After writing for the cult classic, Serial Experiments Lain, Chiaki J. Konaka took to scripting The Big O, a 26-episode mecha series for the premier studio of mecha anime, Sunrise. However, given Konaka’s now-revered talent of writing bizarre, psychological dramas, this show was anything but ordinary.
Over the years I have come to know it as a stylistic blend of art deco film noir and sci-fi mecha. It took clear inspiration from Batman: The Animated Series, with the original concept by Keiichi Sato likening the setting to Gotham. After the original 13 episodes, however, the show was canceled, or, more accurately, it was given a shortened season by producers.
And then it aired on Toonami in 2001.
The international reception alone pushed Cartoon Network to co-produce The Big O‘s final 13 episodes. The demands of western producers were limited. Sunrise was still animating it and Konaka was still writing with seemingly as little restraint as possible, so long as he added more action and was more forthcoming with the mystery plot.
This is yet another cult classic I have been meaning to watch for a while, considering it seems to be right up my alley. Whether it be allusions to film, or it’s stylistic similarities to my childhood obsession Batman, this review was bound to happen. And yet, I can’t honestly say I was prepared for what I was in for.
This isn’t up for debate. Not because I’m opposed to dissenting opinions but because the festering shitholes known as the comment sections and forum posts about this new series have made such a claim a necessity.
About three years ago, Ghost in the Shell: SAC_2045 was announced. After 14 years, Stand Alone Complex was getting a direct sequel, something that was welcome after the middle-of-the-road Arise series from 2013. Even better, it would be directed AND WRITTEN by Kenji Kamiyama, the same guy who directed and wrote the original SAC. As a bonus, he would be co-directing alongside Appleseed director Shinji Aramaki.
Production I.G. would be working on it (no surprise there) along with Sola Digital Arts. In a big surprise, the character designs would be handled by Ilya Kuvshinov, someone who is mostly known to me for making beautiful art that people always set as their Soundcloud thumbnails for some reason.
Just last year we got a sense of what this very production team, sans Kuvshinov, was capable of. They released the Netflix original Ultraman, the animated sequel to the legendary Tokusatsu show of the same name. It was a cool show that got praise at the time, for good reason. So you’d think that knowing that these same people were working on the new Ghost in the Shell that people would look at the two and think “ok, this is the kind of animation I can expect.”
Instead, a lot of stupid fucking people acted like they didn’t see it coming when the new Ghost in the Shell was entirely CGI. Now that it’s released, I’d like to believe that people realized they were wrong, but nope. So I’m coming out of my hiatus swinging to get you motherfuckers cultured.