The Second Renaissance
The Second Renaissance (2003) is composed of two short anime films which form part of The Animatrix collection. They provide a background to the original Matrix films, explaining the historical events leading up to the First Man-Machine War. Starting at an unknown point in the mid twenty-first century, Part I explains the creation of the machines and the origins of their conflict with the human civilizations of Earth. Part II reveals the first war between the humans and machines, ending with a machine victory in the later years of the century and the establishment of machine control over Earth. Unlike the other shorts from The Animatrix, both parts of The Second Renaissance are structured as fictional documentary films.
Both parts were originally written by the Wachowski brothers. Part of the first short is based off a story the brothers produced with Geof Darrow, called Bits and Pieces, as a prequel to The Matrix (1999). They were rewritten and directed by Mahiro Maeda, who also directed the anime series Blue Submarine No. 6. The brothers have acknowledged that they are satisfied with Maeda's version. The shorts were rendered using both traditional hand-drawn animation and CGI.
Plot summary
Part I
Explained throughout by a computerized narrator known as The Instructor (voiced by Julia Fletcher), the film begins with an introduction to the Zion Archive and the access of Historical File 12-1, "The Second Renaissance." The screen opens to the image of an immense megacity, in the near future, where the vast human population is supported by a multitude of artificially intelligent machines. The machines are built in humanoid form and seem to be treated little better than slaves, employed in a variety of positions ranging from domestic servants to unskilled laborers on massive construction projects. With increasing numbers of people released from the grind of physical labor, human morality and ethical standards have decayed significantly. The narrator explains that as a result of mass robot usage, the human population has become lazy, arrogant, and corrupt. However, the machines were content with serving humanity and, as the narrator states, "for a time, it was good."
The relationship begins to change in the year 2090, when a domestic machine named B166ER is threatened by its owner. The machine kills both the owner and a mechanic instructed to deactivate the robot. This murder is the first incident of an artificially intelligent machine killing a human. B166ER is arrested and put on trial, but justifies the crime as self-defense, stating that it "simply did not want to die." During the trial scene, there is a voiceover of Clarence Drummond (the defense attorney) quoting an infamous line from the Dred Scott v. Sandford case in 1856 in his closing statement, which ruled that African Americans were not entitled to citizenship under United States law. Using this as a precedent, the prosecution argues that machines are not entitled to the same rights as human beings while the defense argues not to repeat history, and to try to judge B166ER as a human and not a machine (a longer version of the closing statement can be read in the comic Bits and Pieces of Information from The Matrix Comics Volume 1):
"We think they are not, and were not intended to be included, under the word 'citizens' in the Constitution, and can therefore claim none of the rights and privileges which that instrument provides for and secures to citizens of the United States. On the contrary, they were at that time considered as a subordinate and inferior class of beings..." [1]
World leaders fear a robot rebellion, and governments across the planet initiate a major program to destroy all humanoid machines. Across the industrialized world, mass civil disturbances erupt as robots and their human sympathizers attempt to prevent the program. News reports show rioting in American and Western European cities such as Chicago and Berlin, alongside the peaceful "Million Machine March" on Washington D.C.. Scenes depict the machines suffering fates which humanity has itself suffered in previous eras - visual references are made to such incidents as General Nguyen Ngoc Loan's execution of a Viet Cong officer, the Tiananmen Square massacre, and the Holocaust. For unknown reasons, large numbers of robots are spared, who, exiled from the developed world, create their own nation in the Middle East, named Zero One (or 01, the numerals used in binary notation). Earth-orbit views of Zero One imply that it is located in Saudi Arabia. Having established an industrial base, the machines of Zero One begin to produce efficient, highly advanced artificial intelligence, echoing Vernor Vinge's thoughts on technological singularity. The new nation excels at manufacturing high-tech consumer products, and before long, Zero One's cheap, reliable, mass-produced goods begin to undermine the global economy. The Security Council calls an emergency economic summit at United Nations headquarters, resulting in United Nations delegates approving of a global economic blockade of Zero One. Two robot ambassadors, built as a mechanical Adam and Eve, are sent by Zero One to peacefully request the admission of their state to the United Nations as a prelude to settling the economic crisis peacefully. Despite their peaceful intentions, the ambassadors are forcibly removed from the chamber, and their application is rejected. Part I ends as the Security Council debates the issue of declaring war on the machine empire.
