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Rocko's Modern Life is an American animated series created by Joe Murray. The show aired for four seasons between 1993 and 1996 on Nickelodeon. Rocko's Modern Life is based around the surreal, parodic adventures of an anthropomorphic, Australian-immigrant wallaby named Rocko, and his new life in the city of O-Town. The show explores his American life as well as the lives of his friends: the gluttonous steer Heffer, the neurotic turtle Filburt, and Rocko's faithful dog, Spunky. The show is laden with adult humor, including double entendres, innuendos, and satirical social commentary.

Joe Murray initially created the title character for an unpublished comic book series in the late 1980s, and later reluctantly pitched the series to Nickelodeon, who were looking for edgier cartoonists for their new Nicktoons block. The network gave the staff a large amount of creative freedom, the writers targeting both children and adults. The show's animation stylistically features crooked architecture. In addition, Murray picked many newcomer voice actors, such as Tom Kenny and Carlos Alazraqui, who have in recent years gone on to become very popular. The show was the fourth Nicktoon to premiere. Kenny described the show's impact in an interview, saying, "Rocko's Modern Life was just one of those shows that were the first break for a lot of people who went on to do other stuff in the business."

Produced by Games Animation and Joe Murray Productions, the show premiered on September 18, 1993 and ended on November 24, 1996 with reruns until mid-2000. After the show's completion, much of the staff regrouped to work on SpongeBob SquarePants, created by producer Stephen Hillenburg. Rocko's Modern Life generally received positive reviews during its original broadcast run and in recent years has seen renewed praise for sophisticated and subversive humor.[who?]

Originally, the character appeared in an unpublished comic book titled Travis. Murray tried selling the comic book in the late 1980s, between illustrating jobs, and did not find success in getting it into production. Many other characters appeared in various sketchbooks. He described the early 1990s animation atmosphere as "ripe for this kind of project. We took some chances that would be hard to do in these current times (the 1990s)". Murray wanted funding for his independent film My Dog Zero, so he wanted Nickelodeon to pre-buy television rights for the series. He presented a pencil test to Nickelodeon, which afterward became interested in buying and financing the show. Murray had never worked in television before. The industry was coming out of a "rough period" and Murray wanted to "shake things up a bit".

Linda Simensky, then in charge of animation development in Nickelodeon, described the Nicktoons lineup and concept to Murray. He originally felt skepticism towards the concept of creating a Nicktoon as he disliked television cartoons. Simensky told him that Nicktoons differed from other cartoons. He then told her that he believed that My Dog Zero would not work as a cartoon. He then researched Nickelodeon at the library and found that Nickelodeon's "attitude was different than regular TV". The cable network providers were "making their own rules": for example, Murray stated that he "didn't write for children", which the executives were fine with. Murray was unsure at first, but was inspired by independent animation around him, such as Animation Celebration and MTV's Liquid Television, and gave the network a shot.At the time, Nickelodeon was selling itself as a network based as much around edge as around kids' entertainment. It aimed to appeal to college students and parents as much as children.

Murray developed the Rocko character after visiting a zoo in the Bay Area and coming across a wallaby that seemed to be oblivious to the chaos around him. Murray combed through his sketchbooks, developed the Rocko's Modern Life concept, and submitted it to Nickelodeon, believing that the concept would likely be rejected. Murray felt they would not like the pilot, and he would just collect his sum and begin funding his next independent film. According to Murray, around three or four months later he had "forgotten about" the concept and was working on My Dog Zero when Simensky informed him that Nickelodeon wanted a pilot episode. Murray said that he was glad that he would get funding for My Dog Zero. On his website he describes My Dog Zero as "that film that Linda Simensky saw which led me to Rocko."Sucker for the Suck-O-Matic" was originally written as the pilot; the executives decided that Heffer Wolfe, one of the characters, would be "a little too weird for test audiences". Murray, instead of removing Heffer from "Sucker for the Suck-O-Matic", decided to write "Trash-O-Madness" as the pilot episode.

In the original series pilot, Rocko was colored yellow. His color was changed when a toy merchandising company informed Nick they were interested in marketing dolls but did not want to market Rocko because "they already had a yellow character". Murray changed Rocko's color to beige, and after the pilot aired, the company opted out of producing toys for the series. When the series was in development prior to the release of the first episode, the series had the title The Rocko Show.

