Metropolis on the other hand is set in the future, where robots are constantly present as servants, or more precisely slaves, of humans, and are kept strictly in their place. Tima, created as a super-robot for the purpose of sitting upon the throne of the Ziggurat,[1] meets Kenichi, the nephew of the detective from Japan who was sent to capture the mad scientist that had created Tima. Rock, Duke Red's[2] sort-of-adoptive son and leader of the Malduks,[3] attempts to kill Tima out of both jealousy for his semi-affectionate regard for her[4] and prejudice against robots.[5] Nonetheless, Tima is able to escape his attempts with the help of Kenichi, though Tima eventually ends up in the Duke's grasp. In the final scenes, Tima loses her memories as her "robotic side" takes over, and seemingly fulfills her purpose by sitting upon the Ziggurat. However, she proclaims an apocalypse to punish the humans for their mistreatment of the robots. Kenichi is able to pull her from the throne and save her from completely merging with the throne. Seeming to have lost her memories, Tima attacks Kenichi. As the city crumbles around them, Tima regains her memories towards the end of the anime and unfortunately falls to her death from the great height of the Ziggurat to the ground below. Metropolis ends with Kenichi deciding to stay in Metropolis rather than go home with his uncle in the hopes of helping to rebuild Metropolis and create a better future, where presumably humans and robots can coexist.
Serial Experiments Lain and Metropolis are both very different, in subject matter as well as style. However, I feel that the importance of memory with identity and self present in both works are of interest, and I would like to explore the characters of Tima and Lain in particular. I intend to explore the concept of self or subjectivity and what that means when that self is erased in the figures of Tima and Lain. I claim that, despite their self-erasure, there exists identity within that erasure, rather than a lack of a self. Their self-erasure results in questions of identity and existence for these characters, and I shall attempt to prove that a new self is created, allowing for existence within erasure. Defining subjectivity in Lain and Tima however is problematic, given that one is possibly a computer program and the other a robot, therefore I believe that it is necessary to first define the self that is being erased.
In Lain, the series leaves the question of whether Lain is a computer program or not unanswered. One theory, according to The God of the Wired, is that Lain is a computer program, designed to break down the barriers between reality and the Wired, and that her physical body is one that he has given her. This theory would allow us to reconcile her apparent agelessness in the last episode.[6] The other theory would be that she has given up her body to "live on" in the Wired. Although this question cannot be definitely resolved, nonetheless in either case Lain has a self, the real-world self, one that exists or existed in what the anime presents as the real world. At this point I would like to mention that there are three Lains, her "alter egos", that make up Lain but cause problems in defining who Lain really is. This is a question that Lain, the real-world Lain, struggles with, as she is unable to connect who she thinks she is and what she knows and experiences as her existence, with the actions and character of Wired Lain that she only hears about through a second-hand source.
(Figure 1)
This image, taken from the artbook for Lain, is an attempt by the artists to differentiate between the three Lains. Their names are written differently[7] and as the image shows, there are certain expressions, postures, as well as speech characteristics unique to each Lain.
While these Lains present another problem in defining Lain's selfhood, the point is moot when in the end all of Lain is erased. However, although the different Lains are distinct, there is a merging of the Lains, at least of Wired & real-world Lain, that is shown by contrasting the behavior of Lain in episode two, "Girls", and episode seven, "Society". In "Girls", she has just received her Navi, which is basically a computer, but she is still shy and withdrawn, "unconnected".[8] Some of her classmates take her along to a club called Cyberia, but she does not know how to dress for the occasion and has clearly not been to a club before, a fact that a couple of them tease her about: "You're usually in bed now, aren't you, Lain?" says one, followed by, "Lain, don't you have anything better to wear at night?" This is also the first instance in which we hear about Wired Lain. As the anime progresses, real-world Lain seems to be incorporating Wired Lain, showing a merging as she becomes more confident and dresses a little differently. This merging culminates in "Society" in which there is a scene where Wired Lain sort of "takes over" real-world Lain's body.[9] The immediate contrast between real-world Lain and Wired Lain is shown clearly, as well as the struggle with identity that Lain faces.
