Ozuma arrives in the Zone, and Mimay and Sam fly Maya to it’s “head” to speak to it. The giant whale-like machine opens its jaws and swallows the three of them whole. Maya reveals her purpose as an original human: she has chosen to awaken all of the life stored in the Zone and release it into the environement, creating a new ecosystem where humans are no longer the highest form of life. She joins with Ozuma just as Denga’s fleet carpets the Zone with depth charges and missiles.
Ozuma becomes enraged and lashes out, threatening the structure of the Zone and destroying Denga and his fleet. Dick awakens from Gido, only to sacrifice himself by launching Monokeros, which calms Ozuma. Maya then completes her duty, and the Zone explodes with green life. A new world has begun.
Add up the six episodes of Ozuma and you’ve got the equivalent of a full-length feature film that runs just over two hours, which just happens to be the same link as some of our favorite Miyazaki films (Nausicaa, Castle in the Sky, Mononoke, etc.) And as a whole Ozuma works quite well as a film: confident in its storytelling while cognizant of the limits of a short run. It’s efficient and doesn’t try to do too much. It also does what any film worth watching must do: hold our interest and be entertaining. After previous episodes focused on individual battles, the tactics therein, and politics, the climactic final episode takes everything that’s been set up thus far and brings everything to its logical conclusion.
Ozuma is shown in all its awesome, mechanical whale-like glory (its ‘eyes’ even change from blue to red when angered, like the Ohmu), Maya does what she needs to do; Sam protests but is held back by Mimei, Dick returns to finish what he set out to start, the bad guy is brought to justice, and the barren planet is given a new lease on life, as long as the humans who live there can get along. None of this is revolutionary stuff, but like we said, it absorbs and stimulates well enough.