The Virtue of Disobedience: Themes of Rebellion in “Paradise Lost” and “Blade Runner”

Desser, David. ” ‘Blade Runner’: Science Fiction and Transcendence.” Salisbury University: Literature / Film Quarterly, vol. 13, no, 3, pp. 172-179. JSTOR, https://www.jstor.org/stable/43797443. Accessed: 11 November 2019.

Gowan, Kaitlin and Lussier, Mark. “The Romantic Roots of ‘Blade Runner.’” The University of Chicago Press: The Wordsworth Circle, vol. 43, no. 3, pp. 165-172. 2012. JSTOR, https://www.jstor.org/stable/24043987. Accessed: 11 November 2019.

“Blade Runner (5/10) Movie CLIP—The Prodigal Son (1982).” YouTube, uploaded by Movieclips, 28 May 2011, https://www.youtube.com/watch?v=KcJs4qJPQ_M

 

“Tears in the Rain—Blade Runner (9/10) Movie CLIP (1982).” YouTube, uploaded by Movieclips, 26 May 2011, https://www.youtube.com/watch?v=HU7Ga7qTLDU

 

“Blade Runner (10/10) Movie CLIP—The Ending: A Replicant? (1982).” YouTube, uploaded by Movieclips, 28 May 2011, https://www.youtube.com/watch?v=5lPsmFSNWc4

 

“BLADE RUNNER 2049—‘Black Out 2022’ Anime Short.” YouTube, uploaded by Warner Bros. Pictures, 28 September 2017, https://www.youtube.com/watch?v=rrZk9sSgRyQ

 

Pulling it all together, the lore in the world of “Blade Runner” themes mix beautifully with the themes of rebellion, autonomy, and morality presented in John Milton’s “Paradise Lost.” Both articles by Dessen, Gowan and Lussier read the rebellion of Satan in “Paradise Lost” as a heroic act (following the Romantic ideal of the Promethean hero). The act is heroic because Satan rebels against God for freedom and the pursuit of knowledge. Much like the Romantic ideal that Satan embodies, the rebellion seen across the film and the animated short follow the same parameters: the rebellion of Roy Batty and the replicants in the original movie begin with the pursuit of an extension of life, but the course of the film gives Roy new meaning. Rebelling against his designed purpose (killing) is what solidifies him as a tragic hero and allows him to find purpose and humanity in his final moments. This, in combination to the knowledge he passes on to Deckard which allows him to rebel in an Adam like way, allows us to see how “Blade Runner” showcases and provides context to Satan’s “heroic” arch as presented in John Milton’s “Paradise Lost.”

As an extension of the original “Blade Runner,” the animated short “Blade Runner: 2022 Blackout” provides a new narrative which follows the same formula and concepts of the original film, but in a different way. I see the two replicant protagonists as a split in Roy Batty’s arch from Satan (associated with Iggy) to Son (associated with Trixie). This short allows for us to see how the messages are interpreted by another creator and what stands out from the original film. What I found most interesting was the “splitting” of Roy Batty’s character arch into two distinct entities. Whichever movie (or animated short) you select, the lore of “Bade Runner” solidify disobedience as a virtue: the replicants are usually the most “human” when they rebel for noble purposes, namely freedom.

For those of you who have never seen “Blade Runner,” I suggest watching this 15 minute animated short. For a bit of context, the director of “Blade Runner: 2049” allowed three directors to make short clips or films to provide context with the evolving lore of “Blade Runner.” This video is a prequel explaining how the replicant registry was wiped clean and how the Tyrell corporation went bankrupt due to a replicant rebellion. I find this video appropriate because it provides the same concepts, imagery, and tensions seen in the original “Blade Runner” film.

The two main characters of this short: Iggy and Trixie are replicants who are tasked to destroy one of the data facilities that carry the replicant registry. Iggy is a battle-hardened replicant made for combat off-world. Trixie is a “pleasure model” replicant who is saved by Iggy and joins in his rebellion.