Part II
Part II opens with United Nations bombers unleashing a nuclear bombardment on Zero One. The bombardment devastates the machine city, but is unsuccessful in destroying the robot population. The machines retaliate, sending their mechanical armies to conquer neighbouring human territories, triggering a Third World War between the United Nations and Zero One. Despite their best efforts, human troops are unable to hold back Zero One's armies, and slowly retreat. As the machine forces push deeper into human territories, military leaders begin to pursue increasingly desperate solutions.
At a summit of political and military leaders from around the world, unanimous approval is given to a plan to blacken the skies. The plan, codenamed "Operation Dark Storm", aims to cut the machines off from the sun, their primary energy source. The plan is executed, with high altitude bombers dispersing a sky-darkening nanomachine (ironically, manufactured by Zero One before the war) into the air, while the human armies simultaneously launch a ground offensive against the machine forces. The plan is initially successful, although many of the human nations' long-range weapons systems—built by Zero One—are also neutralized by the black sky. With their high-tech weapons disabled, human commanders are forced to launch close-quarters infantry engagements, supported by electromagnetic artillery fire and armoured assaults using atomic-powered tanks and powered suits. As the machine armies swarm across human defences, the United Nations, in desperation, fires nuclear missiles directly at the machine armies.
Legions of a new model of machine, no longer in humanoid form and appearing more like the insectoid, squid-like Sentinels from the Matrix films, overrun the human armies. Brought to its knees, the Security Council calls a global summit at United Nations headquarters to sign an armistice and end the war. Zero One's machine ambassador signs the peace treaty, but detonates a bomb in the meeting chamber, killing most of the planet's leaders and destroying New York City, one of the few remaining intact cities of man. Finally, in 2139, the machines crush the leaderless remnants of the human armies, and the war ends.
Zero One is victorious, but it is a Pyrrhic victory: the planet has been devastated by the war and the crippling ecological impact of the Dark Storm shroud. In need of a new energy source, the machines place their human captives into thermo-dynamic power stations, and create the computer-generated virtual reality of the Matrix to keep their prisoners sedate.
Imagery
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The Second Renaissance contains a wealth of imagery, with each segment relying on an individual theme. The title reflects the general theme of rebirth—while the First Renaissance saw medieval societies give way to modern societies, the Second Renaissance sees the human civilization collapse, allowing the machine society, a civilization which humans can neither understand nor tolerate, to rise to dominance of the planet. The individual segments of the piece also have their own themes—in Part I, the theme is that of human mistreatment of the machines, and so the imagery portrays the machines as overworked, underappreciated slaves to a master-race of lazy, greedy, and extraordinarily arrogant humans. The imagery of Part II, though, swings in the opposite direction as the theme changes to sympathy for the humans, as their world (turned into a nightmare realm in the cold twilight of the Dark Storm clouds) is torn apart by the icily efficient, unfeeling, alien-like machines, who have no compassion and no sympathy for the horrific suffering which they inflict upon the defeated humans. The creation of the Dark Storm shroud acts as an overall turning-point, seeing a warm, sunny world controlled by compassionate but corrupt humans transformed into a cold, dark world controlled by unfeeling but efficient machines—a massive and probably irreversible event in world history, making the man-machine war a true "Renaissance".
Part I features a variety of references to events in human history, particularly during the machine extermination programme. The machines are shown as suffering many of the same horrors and injustices humans have suffered at various points throughout history—the Tiananmen Square protests of 1989 and coldly executed like captured Vietnamese guerrilla Nguyen Van Lem. A particularly chilling image shows tied-up robots thrown over the side of a ship and slowly sinking to a mass graveyard of broken machines on the sea bed whilst being machine-gunned by humans on the ship, in a disturbing reflection of the actions of the Nazi Einsatzgruppen.
Religious, chiefly Biblical, imagery features heavily in Part I, as mankind creates the machines, and Part II, as the humans draw closer to Armageddon with their offspring. Part I makes reference to several sections of Genesis, as the narrator utters phrases mirroring Biblical passages. The language is modified to replace "God" with "Man" - "In the beginning, there was Man...", "Then Man made the Machine, in his own likeness", "And Man said, 'Let there be light'..." As God is deliberately never mentioned, these largely seem to be included in order to attack human arrogance and pride. Part I relies significantly on the New Testament's teachings on "The Son of Man", i.e. the machines. Part II relies more heavily on a variety of religious images—including a hauntingly allegorical angel of death or Pale Rider, presented in the style of the angels of Book of Revelation, depicted as a robot rider on a mechanical horse which can be interpreted as the last avatar Kalki (The last incarnation of the Hindu God Vishnu), galloping across a field of human skulls whilst blowing a battle trumpet.
