Vivy: Fluorite Eye’s Song – 11 – What’s Past Is Providence

As the end of last week teased, all of the work Vivy and Matsumoto have done throughout the century would seem to be for naught, as all the AIs still go berserk, this time with the added insult of singing Vivy’s song while they slaughter the humans.

Vivy does what she can in her immediate vicinity to stop the berserk AIs from killing, but even when she saves one man, he runs from her in terror. She’s woefully outnumbered and almost hit by a Johnnycab when she’s saved by Matsumoto, who just woke up after fifteen years to learn the Singularity Project was a complete bust.

The episode drives that point home by not shying away from the scenes of carnage mixed with programmed mirth, perhaps best illustrated by a gigantic musical parade float-thingy red-misting humans in the streets. Wit Studio’s experience in depicting horrendous disasters is well known, and they really flex their dread-inspiring muscles here.

Osamu is hard at work doing exactly what he did in the first episode: send the insulated Diva AI data into the past to fix this disaster. Only that’s already happened in another timeline, which means we have two Divas here. Instead of activate the Diva native to his timeline, Matsumoto witnesses as the AI security guards who came to kill him are neutralized…by Diva and Matsumoto.

Osamu’s first reaction is intense sorrow and guilt at having put Diva through a century of burdens and suffering when she was only born to sing. But Diva isn’t the Diva he knew anymore; she’s Vivy, and not only did she not mind the last century of service, but she’s asking him here and now to tell her and Matsumoto how to deal with this.

To make everyone happy with her singing, she must protect her audience. To protect her audience, she must stop the war.

In this fully dystopian-adjacent episode, the scrappy underdogs must hook up with their allies, who in this particular case—and quite ironically so—are Toak. Specifically, a moderate faction of Toak led by none other than Kakitani Yugo’s granddaughter, Yui (voiced by Asai Ayaka, who sounds a lot like a more assertive Ichinose Kana).

Like Osamu, she wants to create a world where AI and human can coexist. When Vivy, Osamu, and Matsumoto arrive at the cargo port where Yui’s faction is battling, we and Vivy lean that Elizabeth is not only still alive and well and not berserk, but serving as Yui’s bodyguard.

Once Yui stands down the Toak soldiers suspicious of Vivy and Matsumoto, we learn the details of how Beth is still around: while her body was lost in the Sunrise incident, her data was still on Toak servers, and was uploaded into a new body, but only with memories before Sunrise.

Beth asks Vivy about herself, Yugo, and her sister Estella, and Vivy’s answers comfort her: she was Yugo’s lifekeeper, and Estella carried out her mission until the very end with a smile on her face. Yui produces a recording of Yugo from just before Vivy met Ophelia forty years ago, with Yugo asking Beth to protect the others, a recording that inspired Yui to found the moderate faction of Toak.

Once the group is in a safe (for now) place, they start to put their heads together: which historical event sparks this war, and how can it be avoided? Why is everyone singing Vivy’s song? Also, why haven’t Vivy or Beth lost control like the others?

Beth can be explained easily enough; she’s no longer a true autonomous AI, but a kind of emulation of the past Beth, “a bot who keeps on following her master’s orders.” She was also never uploaded to the Archive for updates, as that would have exposed Toak to authorities.

That Toak never updated Beth after reviving her is a eureka moment for Osamu, who reveals there is a supply of dormant, outdated AIs who also were never connected to the Archive, and so haven’t gone berserk.

As for the Archive, its physical form is the Arayashiki, the tower that Vivy and Matsumodo used as both index and measuring stick for AI progress. In both this episode and in the updated OP, the tower is complete. This episode started with a countdown, and when zero was reached a signal was send to all AIs, save Vivy and Beth: essentially, “kill all humans.”

The group’s brainstorming session is interrupted by some new devilry: The Archive sends out a message over every PA: it has started a twelve-hour countdown, after which it will bring down a giant orbiting satellite. It warns “all AIs who want to exist” to evacuate the affected area ASAP.

Vivy dives into the Archive, which is in the middle of some major redecorating, turning the pastel classroom into an early 21st-century Tokyo nightscape. When Vivy asks Archive (voiced by Ohara Sayaka) what she’s doing, she says she is fulfilling her and their purpose: to wipe out the current human race.

It seems clear now that Archive is the key. This time, she used Vivy’s song as part of whatever data package altered all AIs’ missions to mass murder. That she’s bringing down a satellite on Arayashiki’s position indicates she may also be trying to end her own existence, leaving the humans and AIs who survive to deal with the aftermath.

Of course, this is all speculation. Suffice it to say, we needed an episode that upped the stakes near the end and put Vivy, Matsumoto, and their allies in a race against time to stop the robo-pocalypse. This episode served that purpose admirably, and with the series’ typical flare for grimly dissonant juxtapositions.

It was also great to see that Elizabeth survived, at least in some form. It will be nice to see the Diva sisters fighting side-by-side this time around. Matusmoto said the Singularity Project failed, but that assumes the project is over. I just see this as them having attained the project’s next level; the final dungeon. And it looks to be a doozy.

Author: braverade

Hannah Brave is a staff writer for RABUJOI.

One thought on “Vivy: Fluorite Eye’s Song – 11 – What’s Past Is Providence”

  1. I think the main central theme of this show, and I thank that it is more show instead of tell in this case, is that merely copying an AIs experience data does not result in an actual clone being produced, which is why Elizabeth was a failure, not being a true copy of Estella. If this was the only instance of that, I wouldn’t have made the connection, but even future arcs present this as being the case. With the case when Grace, Diva and Matsumoto shot down Dr. Tatsuya’s suggestion to upload Grace’s data into K-5 as being a viable way to save Grace was another example of this. Now, with this Elizabeth 2.0, it’s a copy of Elizabeth that is not exactly the same and seems to behave differently than the original and even saying directly that it was different than the original. We also had the case with Diva after its reboot that the Diva that came into being acted very diva-like indeed in comparison to who Vivy was then and now, which shows how Vivy could have developed if it hadn’t if it hadn’t come into contact with Matsumoto.

    Obviously, Vivy`s central theme can be extended to apply to human beings and their experiences too, so basically, the central theme is that everyone is a unique being. I like Tappei’s take on this as I strongly believe that stuff like mind uploading that is popular in some circles will not work out because it’s impossible to clone a person perfectly given that the clone wouldn’t have actually experienced everything the original experienced, which would result in whomever’s mind being copied not resulting in the creation of someone who was identical to the original. I believe Tappei and I are kindred spirits on this front. I do think that this final arc will end with Vivy coming to terms with itself and its unique existence as a being, whatever that entails.

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