V I Rさんのイラストまとめ

I appreciate them hiding Amadeus' real son's face throughout this episode, definitely adds to the uncertainty and the unreliability of our protagonist

Outside of the existential anguish in this episode (another core element of the storytelling in Big O) I also appreciate how EXTRA this one cut of animation is. You didn't /really/ have to add all these bits falling from Constanze but you did anyway--and it's delicious

Instro /just/ wants to play the piano. That's what he's made for. But he feels dutifully called to be Amadeus' legacy (another word here could be "progeny,' his son) as he equally feels dutifully called to be Geiseng's weapon and Dorothy's teacher and Roger's friend.

And then there's more excellent and unique shots like these, perspective drawings, reflections in fenders, suspended cameras, and SCALE

Another thing I love about this episode is how they remembered that Big O is massive and slow and then how they engineered a way to overcome that in canon and equally by using the Moby Dick anchors in a way they weren't designed for

That's smart
That's understanding your fiction

This episode also brings into focus the extreme class disparity in Paradigm--AND the fascism of the Military Police. Paradigm isn't a very nice place, even if you ARE rich; you have to side with Paradigm (which is both god and state) or you'll get wrung out and murdered.

It's more important (and enriching) to explore why Dorothy reacted the way she did to the Archetype than to wonder (aimlessly) what information or connection they share.

And then we have such exquisite, moody shots as these

such commanding PANACHE

Dorothy, after connecting with the Archetype, however: "NO IT CANNOT BE. THAT THING IS NO FRIEND OF MINE; I HAVE NO IDEA WHERE IT CAME FROM.

IT CANNOT BE."

She's the people Seebach mentioned earlier, who see their fear and run from it rather than conquer it