During the series she increasingly questions who she is, and tries to reconcile her own memories, experiences, and who she thinks she is with her alter-egos. The climax of this struggle is shown in episode eight, "Rumors", in which all three Lains make an appearance following a certain rumor about Alice that Lain apparently spread on the Wired.[10] In these scenes, real-world Lain is shown buried under wires and cables, crying and helpless, while Wired Lain confronts Lain of the Rumor. "Who are you? You're not me. I'd never do what you do," Wired Lain says to her, as Rumor Lain laughs continuously. "Stop it! Why are you acting like the part of me that I hate? You--" With Wired Lain's hands wrapped around her throat, Rumor Lain laughingly cuts her off saying, "I'm committing suicide!" and continues, greatly amused, "Hey, I'm Lain, aren't I?" Both Wired and real-world Lain emphatically deny this, however that is not to say Rumor Lain is not a part of Lain.
This struggle in identity is resolved in a way in the end, though rather bittersweetly when Lain must erase memories of herself, and therefore her existence, from other's memories. "When you don't remember something, it never happened... If you aren't remembered, you never existed,"[11] says Alice, repeating Lain's words. Without the recognition of others, Lain ceases to exist in the real world. The disconnect in identities that Lain experiences is addressed by Scott Bukatman in Terminal Identity: the virtual subject in postmodern identity, in which he says,
The newly proliferating electronic technologies of the Information Age are invisible, circulating outside of the human experiences of space and time. That invisibility makes them less susceptible to representation and thus comprehension at the same time as the technological contours of existence become more difficult to ignore...There has arisen a cultural crisis of visibility and control over a new electronically defined reality. It has become increasingly difficult to separate the human from the technological...as electronic technology seems to rise, unbidden, to pose a set of crucial ontological questions regarding the status and power of the human...the Information Age, an era in which, as Jean Baudrillard observed, the subject has become a "terminal of multiple networks." This new subjectivity is at the center of Terminal Identity. (Bukatman 2)
Bukatman argues against the idea that cyberspace is a null space, and instead is a narrative space, a site of action and circulation that sets up for a new identity. This new identity is termed "Terminal identity: an unmistakably doubled articulation in which we find both the end of the subject and a new subjectivity constructed at the computer station or television screen" (9). It is this terminal identity that is created in Lain's self-erasure. I also argue that it is this terminal identity that is created, and exists, within the Wired that is more wholly Lain, and where she is able to resolve her struggle in identity, or at the very least comes to terms with her self-erasure and ceasing to exist. In the real world, the life that Lain leads is monotonous, and the world that she lives in is routine and life-less. As Susan Napier notes, "Increasingly in Japanese culture, the real has become something to be played with, questioned, and ultimately mistrusted" (421). She goes on to analyze Lain in its ability to portray the "fundamental concerns at the turn of the twenty-first century, most notably our sense of a disconnect between body and subjectivity thanks to the omnipresent power of electronic media" (Napier 431), and calls Lain a representation of the world of the Wired/Internet where reality and truth are constantly questioned (431).
(Figure 2: The same series of montages (like the one shown above) are shown in the beginning of every episode.)
(Figure 3: The above images are, left to right, from episode 1 and episode 2.)
Repetitive scenes and montages like the above screenshots signal Lain's life as lacking in some way. She is not completely free to be who she is as her different personas are segregated and it is not until the end with her self-erasure that she exists wholly in the Wired. In a way then, the cyber world has surpassed the real world.
Bukatman also mentions that vision is a "means for being absent from [oneself]", according to Merleau-Ponty, and allows through simultaneous projection and introjection the presence of self. Vision itself "is not a mode of thought or presence of self", but it allows for it (Bukatman 136). Despite Lain's self-erasure, she is able to appear in the real world and visit a grown-up Alice, who is able to see her and acknowledges her presence, though she does not remember who she is, only that Lain looks familiar. Evidence of traces of Lain that are left behind, in that sort of déjà-vu moment, are encouraging and allow for an affirmation of self for Lain according to Bukatman.
