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6/28/2025, 10:48:55 AM
6/19/2025, 4:57:32 AM
>How did the design proceed?
>First of all, I think the most important thing in character design is the silhouette. When it is made into a shadow picture, it has to be one of a kind. There have been many different robot designs so far, so I avoided designs that looked similar to others when made into a silhouette. I always try to find the most originality I can for each piece. For the android Dorothy, The headband and the bags under his eyes are just some of the original elements. The fact that Roger pilots the Big O while still wearing his jacket also brings to mind the image of a working adult's combat uniform.
>-What is the setting of the world inside a dome?
>First of all, I didn't like the idea of seeing the sky when the camera pans upwards, because it was too obvious. I've seen a lot of robots standing in the blazing sun with a deep blue sky in the background. So after consulting with Katayama-san, we decided to create a world inside a dome with a ceiling. The ceiling is made of polarized lenses, and the glass is green during the day and turns red at night... The characters in "The Big O" have low saturation, so the color of the ceiling appears the brightest, so I thought this would also be a new image.
>---It seems like you worked backwards from the footage to create this.
>That's right. The reason I was credited as a supervisor is because I looked at not only the design, but also the layout, art, and all the other aspects of the picture. I checked all the storyboards and layouts, and even after the director and animation director had given the OK, if there was something I didn't think was right I was allowed to voice my opinion. For the final episode of the first season, I had many discussions with Katayama in the conference room. There were some things I couldn't compromise on, like the relationship between Dorothy and Roger (laughs).
>First of all, I think the most important thing in character design is the silhouette. When it is made into a shadow picture, it has to be one of a kind. There have been many different robot designs so far, so I avoided designs that looked similar to others when made into a silhouette. I always try to find the most originality I can for each piece. For the android Dorothy, The headband and the bags under his eyes are just some of the original elements. The fact that Roger pilots the Big O while still wearing his jacket also brings to mind the image of a working adult's combat uniform.
>-What is the setting of the world inside a dome?
>First of all, I didn't like the idea of seeing the sky when the camera pans upwards, because it was too obvious. I've seen a lot of robots standing in the blazing sun with a deep blue sky in the background. So after consulting with Katayama-san, we decided to create a world inside a dome with a ceiling. The ceiling is made of polarized lenses, and the glass is green during the day and turns red at night... The characters in "The Big O" have low saturation, so the color of the ceiling appears the brightest, so I thought this would also be a new image.
>---It seems like you worked backwards from the footage to create this.
>That's right. The reason I was credited as a supervisor is because I looked at not only the design, but also the layout, art, and all the other aspects of the picture. I checked all the storyboards and layouts, and even after the director and animation director had given the OK, if there was something I didn't think was right I was allowed to voice my opinion. For the final episode of the first season, I had many discussions with Katayama in the conference room. There were some things I couldn't compromise on, like the relationship between Dorothy and Roger (laughs).
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