In November 1992, two months prior to the production of season 1 of Rocko's Modern Life, Murray's first wife committed suicide. Murray had often blamed his wife's suicide on the show being picked up. He said "It was always an awful connection because I look at Rocko as such a positive in my life." Murray felt that he had emotional and physical "unresolved issues" when he moved to Los Angeles. He describes the experience as like participating in "marathon with my pants around my ankles". Murray initially believed that he would create one season, move back to the San Francisco Bay Area, and "clean up the loose ends I had left hanging". Murray said that he felt surprised when Nickelodeon approved new seasons; Nickelodeon renewed the series for its second season in December 1993.

After season 3 he decided to hand the project to Stephen Hillenburg, who performed most work for season 4; Murray continued to manage the cartoon.He said that he would completely leave the production after season 4. He said also that he encouraged the network to continue production, but Nickelodeon eventually decided to cancel the series. He described all fifty-two episodes as "top notch", and in his view the quality of a television show may decline as production continues "when you are dealing with volume". On his website he said that, "In some ways it succeeded and in some ways failed. All I know it developed its own flavor and an equally original legion of fans." In a 1997 interview Murray said that he at times wondered if he could restart the series; he feels the task would be difficult.The show was jointly produced between Games Animation and Joe Murray Productions. Since Nickelodeon did not have an animation studio, they had to contract out to other studios. After incidents with The Ren & Stimpy Show creator John Kricfalusi, Nickelodeon began to not trust its creators as much and began to form its own studio, Games Animation. However, Murray recalls that they were still able to get a lot done independently. Murray has likened the independence to that of "Termite Terrace" (Warner Bros. Cartoons) from the 1930s. As Nickelodeon began to have more and more success with its animation cartoons, Murray said the "Termite Terrace" mentality was not working as much. Producer Mary Harrington made the move from New York City to Los Angeles to set up Games Animation, in order to produce Rocko's Modern Life. The crew first began production on the show in January 1993.Rocko's Modern Life was Nickelodeon's first in-house animated production.

Murray's Joe Murray Productions and Games Animation rented office space on Ventura Boulevard in the Studio City neighborhood of the San Fernando Valley region of Los Angeles, California.The production moved to a different office building on Vineland Avenue in Studio City. Executives did not share space with the creative team.Murray rented a floor in the Writers Guild of America, West building, although the team of Rocko was not a part of the union, which the staff found ironic.Sunwoo, and later Rough Draft Studios, assembled the animation. According to Murray, as Rocko's Modern Life was his first television series, he did not know about the atmosphere of typical animation studios. Murray said that he opted to operate his studio in a similar manner to the operation of his Saratoga, California studio, which he describes as "very relaxed". His cadre included many veterans who, according to him, described the experience as "the most fun they had ever had!" He, saying that the atmosphere was "not my doing", credited his team members for collectively contributing. Murray described the daily atmosphere at the studio as "very loose", adding that the rules permitted all staff members to use the paging system to make announcements. He stated that one visitor compared the environment of the production studio to "preschool without supervision". Murray stated that 70 people in the United States and over 200 people in South Korea animated the series.

Rick Bentley of the Ventura County Star said that it was unusual for a cartoon creator to select a wallaby as a main character. Bentley also stated that the Rocko universe was influenced by "everything from Looney Tunes to underground comics".The staff of the show were fans of outrageous comedy, both animated and not animated. Tom Kenny cited Looney Tunes and SCTV as influences for the show, and also stated "I'm sure if you asked Joe Murray or Mr. Lawrence or any of those guys, especially in terms of animation, the weirdest cartoons would of course be our favorites—those weird '30s Fleischer brothers Betty Boop cartoons and stuff like that."

Murray produced the pilot episode, "Trash-O-Madness", at his studio in Saratoga; he animated half of the episode, and the production occurred entirely in the United States, with animation in Saratoga and processing in San Francisco. While directing during recording sessions, Murray preferred to be on the stage with the actors instead of "behind glass" in a control room, which he describes as "the norm" while making animated series. He believes that, due to his lack of experience with children, Rocko's Modern Life "skewed kind of older". Murray noted, "There's a lot of big kids out there. People went to see 'Roger Rabbit' and saw all these characters they'd grown up with and said, 'Yeah, why don't they have something like that anymore?'" When he began producing Rocko, he says that his experience in independent films initially led him to attempt to micromanage many details in the production. He said that the approach, when used for production of television shows, was "driving me crazy". This led him to allow for other team members to manage aspects of the Rocko's Modern Life production.Director and later creative director Stephen Hillenburg met Murray at an animation film festival where he was showing his three short films. Murray hired Hillenburg as a director on the series, making Hillenburg's first job in the animation business as a director.

Murray designed the logo of the series. He said that, after his design drifted from the original design, Nickelodeon informed Murray of how it intended the logo to look like. Murray also designed the covers of the comic book, the VHS releases, and the recent DVD releases.