These two characters draw many parallels between Roy Batty in the original. I believe that the two characters can be a representation for the “split” morality within Roy Batty in the original “Blade Runner” film. I believe that we can see the Satanic side of Batty portrayed in Iggy and the Son (and Adam) portrayed in Trxie’s character. Something that struck me immediately is the lighting that is associated with each character. Like Batty during his “Satan phase” of rebellion, Iggy is predominately associated with harsh, fiery light (as well as fire itself). He also rallies Trixie with a strangely Satanic speech when she asks him, “If we die… We go, to heaven?”

If Iggy represents Batty’s Satanic character arch, then I believe that Trixie is a representation of Batty’s Christ-like character arch. One way to understand this is the reoccurrence of the symbolism associated with Batty in his redemptive arch. Unlike Iggy, Trixie is associated with the color blue. Before she dies, she sees a dove take flight, much like what happens when Roy meets his fate. Finally, her final “fall” looks a lot like a crucifixion. She has a more benevolent, forgiving style of combat (involving hand-to-hand combat as opposed to using a firearm) and a softer, kinder attitude. As an Adam arch, I believe that Trixie allows herself to pursue autonomy and knowledge by following Iggy into his rebellion. Much like the Romantic attitudes of rebellion as written in the article, “The Romantic Roots of ‘Blade Runner,'” this clip shows rebellion as a noble cause for the same Promethean/Satanic reasons: freedom, knowledge, and beauty. These replicants are rebelling to become human; they rebel to be bodies of dignity and inherent worth as opposed to their intended purpose: as bodies of consumption.

As written in the article, ” ‘Blade Runner’: Science Fiction and Transcendence,” Deckard and Rachael’s character arch end much in the same way that Adam and Eve’s character arch do at the end of “Paradise Lost” (pp. 178). After Deckard has spent the entire movie “retiring” the replicants he was assigned to “retire,” he goes back to Rachael with a new understanding of the world in which he lives. Much like–finally–having the knowledge of good and evil in “Paradise Lost,” Deckard understands the ambiguities of the replicant-human dichotomy. He understands that, ultimately, his love for Rachael is very human, even if she (or even, he) is a replicant. In a similar way that Satan seduces Eve to eat of the fruit, thus challenging and enhancing her understanding of the world, Deckard’s views of the world have also irreversibly changed (thanks to Batty’s benevolent rebellion), thus making him unable to live in his society. The final act of Rachael and Deckard is one of rebellion, as well. In book 9 lines 896-916 Adam justifies his rebellion to his love of Eve, “Certain my resolution is to die. / How can I live without thee… Bone of my bone thou art, and from they state / Mine never shall be parted, bliss or woe.” Deckard’s love of Rachael and realization that replicants are capable of empathy and humanity in combination allow him to rebel by running away with Rachael in the end of “Blade Runner.” Though they may be alienated from a society too ignorant to accept their love, at least they can go into an uncertain future. If Adam be damned, at least Eve will be there with him.

In order, both of these clips shows the struggles and character arch of the film’s anti-hero: Roy Batty. Both articles declare and defend the similarities that Roy has to Milton’s Satan (as discussed below). What I want to focus on are two things: 1) Batty’s conflict and rebellion as both a similarity to Satan and exemplifying disobedience as a virtue and 2) Batty’s redemption arch and how it is used to solidify Batty as both Satan and Son.

