right. You weren't the one who put that collar on him, were you? Cats are rare creatures. In one sense, you could say they're worth more than you and I. I doubt someone would abandon one. (Act:08, "Missing Cat")
  7. ^ a b c Hayward, Keith. "Birth of the Big O". Japan Hero. Retrieved 2006-11-18.
  8. ^ a b c d e f Toole, Mike (2003-09-24). "The Big O vols. 1-4". Anime Jump. Retrieved 2006-11-11.
  9. ^ a b c d e "The Big O Complete Collection DVD Review". DVD Vision Japan. Retrieved 2006-11-11.
  10. ^ a b c d Chiaki J. Konaka. "The Big O (production notes)" (in Japanese). Retrieved 2006-11-18. A translation can be found at the Season 3 FAQ
  11. ^ a b c "Comic-con Adult Swim News". Anime News Network. 2002-08-04. Retrieved 2006-11-18.
  12. ^ "More Big O". Anime News Network. 2003-06-09. Retrieved 2006-12-03.
  13. ^ "Ask Kim Manning -- And what is up with Big O Season 3?". adult swim. Retrieved 2006-12-03. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  14. ^ "The Big O". anime and manga for australia. Retrieved 2006-11-04.
  15. ^ Silver, Alain (2004). Film Noir. Tashen Books. ISBN 3-8228-2261-2
  16. ^ a b c Shimura, Shinichi. (2004). Anime rebel with a cause: The Big O's Keiichi Sato. AnimePlay, 5, 22-26.
  17. ^ a b c d "Big O Review". Anime Academy. Retrieved 2006-11-04.
  18. ^ a b Beveridge, Chris (2001-06-19). "Anime on DVD Reviews: The Big O Vol. #1". Anime on DVD. Retrieved 2006-11-11.
  19. ^ a b Penedo, Nicolas. "The Big O, un animé sous influence". AnimeLand. Retrieved 2006-12-16. Template:Fr icon
  20. ^ Rafferty, Terrence (2003-11-02). ""The Last Word in Alienation: I Just Don't Remember"". nytimes.com. Retrieved 2006-11-04. {{cite web}}: Check date values in: |date= (help)
  21. ^ "Interview with Eddie Muller". SFJAZZ. 2006-05-17. Retrieved 2006-11-04.
  22. ^ a b c "The Big O Preview". Anime News Network. Retrieved 2006-11-11.
  23. ^ For detail on which episodes Sunrise worked on, see The World's Finest.
  24. ^ For the Batman: The Animated Series 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. You can download them both at Toonami Digital Arsenal.
  25. ^ 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:02)
  26. ^ 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")
  27. ^ Patten, Fred (2001-06-15). "New from Japan: The Big O Volumes 1 - 4". Animation World Magazine. Retrieved 2006-11-23.
  28. ^ "Anime Central 2003 Panel". A Fan's View. Retrieved 2006-11-23.
  29. ^ a b c Rhee, Keith (2000-02-03). "The Big O". EX: The Online World of Anime & Manga. Retrieved 2006-11-04.
  30. ^ Hayward, Keith. "Super Robot Review: The Big O". Japan Hero. Retrieved 2006-11-23.
  31. ^ See The Big O Visual, pp. 26-27.
  32. ^ a b c Arseneau, Adam (2004-03-05). "The Big O II: Paradigm Lost (Volume 1) Review". DVD Verdict. Retrieved 2006-11-04.
  33. ^ Byun, Bryan (2004-09-30). "The Big O II: Missing Pieces (Volume 2) Review". DVD Verdict. Retrieved 2006-11-04.
  34. ^ a b Shelton, Andrew. "Big O Review". Anime Meta-Review. Retrieved 2006-11-04.
  35. ^ a b Shepard, Chris. "Big O Review". Anime News Network. Retrieved 2006-11-04.
  36. ^ Forbes, Jake (2001). "The Big-O". Animefringe. Retrieved 2006-11-11. {{cite web}}: Unknown parameter |month= ignored (help)
  37. ^ a b c "Anime on DVD Recommends: The Big O". Anime on DVD. Retrieved 2006-11-04.
  38. ^ The Toonami promo "Recipe of Justice" calls the series "one part Bond." It is available for download at Toonami Digital Arsenal.
  39. ^ Robinson, Tasha (2001-04-02). "Big O". SCI FI Weekly. Retrieved 2006-11-11.
  40. ^ a b c "The Big O/The Big O II". The Anime Review. Retrieved 2006-11-11.
  41. ^ "The Big-O (Meta Review)". Meta Anime Review Project. Retrieved 2006-11-11.
  42. ^ Beveridge, Chris (2001-12-18). "Anime on DVD Reviews: The Big O Vol. #4". Anime on DVD. Retrieved 2006-11-11.
  43. ^ Beveridge, Chris (2003-11-03). "Anime on DVD Reviews: The Big O II Vol. #1". Anime on DVD. Retrieved 2006-11-11.
  44. ^ Divers, Allen (2004-01-20). "The Big O II DVD 1: Paradigm Lost". Anime News Network. Retrieved 2006-11-11.
  45. ^ Robinson, Tasha (2004-01-12). "The Big O II". SCI FI Weekly. Retrieved 2006-11-11.
  46. ^ Patrizio, Andy (2004-06-25). "The Big O II - Aggressive Negotiations Review". IGN.com. Retrieved 2006-11-11.
  47. ^ "Super Robot Reviews: The Big O II: 2nd Season". Japan Hero. Retrieved 2006-11-11.
  48. ^ a b Beveridge, Chris. "Big O II Vol. #4 (of 4)". AnimeOnDVD.com. Retrieved 2006-12-29.

Official sites

Fansites

Miscellaneous

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