While Lain presented questions of identity in a human figure, the figure of Tima in Metropolis is presented from the start as robot. Despite this, she is made human from the very start of her existence; it is from her "birth" [12], where her first encounter with another being is Kenichi, that she starts her existence as human. I shall argue that Tima has essentially two identities: the human Tima given to her by Kenichi, and the robot Tima that is her design, what she is made for and to be. I find the character of Tima interesting in her divide between human and robot. She is made in completely artificial ways, with completely artificial organs and body parts,[13] yet, she claims, or at least wants, to be human and that she has human emotions, can love like a human and therefore she is not a robot.[14] Her attempt to reconcile her robot and human self is an interesting struggle that ultimately ends in tragedy; however, the question I ask then is whether Tima has created subjectivity for herself between the two given identities, when her human self is erased along with her memories in the final scene[15]. First however, I shall examine her claims of humanity.
Since her "birth" into the world, her focus has been Kenichi. He is her first contact with another being, and so she sort of "imprints" upon him, and follows him around, imitating him. Their first dialogue is evident of this. Kenichi attempts to find out who Tima is, and after a few attempts in which Tima simply repeats what he says, he moves on. "Who are you?" Kenichi asks. "'I' am who?" Kenichi enunciates for Tima, and, interrupting him, Tima says, "You are I." "No, no, no...you call yourself 'I'," Kenichi corrects. "'I' am who?" Tima asks again, a question that she repeats at the end of her life. This repetition of the identity question, a question that continues to be unanswered through the end of the anime, suggests she has never found the answer, and perhaps, neither will we.
(Figure 4: Her conversation with Kenichi at the beginning of the film.)
(Figure 5: At the end of the film, when her body is broken and in pieces, all that's left of her is the ghost of her consciousness in the form of her recorded voice.)
(Figure 6)
(Figure 7)
Her preoccupation with Kenichi can be a little creepy, and shows that Kenichi is her world. She only cares about Kenichi, is constantly asking after him when she is separated from him and taken by Duke Red, and even the clothes she wears are picked by Kenichi, her appearance is shaped by Kenichi, and finally, he is the one that I would argue gives Tima her humanity.
(Figure 8: When she first meets Kenichi. He hands her his coat.)
(Figure 9: Kenichi gets her clothes)
(Figure 10: Tima seeks Kenichi's approval)
Duke Red also bestows an identity upon Tima, one that is an amalgam of robot and human. Tima is an imitation of his dead daughter, but also designed to be a deity, one meant to sit on the throne of the Ziggurat and rule the world. Despite her robotic body, Tima acts as a child would, and grows as a child would, albeit rapidly, and develops into something more adult-like as she learns to read and write, and is able to speak by herself outside of simple imitation. Undoubtedly she is still child-like through the end, but her development cannot be denied. In this development is a similarity to how humans develop. Tima might have been "born" physically developed into the world, but mentally she develops through the course of the movie as a human child would, placing her outside the category of her fellow robots into a limbo between robot and human. Her humanity, it can be said, is in her questioning of who she is.
However, two things complicate this assertion. One is the literal formation of Tima's identity by Kenichi. The words "You are I" that Tima says are innocent, but at the same time resonate with Tima's behavior and her obsession with Kenichi, and it is Kenichi that shapes her He is also the one to assert her humanity.[16] With the influence that Kenichi has over Tima, it is difficult then to see Tima as a separate entity, when so much of the "human" Tima is made up of Kenichi. The second complication is that although she might assert that she is human instead of robot, she succumbs to her design at the end of the film and sits upon the throne, becoming the "super-being" Duke Red has had her created to be. In the final scenes between Kenichi and Tima, she acts as robot, attacking Kenichi as if she does not know him, and treats him as a vengeful robot towards a human.
(Figure 11)
However, the divide between human and robot remains, made literal in the careful split of Tima's face, half robotic and half human. Despite her turning into the "super-being" she was created to be, she surpasses what Duke Red meant for her to be, in becoming judge and God, deeming humanity unfit to live beside robots. Her self-erasure comes as a wipe of memory, the loss of the Tima that is arguably "human" and recognizes Kenichi, and as destructive as her self-erasure is, Tima has created for herself a new self, one complicated by both her erasure of self and lack of control over what she is doing,[17] and her subversion of the Duke's designs for her. In the end however, the two sides of her, robot and human, seem to be presented as incompatible when, she asks, "Who am I?" looking up at Kenichi as he urges her to hold his hand, trying to pull her up and save her.
(Figure 12: It is her robot hand that he is gripping, and unable to reconcile her robot and human self, she is unable to grip his hand back and save herself.)
