Subete ga F ni Naru was a fun, engrossing, and above all thought-provoking show from beginning to end. Even though the main mystery has been solved, this episode trudges onward with some very long but solid character interactions: first between Saikawa and
Miki Shiki, then between Saikawa and Moe. By the end, has introduced a whole new brace of head-scratching mysteries to ponder during the digital end credits.
Dr. Magata makes good on her promise she and Saikawa will meet again far sooner than Saikawa expected, considering she’s on the lamb, but something he said in their sensory deprivation meeting intrigued her to the extent she felt the need to visit him in person and chat a little, before surrendering herself to the police. That something was “You can’t smoke underwater,” and she opts to try one of cigarettes (her first ever).
They talk of life and death; her view (though she doesn’t say it’s the only view) that the latter is the natural state of things, while life itself is “a kind of illness” that death cures. She also considers the human compulsion to want to interfere in the lives of others—or to want one’s own life interfered with by another—is essentially what love is.
As we see the ship at sea for the first time since the pilot, I pondered what it represented, as Shiki tells Saikawa that they have similar “structures”—other selves created to protect “the real him.” But Saikawa isn’t Shiki, nor does she believe he could ever become her. At least, he’d need “far more than one hundred years” to do so. It’s not meant as an insult, just a fact, and Saikawa accepts it as the two part.
The Lego Shiki leaves him with is another question mark, but after pondering his encounter in his office (during which time Moe tentatively enters, makes coffee, and promises to leave right afterwards), he realizes the three “policemen” who surrounded her weren’t policemen at all, but guys she hired to act that way. Shiki is still out in the wind. Saikawa laughs out loud, not just because she got him once more, but because I think he’s happy she’s still free.
His talk with her got him thinking: “love has no single shape.” It could be being killed, as it might have been for Shiki and her daughter. Or it could be solving the magic trick someone else loved outsmarting others with, then being the one who saves the life of someone who had no one else, and telling silly jokes that make her irritated or tear up.
Saikawa makes no bones about him and Moe being very different people, but that doesn’t matter; two people don’t need to be the same to be in love. He’s willing to accept all of Moe’s “contradictions” if she’s willing to have him. This was a love that has been brewing for some time, but only his experience with Dr. Magata shook him out of the impasse they were in and take the next step into something like a romance, which Moe has been ready to take for some time.
The camera plays with the positions of Moe and Saikawa as they go on an apparent date together, only showing them separate from each other at first, not quite in the same location at once, until they are in the frame together. Moe also learns that Gido is Saikawa’s little sister, so she never had any competition to begin with (not to mention Saikawa never wanted to kiss her).
On that happy note, we leave Saikawa and Moe, and shift to a time and place we know not when or where. Shiki is on a camel in the desert with her daughter, teaching her that even though humans do not really exist for the sake of people and things around them, they cannot help but assign such reasons to exist as for the sake of others, or to help everyone. “They always want an answer”, and that want drives them. We cut to the two of them in the kitchen of her locked apartment in the lab, where Shiki urges her daughter never to stop seeking those answers even after she is gone, which is strange, because the theory was that she outlived her daughter when she murdered her.
The final shot is the most perplexing, but not negatively so: “Michiru” introduces “Kishio”, the apparent name of her daughter, in that seascape with the giant shipwreck. Where is this place? Did it ever exist, or is it just in Shiki’s mind? We saw Shiki interact with Saikawa in the real world, but these last scenes threaten to upheave all that came before. Then again, Shiki did speak of dying without suffering and not fearing death.
After getting so many satisfying answers and explorations of philosophy, existence, life, death and time…there are still more questions. But as is the case with so much in life, we must be content with the answers we have, and with the fact that we’ll never find them all.