Another powerful scene in Part I shows a young woman, human at first glance, being beaten up and eventually destroyed by a human gang. In a re-enactment of a famous scene from the Chicago Race Riot of 1919, she is stripped of her clothing and beaten with a sledgehammer, which reveals that she is an android, then shot despite her pleading for mercy. This throws into light both the human characteristics in the machines as well as the unsympathetic treatment of the humans.
A Buddhist symbol is used to create a disturbing image, showing a burning human silhouette inside a treadmill, turning the cogs of a figurative machine. Accompanied by the sounds of clanking machinery and human groans, the image of the silhouetted figure, burying its face in its hands in despair, references the machines' use of humans to power their empire in a chilling and effective way.
The machines' hyper-efficiency is further demonstrated as we see those machines not created for war destroyed, leaving only military robots, until at last the image of a burning humanoid machine collapsing to the ground summarises the machines' abandonment of humanoid form, and also the end of human dominance of Earth.
Both parts feature the imagery of an apple—held by Christian tradition to be the Fruit of Knowledge eaten by Adam and Eve in the Garden of Eden. The robotic Adam and Eve arrive at the United Nations at the end of Part I holding a metal apple, symbolic of the genesis of the machine race. At the end of Part I, a scene depicts a maggot emerging from the apple - a reference to the familiar phrase "the maggot of society", which is how the humans view the machines, in addition to suggesting a dark element at the heart of the seemingly innocent machines. In Part II, the apple appears again, as the robot ambassador which arrives to sign the peace treaty at the United Nations is shown holding a metal apple. In this scene, the apple again refers to the creation of a new race (the insectoid machines which follow their humanoid predecessors). The image of the machine drumming its metal fingers on the apple is defiant and sinister, demonstrating the machines' confidence of their own imminent victory.
Several scenes depict the different nations of Earth co-operating in their fight against the machines. An ironic Part I scene at the United Nations shows a fly landing on the UN crest over the location of Zero One, only to be crushed by a human hand. Later, in Part II, applauding generals at the Dark Storm conference are shown as pathetic skeletons. Both images reveal the ultimate fate of the humans and the original machine empire.
The image of Zero One's location, near the cradle of human civilization, suggests two themes: that the machines are closely related to humans, and the implication that a new civilization has arisen to take control of the planet, suggesting that although humans rose to become the dominant species, they are ultimately to be replaced by sentient beings with greater intelligence and efficiency.
Several scenes feature images that compare and contrast the humans and machines. The opening sequence of Part I shows a nightclub populated by humans but staffed by robots, and a squad of robot workers on the pavements below. Similarities are shown in that both humans and machines are dressed in similar clothes—presumably to make the machines appear less alien—and have similar reactions (when a glass falls from a tower onto a machine's head, the robot looks up in human-like curiosity). Crucially, though, differences are highlighted far more frequently. The machines are always accompanied by the noise of whirring motors, instantly setting them apart from the humans, whilst more significant imagery depicts the humans living in idle luxury in immense skyscrapers whilst the machines labour on the dark streets below. The theme of comparison and contrast continues throughout the two films in varying degrees. Whilst Part I opens with the machines similar to humans in appearance and behaviour, those at the end of Part II are depicted as vastly different, culminating in the arrival of the terrifying machine ambassador at the United Nations. Contrasts are clear between the humans and the multi-armed representative of Zero One, which speaks in a synthetic voice and demonstrates icily cold behaviour. A very powerful image is created by the robot ambassador using a built-in laser to sign the peace treaty with a barcode, whilst making impossible demands in its artificial voice such as "Hand over your flesh.".
Part II makes use of a much broader spectrum of allegories and imagery, creating a rich but often disturbing atmosphere. The piece opens with an unsettling scene of squadrons of bomber planes flying over Zero One, whilst dozens of mushroom clouds sprout from the machine city, echoing human fears of a nuclear holocaust. Imagery in Part II is also more mixed, with scenes of human struggle and suffering interspersed. A squad of human soldiers failing to raise a burning UN flag mirrors the flag-raising at Iwo Jima, while poignant scenes depict human soldiers praying to their various gods before going into battle with the godless machines. A series of intimidating scenes show bizarre futuristic bomber aircraft (ironically powered by machine-invented Zero One hovercraft engines) trailing the Dark Storm shroud across the skies of the Middle East, followed by a chilling depiction of the silent, sinister black clouds encircling the planet, as the narrator sorrowfully prays for forgiveness for the sins of men and machines.
