The Big O: Act 24- The Big Fight
Toward the denouement of the previous outing, another Big Megadeus appeared from beneath the city to challenge Roger the Negotiator and Big O. As the titan ascends from the bowels of the city without toward the dome’s artificial light of day, its designation is revealed as Big Duo. However, this machine has been extensively modded with parts from destroyed Union Megadeuses and is now known as Big Duo Inferno.
Roger wonders aloud whether the machine might still be piloted by Schwarzwald from beyond the grave. This seems the only real possibility as Big Duo is a true Big, which means it can only be operated by its true Dominus (in this case, Schwarzwald). Roger imagines what Schwarzwald would say to him in this moment, or at least the show seems to present this interpretation. However, it’s also highly probable that the ensuing narration in Schwarzwald’s voice is a message from beyond the dead, addressed not to Roger, but directly toward the audience. If this latter possibility is the correct one, then we might do well to heed these words: words crafted expertly by the show’s creator Chiaki J. Konaka, a man intensely interested in understanding the human condition who has spent much of his life studying psychology, philosophy, evolutionary theory, religion, and sociology all toward this end.
‘Truth. Those who seek it out unknowingly become obsessed with this grand illusion that they are able to control this world…. The incomplete book of Gordon Rosewater’s, written in his younger days, depicts the final days of humanity. And the foolish humans who use the power of God.’
The claim seems inconsistent with the character of Schwarzwald, the archetypal Black Forest philosopher journalist who gave his very life to uncover the truths of this world. He became obsessed with the truth and with the thought that he could force a paradigm shift within Paradigm City. And in the end, what did his work accomplish? Few citizens took his pamphlets for little more than the ravings of a mad man and he was left dead, a corpse out in the wastes beyond the metropolis of Paradigm.
However, no fool to forsake knowledge totally, Schwarzwald includes in this narration a powerful invective against technocracy and its ability to lead toward techno-fascism. Against the hubris of humanity for charging heaven’s gates only to plunder her armaments for tools and weapons to kill and subjugate one another. No conservative, traditionalist, he understands how some social truths can be mutable and contradictory in nature, as well as how the search for truth at the expense of all else can lead one to ruin. But no postmodern, he rejects the logic of power dynamics and hegemonic social control as well. As these forces can also corrupt the soul and lead nations and peoples to ruin. As such, we can square Schwarzwald here, once again, as an intermediary figure, an iconoclastic outcast from all established doctrine whose neither A nor B analyses figure as the example that destroys the rule and deconstructs the binary in lieu of more balance in the world.
The fight commences as one might imagine. The two mechas crush each other handily. And just as Big Duo gets the drop on Big O, the machine revolts. We see that the operator of Big Duo is Alan Gabriel and not Schwarzwald after all. But the machine is haunted by a spectral presence, by the ghost of its one-time and true Dominus Schwarzwald. And as the machine surrounds Alan with its tendrils of cable, ensnaring and eventually crushing him in the process, Schwarzwald speaks once more: ‘The Megadeus chooses its Dominus…. You possess the foolishness of both man and machine. It chooses one who controls the power of God, created by man. One who is able to arrive at one truth. that’s not the case with you!’
The phrase, like much of Schwarzwald’s orations throughout the series, is intensely vague. If the Megadeus chooses its own Dominus, then how is it that men like Roger Smith were once programmed to operate these monolithic machines? Would that not be man choosing the Dominus for each Megadeus? Or do the specifications of each Megadeus warrant a particular makeup in each replicant, meaning scientists wishing to create a Dominus must do so according to the Megadeus’ implicit rules? Who is really in charge in this case? And this matter of one truth? Is this a specific truth one must discover or any sort of over-arching monolithic worldview one accepts, generally speaking? We may never know as Big Duo immediately ascends toward the sky and flies off toward the wastes, never to return.
When the battle ends, Roger returns the heavily damaged Big O to its track beneath the city for return back to the Mansion. He searches the city in his black sedan, Griffon, and eventually finds Dorothy standing atop a building in a nearby sector of the city. But when he reaches the roof of the building, she falls into his arms, her eyes emotionless and cold, her body un-moving, and her forehead cd-rom memory core interface totally removed. Roger brings her back to the Mansion in the hopes that Norman can do something to fix her, but the old hand can do nothing without the core memory. He even believes its return would not necessarily awaken her. And if it did, the memories might be corrupted.
Norman gives Roger the option of installing a new core memory into Dorothy’s braincase, which would undoubtedly awaken her. However, with a clean slate and no past memories, would he really be awakening ‘her’, or just resetting her back to a time when she did not know Roger or Norman, before she began emoting and before her love for Roger began to flower?
In the meantime, a letter arrives to the Mansion, addressed to Roger from Michael Seebach (Schwarzwald) in the event of his death. Inside is the final page of Gordon Rosewater’s messianic tome Metropolis: ‘ The power of God, created by man…. Divine thunder raining down from the heavens…’ Along with this page is a torn photo of a young Gordon Rosewater shaking hands with a man whose white pale hands, white dress shirt, and black shoes, pants, and suit jacket are obliquely visible. The man is obviously Roger Smith, though only we know this intuitively. That Roger Smith has not aged in the more than forty years since the photo was taken is one more signifier that he is more than a mere mortal man.
As Roger leaves the Mansion for one final confrontation, he speaks with the unresponsive Dorothy: ‘Since you first came to live here, I felt like I knew you forever…. I never answered that question you asked a while ago, did I? You asked if you were human, instead of an android, would you and I have fallen in love?… Maybe we would have…. Please don’t tell me that I’m dodging the issue. Right now I can’t seem to commit to one truth. but I know I won’t waver in doing what needs to be done. Or in going down the path that I have to take. Wait for me.’
As Roger departs his sweetheart, and leaves her with that precious line, Angel approaches her final confrontation deep in the subway system of Paradigm City, below the areas that create panic and terror in all it’s denizens. She finds therein a television set of an old cabin, with an old kitchen whereupon something is cooking in a pot on the stove. She recalls her past and realizes that her childhood memories were forged in this place, and that either she contains false memories of another person and is merely a copy of the original, or worse, that the one real memory she has of her childhood is really only a memory of an acting gig she once held as some sort of child star. The latter meaning that she has no substantive memories whatsoever. What’s worse is that the ‘mother’ she remembered from her childhood was in fact Vera Ronstadt, a brutal, vicious leader who never treated Angel like her child later in life, but instead merely as a pawn for The Union.
Finally, out in the streets of Paradigm, the dejected Police Chief Dan Dastun wanders about feeling helpless to aid his friend Roger in his battles against The Union and Paradigm Corp. Two children flit across the screen and catch his eye as they enter a movie theater with the Marquee Winter Night Phantom. The stars of the picture featured on the theater’s large poster for the attraction: the Union girl from his dreams and himself. As he enters the place, the lights in the room dim and Dastun’s own memories begin to play out on the screen before him.
The stage is set, the players are in position, but before the climactic final battle could begin in earnest, they have all realized something horrible about their ontological states: That they are merely players in a program, in a large simulation. Programs with no virtuality, existing in a plane without imminence as mere bodies with organs. But can their self-knowledge of these roles affect the outcome and bring to them some semblance of free action, or are they destined, nay determined toward a specific end result in this play?
Cast in the Name of God,