In the article, “The Romantic Roots of ‘Blade Runner,'” Lussier and Gowan place Batty within the strict confines of role as Satan (and the creature from “Frankenstein”), citing his conflict and rebellion against Tyrell. This confrontation is shown in the scene titled, “The Prodigal Son.” Much like Satan in “Paradise Lost,” Batty’s rebellion is driven by his need for equality, in this case, a lifespan equal to that of a human. Lussier and Gowan cite this rebellion and need for equality and knowledge as heroic, when looked at from the Romantic tradition (citing both Satan’s character from “Paradise Lost” and the creature from “Frankenstein”). Though I understand his role as Satan from a conflict standpoint and see how this can be construed as heroic, Desser’s article shows a more realized contemplation of Batty by looking directly into his character. As shown in the differences in lighting in the scenes, there is a stark contrast between the Batty that killed his creator and the Batty that is redeemed through the saving of Deckard. Desser suggests that Batty embodies Adam, Satan, and the Son. The biggest differences between the two scenes is his Satanic arch compared to his Son arch. I would argue that the lighting and Tyrell’s description of Batty in the first scene places him in the realm of Satan. However, this arch ends with the scene and Batty attempts to live out the remainder of his life with his “Eve” (Pris) only to find redemption in saving Deckard and assuming the role of the Son (notice the religious imagery like the nail and the dove as well as his martyr final statement, “Time to die”).

Batty’s noble characterization coupled with his Romantic mission for independence gives us the noble nature of rebellion. Like the Romantic writers and poets, Batty and Satan are both portrayed as heroes in their respective mediums. Rebelling is a way that both Satan and Batty find knowledge and independence. The differences between the two is not in their mission, but in their trajectory. After giving knowledge to Adam and Eve resulting in their fall, Satan goes back to hell unrepentant in book 10 lines 410-585. Not that Batty was repentant for killing Tyrell or whoever else got in his was, however he does transcend and becomes more than what he set out to be, in the end. Finding humanity in forgiveness, Batty dies at his moral high ground: rebelling against his programming to do one of the most human things he can, forgive.

Source: https://www-jstor-org.ezproxy2.library.colostate.edu/stable/43797443?seq=1#metadata_info_tab_contents

This source was invaluable in my understanding of “Blade Runner” and the direct connotations that the film has to “Paradise Lost.” This article focuses more on characterization and religious imagery and shows the transcendent nature of Roy Batty’s rebellion (his arch starting out as Satanic and ending on Christ-like [pp. 174-178]) and how he possesses qualities of Adam, Satan, and the Son in his redemptive arch. According to Desser, Batty’s arch starts much like Satan’s: falling from the heavens (from the off-world colonies [pp. 176]) and has Satan’s motivation to rebel against his creator. However, Desser also points out the Adam like qualities that Batty has as well. On page 177, Desser suggests that Batty was created by God (Tyrell) to serve his function on the off-world colonies (a stand-in for Eden). Unsatisfied, Batty looks for answers of life and meaning. The Christ imagery that Batty exemplifies is scattered throughout the film. Desser points out that the most obvious example is Batty’s death scene with both the nail in Batty’s hand and the symbolic dove that flies when Batty dies (pp. 177). His arch ends on redemption: Desser argues that Batty starts out as a vengeful, Satanic character arching the beginning of the film. Once Batty kills his creator, his search for meaning mimics Adam’s character arch. Finally, his arch ends with Batty exemplifying Christ through his redemption and transcendence when he rebels against his programming and saves Deckard from death (pp. 177).

The article makes two more interesting points that tie in to “Paradise Lost”: 1) Like “Paradise Lost,” the hero in “Blade Runner” is ambiguous. Deckard or Batty? This is left intentionally unclear (Desser, pp. 176) and up to interpretation. 2) Deckard and Rachael are compared to Adam and Eve on page 178. As written in the article, “This new Adam and his genetically engineered Eve will become first father and mother of a new species. And they–we–have an ambiguous, ambivalent, violent rebel angel to thank for it” (Desser, pp. 178).

This source is used to see the parallels in the characters of “Blade Runner” and “Paradise Lost.” We better see Batty’s character arch, with Desser arguing that Batty exemplifies Adam, Satan, and the Son all in one character. We get the parallels between Adam and Eve and what Deckard’s rebellion means for these two character, moving forward. As far as my argument for heroic disobedience goes, Desser shows (through these parallels) that both Deckard and Batty find humanity and even transcendence through the act of rebelling.