Even though Tima perishes in the end, her consciousness transcends her physical being[18] as Lain's does, shown in the way Tima's voice still lingers like a ghost in the radio. Her memory lives on, she is not forgotten and, she is the impetus to Kenichi staying in Metropolis, giving him a reason to try to build a better future where robots and humans can coexist.
In examining subjectivity in both Lain and Tima, I found Sharalyn Orbaugh's article, "Sex and the Single Cyborg" of interest, despite the fact that neither Lain nor Tima are cyborgs. Cyborgs as Orbaugh defines them are, "that embodied amalgam of the organic and the technological—confounds the modernist criteria for subjectivity” (436). She explains her particular interest in cyborgs because of the complication in subjectivity that they present, as part machine and part human. She also discusses the fear present with the figure of the cyborg, a fear of the overtaking of the individual subject by the machine, and the complete abandonment of the organic body to advance to the next level of evolution. In my reading of her article, there is an assumption in her arguments, which is that there is a problem of subjectivity in cyborgs because of the mix of organic and machine. She implies that the organic is necessary in order to consider subjectivity, and the machine encroaches/problematizes that subjectivity. She does say however that ,“Cyborgs, which are by definition not naturally occurring, serve in a new but equally significant way to mark the borders of modern(ist) subjectivity and simultaneously to reveal the ways those borders are breaking down and being redrawn in postmodern, posthuman paradigms” (439). While cyborgs do present a new sort of subjectivity, they still problematize subjectivity according to Orbaugh. However, I argue that it is not necessary to have a physical/organic body in order to have subjectivity, proven in the characters of Lain and Tima.
Regarding the problem of memory loss with Tima and Lain, Frederic Jameson in Postmodernism, or the Logic of Late Capitalism[19] seems to suggest a possible rethinking of self-erasure and the resulting loss of existence (16). In dealing with subjectivity, Jameson presents a loss-of-self view that at the same time still recognizes the existence of the feelings that make up the self, but are not connected to the self (Frederic 15). He proposes a different sort of existence, a "mere existence" that does not carry purpose, rather than a complete loss of existence. While this somewhat agrees with my idea that the consciousnesses of both Lain and Tima are still present post-self-erasure, I cannot agree with his assumption that the lack of feelings or apathy is what characterizes self or subjectivity, and consequently that there must be a presence of feelings in order to obtain subjectivity. Instead, I believe that apathy can characterize subjectivity just as well as what Jameson counts as "true" feelings.[20]
In constructing a self within self-erasure, the characters of Tima and Lain, despite the resistance to losing the self in Lain or the confusion of existence for Tima, nonetheless are able to create some sort of existence for themselves that transcend their physical bodies and are affirmed by the other characters in a way, regardless of deaths or loss of memory. I conclude that there cannot be a complete loss of existence then since this is the case, and despite the erasure of self, the erasure of existence, there can be a creation of existence within that erasure. While we are not robots nor do we have the ability to erase memories, the questions of identity Lain and Tima are subjected to allows us to rethink our own ideas of self and subjectivity, and how our existence is situated and defined, whether it's on the "Wired" or elsewhere.
NOTES
1. The only information given in the anime about the Ziggurat is that it is the pinnacle of human technology, and that whoever sits upon it will rule the world, though how this is and whether the public is aware of the Ziggurat's power and purpose is unknown. However, I find it curious that despite the celebrations of the completion of the Ziggurat the anime opens with, it seems that no one asks questions about it or what Duke Red plans on doing with it. In fact, for the majority of the anime the Ziggurat is out of the picture despite its capabilities.
2. The de facto leader of Metropolis in the sense that he is popular with the people and holds power and influence. Boone however is the President, who is later usurped and betrayed by his own military by Duke Red's hand
3. The Malduks are portrayed as Duke Red's personal military group led by Rock, though they also act as vigilantes in policing the robots.
4. Tima is made in the image of Duke Red's dead daughter.
5. Rock believes that it is Duke Red who should sit upon the Ziggurat, not Tima, a robot.
6. She appears to a grown-up Alice looking the same as when they went to school together, after she has wiped the memories of herself from everyone's memories.