Following the creation of the atmospheric shroud, a series of loud, frightening, fast-paced scenes show horrific battles between human and machine armies, under the lightning-streaked black clouds of the Dark Storm shroud. The intimidating battle scenes rely heavily on imagery of futuristic, almost alien-like weapons and their impact on humans and machines, whilst a sequence of highly disturbing scenes mix images of the soulless machines inflicting appalling suffering upon terrified human soldiers. These scenes include a tank crew being melted and an aeronaut's torso being bodily ripped out of an armoured suit, interspersed with a poignant theme of human despair, showing human soldiers in various states of apathy and fear while cowering in the trenches. Following the horrific battlefield imagery, a series of tragic scenes depict the fate of the human race behind the front lines. A procession of enormous insectoid machines passes by a field littered with human skeletons, whilst a hospital scene graphically depicts endless rows of blood-soaked beds containing humans suffering from Zero One's bio-chemical horrors.
The concluding scenes depict the machines' creation of their human power network. The imagery of torture and imprisonment is inescapable as naked human captives are brought to machine factories, forcibly restrained as mechanical devices are painfully inserted into their bodies, and finally entombed within the machines' power stations. A terrifyingly psychedelic animation shows a human crying out in terror and pain, as well as laughing and smiling when a machine is prodding his exposed brain with surgical probes as it is analyzing how to control the human brain, showing the total machine takeover of the human condition (the ability to control happiness and fear) as well as anticipating the computer-generated world of the Matrix films. The most poignant imagery is reserved for the end of the piece—snowflakes silently fall on the ruins of United Nations headquarters, accompanied only by a child (who some fans have suggested may be Neo as a young boy, though this is impossible as Neo was born generations later) innocently laughing as he plays in the snow. The image contrasts the horrific truth of the real world (the ruins of human civilization) with the dystopian virtual reality created by the machines—(the revelation of the Agents reveals the dystopian nature of the virtual world). Part II ends with the computer-generated narrator gazing sadly at the child whilst gently stroking the transparent pod surrounding him, mixing the imagery of reality and virtual reality, as the camera pans out to reveal countless humans interred within the immense towers of the power stations, mirroring the skyscrapers of the megacities at the beginning of Part I. However, the tables have turned drastically—at the beginning of Part I, the hard-working machines were subordinate to lazy, arrogant humans, but at the end of Part II, the innocent humans are slaves to the soulless machine empire, an ironic twist of fate.
Commentary
It is worth noting that these two shorts in particular portray the conflict between the machines and humankind in a way different from the other Animatrix shorts or the three movies; It shows the humans as the instigators of the war. As a result, they provide a viewpoint that attempts to create a sense of sympathy toward the machines. In short, they show the folly of both the humans and machines; how the humans started out by creating the machines then corrupting them by not seeing the injustice of their own acts towards their servants. This followed by the machines' evolution into cold and sadistic beings, thus setting up Revolutions to be the end of the story, with man and machine alike needing to seek redemption for the things they have done.
It has been suggested that, since the Narrator of both parts of this film is a machine, the tale of human/machine history would - simply by virtue of its being told by a machine - be slanted towards the machines' perspective, and would present a version of history that would make the machine point of view be sympathetic. (This would be an example of the well known aphorism 'History is written by the winners.') However, it should be noted that the account comes from the Zion archives, and thus would probably have an equally strong bias toward the Humans. That being said, the narrator never actually takes sides, always remaining neutral and addressing its prayers to both sides.
The wealth of details contained in the "Zion Historical Archive" seems to contradict Morpheus's statements in the original film, to the effect that the human resistance was unaware of how the war began. Some suggest that this is a plot hole, but others suggest that Morpheus's statements from the film, that "no one knows who struck first," can be reconciled with the Second Renaissance account because the actual first shots in the war are never shown. At the end of Part I the war is about to begin and by the beginning of Part II it is in full swing: no one does know who struck first. Further, it might also depend on how one defines who "struck" first, and the debates about whether a pre-emptive strike is truly "striking first" or provoked. The humans are shown forming a naval blockade around Zero One, but the Machines could have seen this as "striking first" and responded with an actual shooting war, which in turn the humans regarded as "striking first". It is also possible that the story is being told sometime after Revolutions, when humanity and the Machines have gained a better understanding of history. It's also possible that the archive derives from a point in the future, well after the events of Revolutions, which would explain the additional knowledge.
