- A skull with x's for eyes
- A bone
- ...A penis underneath a tent
The body of a colossal young man washes ashore and becomes an object of fascination for the locals.
A scientist named Steven, after disregarding reports of a beached giant as nonsense, finally journeys to the beach to gaze upon the body himself. Developing a fascination to the corpse, he continuously visits the site, watching the local's interest in the corpse dwindle. First the people explore every part of the monstrous corpse, even going so far as to play atop it. But the crowds eventually go, leaving their marks behind in the form of graffiti and garbage. As time goes by and the corpse rottens, Steven continues to make his treck to the beach and sees the putrefaction as a sign that it was truly alive after all. Teams of butchers slowly harvest the giant's body. The last time the scientist hikes to the site, all that he sees are remnants of the torso, it's skin hanging loosely over dry bones. One could hardly tell that the thing was once human.
In the closing scene he walks through the small town, spotting pieces of the body being utilized by the towns people: The femur has become the sign outside of a butchery, the skull was dumped near an abandoned warehouse, and the giant's penis was preserved in a glass tank in a freak show circus, mistakenly thought to be a whale's. Over the course of the episode, Steven has contemplated humanity's relationship with death and decay. He comments on how the giant had been majestic and mysterious to the towns people in the beginning, but in the end, only Steven remembered him and his impact. Our narrator reflects that no matter how great, no matter how small, the fate of the giant is one that we all will face one day.
- at the as Steven (Narrator)
- at the as the Scientist
- The toy store Ipswich Collectibles which appeared in the episode "Pop Squad", also appears briefly in this episode, possibly hinting at a shared continuity between the two episodes.
- In this episode the store title is spelled "Ipswitch" rather than "Ipswich" as spelled in "Pop Squad". Both episodes were notably animated by Blur Studio.
- Not all the icons in Love, Death and Robots are static. Many of the images shift or change during the few seconds that they're shown on screen, reflecting the importance of animation in the series. In season 2, three episodes have unchanging symbols — "Snow in the Desert," "Pop Squad" and "The Drowned Giant." The "Snow in the Desert" icons are a strawberry, a symbol of the fertile Earth that Snow remembers (and the strawberry he eats); a large "X" identical to the "death" symbol in the series logo, foreshadowing the multiple deaths in the episode; and an upside-down heart with two dots, perhaps indicating the unexpected romantic connection between Snow and Hirald.
- The "Pop Squad" icons are more specific. The dilated eye is an image that appears in the episode, a visual representation of the immortality most characters attain through advanced medicine. The hat is a reference to Detective Briggs and more specifically, his role as a rogue detective. The style is reminiscent of film noir, a genre where tough, dysfunctional detectives often rebel against a corrupt law enforcement system to do the right thing, as Briggs does in "Pop Squad." His death wish and his ultimate end also fit the genre.
- The last icon shows a stuffed dinosaur which, in the short, is a reoccurring symbol of childhood innocence that haunts Briggs. The icons that appear before "The Drowned Giant" are a little more straightforward. The skull with x's for eyes represents the death of the giant, while bones literally appear in the episode after the giant decomposes. The short ends with the image of a gigantic phallus in a tent — not subtle, but lighthearted.
- The remaining five episodes of Love, Death and Robots season 2 include animated icons. Before "Automated Customer Service," a robot icon vacuums the sunglasses off the iconographic head next to it, foreshadowing Vacuubot's quest to purge a house of all living things. A cactus represents the Western retirement community in which the short is set. The three icons for "All Through the House" include a Christmas tree with ornaments that rearrange into a face, hinting at the surprising and horrifying creature awaiting two children after they sneak downstairs to catch Santa. An image of a wrapped present represents the reward for good girls and boys the short centers on, while a droplet of sweat or possibly blood adds an element of horror.
- The "Life Hutch" icons provide the most hints to the events of the short, with a hand that starts whole and ends with two broken fingers, warning of the bloody fight awaiting a grounded pilot. An asteroid represents the intergalactic space war that acts as a backdrop for the short, and a flashlight depicts the basic tool that ultimately becomes critical for the pilot's survival.
- In an unusual title card, the three icons for "The Tall Grass" are all the same (similar to the icons used for the season 1 short, "Zima Blue") — patches of tall grass animated to sway. The identical icons are an appropriate representation of the Love, Death and Robots short, where the tall grass is prominently featured as a setting, symbol of rurality and home for hidden horrors.
- "Ice" has the icons most loosely connected to the story — a hand flipping the bird that is one of the final images of the short, an ice cube and a pipe with smoke coming out, the drug of choice for modded teenagers.
Below are screenshots of the episode.