7. From left to right: kanji (Chinese-based characters) for the real-world Lain, katakana (characters typically used to phonetically spell out foreign words or non-Japanese names) for Wired Lain, and English for Lain of the Rumor. I would like to note here that it is interesting the artists decided to use English instead of hiragana (phonetic characters used for Japanese words, but also to spell out kanji) for example (Japanese writing system consists of kanji, katakana and hiragana).
8. Here I refer to what Lain's father says in episode one, "Weird", to Lain after she asks him for a new Navi: "I keep telling you that you should use a better machine. You know, Lain, in this world, whether it's here in the real world or in the Wired, people connect to each other, and that's how societies function."
9. In an important plot development in which men from Tachibana Laboratories speak to her about the situation of reality and the Wired merging, Lain is asked questions about who she is, whether she knows her parents' birthdays, etc.--questions designed to make her question her own existence. Lain is unable to answer these questions and is visibly shaken, having a bit of a mental breakdown when suddenly Wired Lain takes over, and acts completely opposite, uncaring and unimpressed.
10. Alice, the person Lain is closest to, has a crush on a teacher, and Lain, or more specifically Lain of the Rumor, reveals this secret to everyone through the Wired.
11. Episode 13, "Ego".
12. Refers to the scene where the laboratory in which she is made is burning down after Rock sabotages it, and she stumbles out, naked and out into the world for the first time.
13. Refers to the scene between Duke Red and Dr. Laughton in which Red goes to Laughton's lab to check on his progress with Tima and asks if she was made with real organs. If Laughton is to be believed, and for the purpose of this paper I do as I see no reason he would lie (Being that constructing Tima itself is illegal, and he also follows with, "Real organs are quicker, but they don't last as long"), then Tima is completely artificial.
14. Refers to the conversation between Duke Red and Tima at the top of the Ziggurat, after the truth of her robotic body is revealed. While it might seem like Tima does not know that she is a robot, I argue that she does not accept her being a robot for the reasons stated.
15. Reacting to the call of the Ziggurat, her design/robotic self is "activated".
16. Tima does not assert her own humanity at the beginning; it is Kenichi that assumes she has simply lost her memories, and that she'll regain them soon, of her family and her name--details that make up a human's life and starts to construct for her her humanity.
17. She was built to sit on the Ziggurat and so it is not really by choice that she does so since the human Tima is gone at that point.
18. This brilliant observation/idea was kindly contributed by a fellow peer, and was a great help in moving past the pessimistic end of Tima to a new way of thinking about her death, for which I am very grateful.
19. Jameson presents postmodernism as a waning of affect, where the problems of modernism, that of alienation and anomie, are no longer applicable, arguing that there is no self to cut ties from, due to the depthlessness and fragmentation of self. There is no complete whole subject, which modernism assumes in its discussion of alienation from self, and instead offers two-dimensionality, a loss of a center, and rather than no affect, there are "free-floating and impersonal" feelings.
20. I use Michel Gondry's film "Interior Design" in which a young lady transforms into a chair in order to live her life the way she wants, and not necessarily conforming to people's expectations of her as well as what and how her dreams and ambitions should be realized. Here, the individual is still there, but perhaps not recognizable in the traditional sense.
BIBLIOGRAPHY
Bukatman, Scott. Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Durham, NC: Duke University Press, 1993. Print.
Jameson, Fredric. Postmodernism, or, the Logic of Late Capitalism. (1990): 6-16. Print.
Napier, Susan J. “When the Machines Stop: Fantasy, Reality, and Terminal Identity in ‘Neon Genesis Evangelion’ and ‘Serial Experiments Lain’.” Science Fiction Studies 29.3 (2002): 418-435. Print.
Orbaugh, Sharalyn. “Sex and the Single Cyborg: Japanese Popular Culture Experiments in Subjectivity.” Science Fiction Studies 29.3 (2002): 436-452. Print.
"Interior Design" segment in Tokyo. Dir. Michel Gondry. Perf. Ayako Fujitani, Ryo Kase, Ayumi Ito, Nao Ohmori, and Satoshi Tsumabuki. 2008. Film.
Metropolis. Dir. Rintaro. Madhouse, 2001. Film.
Serial Experiments Lain. Dir. Ryutaro Nakamura. Triangle Staff, 1998. TV.