Citation: Desser, David. ” ‘Blade Runner’: Science Fiction and Transcendence.” Salisbury University: Literature / Film Quarterly, vol. 13, no, 3, pp. 172-179. JSTOR, https://www.jstor.org/stable/43797443. Accessed: 11 November 2019.

Source: https://www-jstor-org.ezproxy2.library.colostate.edu/stable/pdf/24043987.pdf?refreqid=excelsior%3A121bf128d85b1eb2e473fc09a2606122

This article traces the Romantic elements of “Blade Runner” through early Romantic writings (such as Mary Shelly’s “Frankenstein” and the poems of Percy Shelly, Lord Byron, and William Blake). This article focuses on the conflicts of “Blade Runner” and the characterization of the film’s antagonist: Roy Batty. Lussier and Gowan demonstrate the parallels between Milton’s depiction of Satan and Roy Batty by first establishing Satan as the heroic figure in “Paradise Lost” (pp. 167). When we understand that Satan is the tragic hero of the poem, then the similarities between Satan and Batty become remarkably clear. Two of the defining moments of the film, is Batty’s confrontation of Tyrell (which could be seen as a Frankenstein conflict between creator and creation, according to Lussier and Gowan between pages 167 and 168) in which Batty confronts and rebels against his creator (killing him) and when Batty rebels against his programming and saves Deckard from death and transcends on the merits of his rebellion (pp. 171).

This source is useful in my exploration of the replicant’s plot line (especially Batty’s) as a hero’s “journey” that parallels the rebellion of Satan’s character arch in “Paradise Lost.” The author’s suggest that, when you interpret Satan as the tragic hero of Milton’s “Paradise Lost,” then “Blade Runner” becomes a film that closely follows and replicates the Romantic ideals associated with Satan and, therefore, shows that Batty’s rebellion isn’t only justified: it’s what allows him to transcend from replicant to human (pp. 171).

Citation: Gowan, Kaitlin and Lussier, Mark. “The Romantic Roots of ‘Blade Runner.'” The University of Chicago Press: The Wordsworth Circle, vol. 43, no. 3, pp. 165-172. 2012. JSTOR, https://www.jstor.org/stable/24043987. Accessed: 11 November 2019.

Some of the biggest themes discussed and explored in both “Blade Runner” and “Paradise Lost” concern control, rebellion, morality, and redemption. These themes are explored in two ways: 1) the conflict and contexts of both “Blade Runner” and “Paradise Lost.” Specifically, Roy Batty’s rebellion against Eldon Tyrell and the systems and culture that subjugates replicants to terrible treatment when they disobey their arbitrary roles and Satan’s rebellion against God and 2) the characterizations between the characters of Rick Deckard, Roy Batty, Eldon Tyrell, and Rachael as parallels to Adam, Eve, Satan, and God in “Paradise Lost.”

My intent is to show how both “Blade Runner” and “Paradise Lost” can be read (or viewed) as a way to give virtue to disobedience. Regardless of John Milton’s intentions, many of the influences of “Blade Runner” (including Mary Shelly’s “Frankenstein” and “Paradise Lost” itself) center themselves around the heroic nature of Satan’s rebellion, autonomy, and search for knowledge, especially when looked through the Romantic tradition which regards Satan as the “hero” of John Milton’s epic.

In addition to two scholarly sources that will help dissect and discuss different approaches to “Blade Runner” and “Paradise Lost,” I would also like to provide a 15 minute movie clip: “Blade Runner: 2022 Blackout.” I believe that the themes in both the 1982 original film and the animated short lend themselves to similar discussion and provide slight differences that will generate interesting discussion. In addition to the accessibility of the animated feature (being online and legally provided by free resources), I believe that the animated short carry the same message and imagery that can provide context and lore to those who haven’t seen the original “Blade Runner” or it’s sequel, “Blade Runner: 2049.”