The Big O: Act 25- The War of Paradigm City
The structure of Paradigm City is beginning to unravel before its heroes very eyes. The center has begun to slacken and can seemingly no longer hold together the tenuous reality of the world. Lieutenant Dan Dastun has ventured into an old movie theatre only to find a younger version of himself and the Winter Night Phantom sitting together enjoying a film that itself recounts the recent events of Dastun’s life. There is no explanation of these events that cohere without recourse to the simulation theory I’ve expounded upon previously within this series.
That is to say, the world is rebooting like some sort of complex simulated game. However, the events of the previous game (Dastun’s reality) have not yet reached their conclusion, and as such, end-game events are beginning to overlap with beginning game events from the newly booted game. This explains why a young Dastun has been booted up alongside a young Winter Night Phantom to begin anew their journey toward the Paradigm Corp. Police Department and The Union, respectively.
To make things weirder still, Big Duo reappears high above the city. Schwarzwald’s ghost still sends us orations from beyond the pale, but the meaning of these pronouncements have become more obscure than ever before, more disjointed and lacking in clear sense: ‘The giants who formed this world into its sensual existence and now seem to live in it in chains are in truth the causes of its life and the sources of all activity. But the chains are the cunning of the weak and tame minds, which have power to resist energy.’ My best guess here is that it is the power of the Megadeus’ themselves that brought this state of affairs into being, but in the process they intertwined their destinies with those of mere human beings who must sync together with a Megadeus as their Dominus to give the Megadeus the power to function. These are the chains that the Megadeus’ have become enslaved by and the weak and tame minds are the minds of those humans who have reigned in the gods, have cloned perfect Dominus subjects who have the willpower to control the machines and not vice versa as was originally intended.
Later, Big Duo and Schwarzwald will continue to ascend above the clouds of Paradigm City and will find a series of oversized rafters holding aloft the sky of their world. There they will also find a series of stage lights affixed to the rafters as illuminating points for the constructed reality of the world below. And like Icarus, when the Black Forest philosopher-journalist ascends to all-too lofty heights and approaches the ontological truth of his world and himself, that world reacts by scorching him and his Megadeus, causing them to explode in the process.
In the city itself, Big O is still being restored to fighting capacity by Norman’s mysterious cohort of old men, each with intimate knowledge regarding the repair of a Megadeus despite having no memories from before 40 years ago. Alex Goldwater, the Oedipus who razed his father’s farm to the ground in an attempt to silence the old man and to take his life, pilots Big Fau and targets, specifically, those within the city he deems undesirable: The poor. Dastun’s theatre is bombed in the process, injuring his younger self therein. He manages to get the young boy and girl to safety before approaching his troops and ordering them to cease firing artillery and bombardments of incendiary weapons on their own people. However, they have direct orders from Alex Goldwater himself and thereby refuse Dastun’s pleas.
Meanwhile, below the city, Angel has found the cabin wherein she was born and raised. But she finds that the room is a mere set complete with cameras and props outside of the open-faced room. Vera Ronstadt and Gordon Rosewater, once thought dead, are also within the room. Roger descends beneath the city to try to finally face his fears head on one last time. though he manages to leave exactly at the wrong time as Dorothy, reclining back at the mansion, awakens and calls out for Roger. This despite no longer having a core memory within her. What’s more unsettling is that Beck arrives on the scene to hear Dorothy’s words that were meant for Roger. Beck’s presence is not explained.
Angel questions Vera about her heritage and whether Vera is truly her mother or if the current situation is merely a convoluted joke. Gordon Rosewater breaks into the conversation and tells the girls that they are not related, that they are merely his ‘tomatoes’, or replicants who were created to serve some ulterior motive. However, both Angel and Vera are defective units, as are all Union members, all those who have been exiled to the wastes outside of Paradigm City. Vera Ronstadt knows this much already and has decided that the purpose of The Union will be to overthrow the genetic prejudice of the Goldwater-Paradigm cohort, rewrite the memories of the city’s people, and begin anew in a more just world.
Angel refuses to accept that she is a defective person and brandishes a pistol toward Vera, which is quickly repelled with Vera’s whip. As she lashes about Angel’s back, her shirt is torn revealing the scars on her back. Roger appears and binds Vera with a thin wire tool before knocking her unconscious with a well placed punch to the solar plexus. A move he performs with some reticence in lieu of his final rule: ‘Something else that goes against my policies– using violence against women.’ He has seen enough of Vera’s brutality, but has also heard enough of her fatalist philosophy of identity wherein one is supposedly caged and trapped forever by their social facticity (something that is probably true): ‘I am who I am. the way in which you were given life has nothing to do with the way you live your life as a human being.’ True enough too, and certainly a message emphasizing self-creation and self-responsibility that much of the modern political left ought to hear more often.
And then for the bombshell. As Vera awakens and begins to mouth off about making Paradigm’s denizens atone for their sins from before 40 years ago, Gordon Rosewater pipes up: ‘You’re wrong! Of all my cherished tomatoes, Negotiator, you aren’t one of my beloved ones. And neither is this young lady [Angel]. And the words in that book [Metropolis] don’t belong to me either. It’s a story that a dream commanded me to put down. No one ever had memories of the world prior to 40 years ago, including myself. but memories themselves have existed in unexpected forms…’
This means that out of all of the people in the world, Roger and Angel are aberrant forms in a sea of replicants. Constructs that exist outside of the parameters of this world and are uncreated and eternal. This is why Roger does not age whilst other androids and replicants do. This is why Angel has scars on her back despite there being no events before forty years ago that could have produced them. This all means that there was no world before forty years ago, except for the kind of world that will be revealed in the series’ denouement.
Rosewater continues on and claims that because of this truth, there never was any such thing as The Union. There are merely a small group of defective replicants who live in the wastes outside of Paradigm and just so happen to be good at tracking down Megadeuses and operating them. If this is all true, then another question arises with crazy implications: Who is attacking the city now, other than Alex Rosewater? Who is it that has apparently been dropping incendiary weapons into the center of the city from high above in the clouds?
As Gordon continues to explain that Angel is not a person at all, but merely a memory construct from a previous incarnation of this world, the roar of a great beast can be heard within the depths of the city. Roger calls Big O and minutes later, ascends to the city exterior with a massive Megadeus beast, known as Behemoth, held aloft by Big O’s relatively minuscule arms. Debris falls from the ceiling, lands on and crushes the Behemoth, which is good fortune as this beast would surely be indestructible even with the help of Big Fau. And now, face to face, Big O and Big Fau are set to begin one final confrontation on this eschatological plane.
Cast in the Name of God,