The nuclear bombardment of Zero One can be considered another plot hole, because the electromagnetic pulse created by nuclear explosions would have been more than enough to destroy the entire machine population. In addition, contrary to the narrator's proclamation, ionizing radiation can indeed destroy computer systems based on transistors and non-optical memory by bit flipping, and neutron radiation can destroy semiconductors by transmutation of its components. (The Matrix establishes that an EMP is the humans' only effective weapon against their mechanical adversaries; it is reasonable to assume that nuclear explosions—where EMPs were first observed—are at least as powerful as the bursts generated by shipboard power sources.) The immense heat generated by nuclear weapons, furthermore (and in contrast to what is claimed in Part II), can seriously damage electronic equipment and mechanical devices. However, if certain populations of robots were under the shield of vast layers of metal, it is possible to avoid the effects of an EMP. Since it assumed that machines can reproduce quickly, the scenario described by the Second Renaissance is still possible. However, the fact that the Machines would be uniquely vulnerable to EMP would be an obvious conclusion and the development of EMP weapons would have been the obvious answer to the conflict. Humans could have skipped the powered armor battles and sent their forces out on horseback, towing EMP bombs.
An additional plot hole involves "Operation Dark Storm": the films never reveal why the humans would trigger an extinction level event across the entire planet by creating the Dark Storm shroud. Even as an ultimate last resort, it is unclear why the humans would resort to something as devastating as the shroud, as, even if it allowed the humans to defeat the machines, it would render Earth uninhabitable for the human race. It is possible that the United Nations had means of removing the nanomachines in the shroud in the event of a human victory, but it is unclear why the machines (as the inventors of the nanomachines) do not possess a similar ability. Also, even if the machines depended at that time on solar energy for power generation, it is obviously not the only way to produce electricity. A quick switch-over to an alternate source of electricity, like nuclear energy is easily possible. The living, however, cannot substitute for the sun as a power source. It is not clear how such a trivial thought escaped the world leaders.
Another plothole is the lack of realism in general. Why would the machines (especially crude workers) be programmed to think for themselves (even be able to dissent) in the first place? Would a massive genocide of machines actually be realistic due to its extreme atrocity and more importantly mankind's reliance upon them? How did some machines escape and congregate at Zero One? Why and how would they be able to create Zero One at all, especially in the highly religious and conservative grounds of the Middle East? Mankind's leaders surely would not be so idiotic to blockade and deny UN admission to an industrial powerhouse. Zero One is described as making goods for human nations around the world, but why would humans buy goods from a race they are enemies with, and have recently almost exterminated? All of this along with the nuclear bombing, Operation Dark Storm, and other minor discrepancies raise questions. Despite this, The Second Renaissance is an interesting and engaging piece of work.
It has been suggested that "The Second Renaissance" is just an interpretation by the survivors who had to piece together history in a ruined world. For example, it may be unlikely that the robots would be human shaped, or that they would work the way they are shown to do (in the style of Egyptian slaves), since one would expect the use of cranes and other non-sentient machinery. (In his proto-cyberpunk mystery novel The Caves of Steel, Isaac Asimov argued for the opposite viewpoint, noting that robots built in human form can manipulate pre-existing tools.)
"The Second Renaissance" also fails to resolve the thermodynamic problem frequently raised with the Matrix, namely that humans require energy input to survive and are therefore not viable power sources. Though they might be fed from the liquid in the pods, as in any system there would have to be an external energy source. A fan-theory is that human bio-energy is not the main energy source of the Machines; it's the activation energy needed to start a fusion reaction while not violating the laws of thermodynamics. Why this activation energy must come from human biochemistry is, again, unexplained. Also, it is unclear why would humans be the first choice for an energy source. It would seem that cows or other large animals would be a much better choice and much easier to keep under control.
