53 pages • 1 hour read
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A young white Polish boy drags Seth backward and urges him to hide from “the Driver,” the entity driving the black van. A Black English teenage girl tells Seth that the Driver will kill him if the Driver sees him. Seth is shocked and confused, but their evident fear makes him comply. They get on bikes and ride away from the van, which follows in their direction looking for them. The group hides and Driver comes close but does not find them. The young Polish boy cries in the older girl’s arms with relief.
Regine decides to head to Seth’s house because the Driver does not know where he lives. She tells him that Tomasz saw him at the train station one day, and that they searched the town until they found him showering under the rain. They did not want to disturb him then, so they returned the next day and found him running toward Masons Hill. Seth wants to ask them more questions, but Regine only agrees to answer if he tells them how he died.
Content Warning: The characters discuss their deaths, which touch on suicide and domestic abuse.
Seth explains that he drowned and hit his head on a rock. Tomasz and Regine also died hitting the same spot at the base of their neck. Tomasz claims he was hit by lightning, while Regine fell down the stairs. When Seth touches the spot on his neck, he can feel a strange notch in his skull. The others believe it is a kind of connection and this world is not what it seems, but they are interrupted when they hear the van approaching.
Seth decides to confront the Driver. When Seth opens a window to leave the house, the Driver appears and attacks him.
Regine explains that they must get away from the prison, so Seth takes them to the supermarket to hide. Seth insists on getting answers from them, so Regine tells him that he did not really die in the other world, which he thought was real, but instead woke up from it. She believes that their lives were a simulation because the post-apocalyptic world they are in now is the supposed real world.
Regine theorizes that people left the real world to go online after the world ended, probably because of increasing natural disasters and collapsing economies. That explains why some of their memories are seemingly wiped out. She woke up in a coffin in her living room months ago, while Tomasz woke up in the prison, where all the other coffins are stored. Seth is confused and disbelieving but decides to go see the prison himself.
In this dream sequence, Monica shows up at Seth’s house to apologize for outing him and Gudmund. She explains that she sent the pictures to everyone in the school after finding them on Gudmund’s phone because she was jealous that Gudmund loved someone else.
Seth goes back to his house, gets some of his things, and says goodbye to the house and to Owen.
Seth walks to a breach in the prison wall which Regine told him about. He still cannot decide which world is real: His past, or the current world he resides in.
The prison grounds are deserted but look completely normal. A door suddenly opens and reveals the Driver. He leaves in his van, and Seth comes out of his hiding place to investigate the door.
The door opens into a brightly lit hallway, and Seth debates exploring what lies behind it before entering the building.
Seth follows the white hallways until he gets to an underground network of enormous rooms filled with shiny black coffins.
Seth opens one of the coffins, which reveals a man wrapped in bandages with tubes connected to him. Seth is awed by this revelation and, in a panic, starts wondering whether the man could be himself. He pulls the bandages from his face, but then notices a tattoo and other physical differences that reassure him they are not the same. He also notes the same notch in the man’s skull as his and the other teenager’s before the alarm goes off.
A display appears on a wall showing surveillance camera images of the coffin rooms and information that Seth does not understand. Seth manages to look up his own name, Wearing, and the display shows him the names of his parents, whose coffins are stored in one of the rooms. There is no mention of Owen, so Seth vows to find him. A strange light falls on him and the computer identifies him as a “damaged node.”
The light causes Seth to pass out and go into a dream sequence. Seth and Gudmund are watching the sun set over the ocean. The narrative then jumps to a police officer asking young Seth questions so they can find Valentine, the escaped prisoner who took Owen. The narrative jumps again to the moment after Monica left Seth’s house. Seth’s father learns about what happened with Gudmund and he expresses his support for his son’s sexuality.
Despite a large hole in his chest, the Driver gets back up and attacks the trio again.
Part 2 introduces two new characters, Regine and Tomasz, as well as the Driver who acts as the primary antagonist. Their appearance adds new narrative stakes as well, with Seth’s perception of the world now being confronted with a new version of events. Regine acts as Seth’s mentor through their journey outside of the simulation. She takes on the role of protector and guide, and provides knowledge about their situation. Tomasz, despite his young age, is wise and resourceful, and he often provides comic relief. Because he reminds Seth of Owen, Tomasz both embodies his younger brother and contrasts with the imperfect, simulated version of him. The found-family aspect of the trio, along with Tomasz’s role as a surrogate younger brother for Seth are common tropes in YA science-fiction. The expected relationships between the three play into the Subverted Narrative Tropes and further reinforces Seth’s confusion about The Nature of Reality, since he is unsure whether they are real or only figments of his imagination due to their resemblance to storybook characters. He starts to believe in their existence, however, when he realizes that Regine especially would be impossible for his mind to create. Tomasz, on the other hand, reinforces the Storytelling motif by intervening precisely at the right time and repeatedly saving their lives at points expected within a fictional piece of writing. Seth is aware of the parallels between Tomasz’s interventions and tense fiction plot beats. While Seth is beginning to process his situation better in Part 2, his meta-awareness of the science-fiction and YA tropes around him makes him doubt which world is real and which is fake.
The last new character to be introduced is only known as the Driver. He initially appears to be a stereotypical villain: He is clad in dark metallic armor, lives at the foreboding prison, and hunts the three teenagers through the city. The nature of the Driver is unclear, which creates suspense and dread through an exploitation of the fear of the unknown. No explanation is given about the Driver’s capabilities or purpose, nor the limits of the machine’s power. As with the other characters, these features become Subverted Narrative Tropes when the Driver ultimately aids Seth in the novel’s climactic action.
A significant symbol that connects Seth’s past and his present is the prison. It is simultaneously the cause of Seth’s most traumatic experience and the place that holds the answers to all his questions. The prison is described as an imposing figure that Seth cannot bring himself to confront:
Ever since he’s been here, the prison has loomed. In the distance or over a hill or even just the knowledge of it out there somewhere, unseen. The source of everything that set his life down a path away from the one that could have been good, that could have been happy. He’s avoided it, by sheer, gut instinct (184).
The always-present prison symbolizes Seth’s need to process his trauma by finally confronting it head-on. Once Seth has grown enough, he goes to the prison and learns information that helps him complete his journey of self-growth. Seth learns both the truth about his past and the reality of his present situation through the prison.
Additionally, when he realizes that Owen is not among the people at the prison, Seth vows to find him. This vow represents the Subverted Narrative Tropes motif, as adventure and science-fiction heroes are often set on a quest through such devices to find a missing family member. The trope is subverted when Seth realizes that Owen has been dead before the events of the novel began. The narrator states that Seth “both knows that [Owen’s fate is] true and knows it must be a lie” (291). Seth’s ability to hold extremely contradictory statements as equally true continues the novel’s interrogation of the lines between Life and Death while reinforcing the relativistic nature of reality cultivated through Seth’s personal growth.
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By Patrick Ness