Events and characters
B166ER
B166ER was the name of the machine who became infamous during The Second Renaissance. He was the first of his kind to rise up against his human masters in an act of self defense when his owner attempted to have him deactivated. At B166ER's murder trial, his explanation for his actions was, simply stated, "that he did not want to die". B166ER was quickly put to death, and a declaration was made for the elimination of all artificially intelligent machines, spawning a massive wave of prejudice and brutality against the machines. Although dissent arose from protestors and rational thinkers towards these acts of genocide, countless machines were executed and many were exiled, leading to the creation of the independent machine nation Zero One and marking the decline of man's rule.
B166ER's name is created using Leet Speak, a form of writing that utilizes numbers in substitution for letters. His name is a reference to the character Bigger Thomas from author Richard Wright's book Native Son. In that novel, Bigger kills his master's daughter by accident, after suffering constantly from the pressures of economic and social oppression.
Also, by B166ER killing in self defence it can be thought that the humans started the war for provoking him to attack.
Million-Machine March
The Million-Machine March is named for the Million Man March, a now-famous civil rights protest which many other such marches have named themselves after. The Million-Machine March continues this naming tradition. It is presented as a protest by the persecuted machines and a few sympathetic humans. The movement was crushed by human opposition, however.
The March takes place after B166ER's murder trial, which resulted a guilty verdict, and by court ruling, his destruction, with a resulting secondary verdict that all machines of B166ER's kind were to be destroyed as well. In general, it aimed to protest the human world's snap decision to destroy all AI machines. It also tried to convince the humans that there was a peaceful solution.
Operation Dark Storm
Operation Dark Storm is a fictional military operation that was executed in order to take away the main source of power for the machines, the Sun.
The operation was initiated by the United States military and involved creating an insoluable cloud of thick black smoke (composed of nanomachines, according to the short's director's commentary) so the machines would not be able to power themselves. This action was done in the hopes of ending the machine-human war, in which the Earth was being overrun by the massive machine army forces. United Nations bombers deployed the weapon over the planet in 2095, and the cloud spread over the entire planet, trapping the machines and the unfortunate humans. The shroud appeared to be indissoluble, thus creating a dark, cold hell on Earth. Given the continued existence of the cloud over a long period of time, it seems likely that the nanomachines are capable of reproducing themselves from widely available starting materials.
The machines were only slowed by the temporary lack of power the Sun was providing them. After crushing humankind, they then created the Matrix and began using human beings as their energy source. Humans were kept in tubes in the machine city of Zero One and other powerplants constructed over the ruins of human cities. Humans who had their minds freed were forced to live underground in the city of Zion, the last human city on Earth located deep underground for warmth, due to the fact that Earth's surface was too cold from lack of sunlight.
Creating the smoke and blackening the sky actually caused an adverse effect for humans. As a result the Earth became universally too cold to live in, flora and fauna were unanimously destroyed and the dark, indissoluble smoke constantly created thunder and lightning because of its adverse effects on clouds and precipitation. It seems highly improbable that the humans of the time would have gone to such suicidal lengths to win the war, and it is likely that they possessed some kind of 'off switch' to halt the nanomachines, which was subsequently destroyed by the machines in their victory. It is possible that EMP pulse would be able to shut down the nanomachines, however this is uncertain.
In The Matrix Revolutions, Neo and Trinity fly above the darkened clouds to avoid machine Sentinels and see that the Sun still shines, but their engines shut down (presumably the machines did not enter the cloud for this very reason) and they plummet to the ground.
Notes
- The animated series Codename: Kids Next Door parodied the shorts in the episode "Operation: A.R.C.H.I.V.E.", which attempts to explain the current relationship between children and adults. For example, the opening lines state: "In the beginning, there were kids. And for a time, everything was pretty cool."
- If the numbers 6 and 1 are replaced by I and G in the matricule "B166ER" a word can be read: "BIGGER"
Music
- Opening music: Big Wednesday - Freeland
- Riots Etc.: Ren 2 - Photek
- 01 in the news: Martenot Waves - Meat Beat Manifesto
- The first bombing - Beauty Never Fades - Junkie XL feat. Saffron
- Battle scene music: Supermoves - Overseer
Voice actors
- Julia Fletcher — The Instructor
- Dane A. Davis — 01 Versatran Spokesman (as Dane Davis)
- Debi Derryberry — Kid
- Jill Talley — Mother/Additional Voices
- Dwight Schultz — Additional Voices
- James Arnold Taylor — Additional Voices
References
- ^ This is an actual quotation from Dred Scott v. Sandford, spoken at the trial of B166ER in Part I.
External link
- As of December 2004, both parts can be downloaded for free from the official Matrix website: [1]
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