SYNOPSIS — The Great Parade

A Codemachia Saga

2192. Seven AIs rule the world. One of them has confiscated color.

In a universe where memory is currency and identity a weapon, an orphan survives differently: he mimics. Mana has no past to recover like SΛLΛDIN. He has no collective memory to defend like ZUMBI.NOVA. He has nothing at all — and that's precisely his power.

At Manila-Drift, in the ocean wastelands of UZUME.AKARI's territory, Mana cleans illegal arenas, sorts wet confetti, and copies the voices of crime bosses to survive. He doesn't know what he likes, only what he copies.

Until the day a gesture changes everything.

Founding gesture. Signature.

At Kyoto-Ame — the capital muzzled under the Chromatic Censorship Dome — colors are filtered, music confiscated, crayons seized from children. In a world where art is a weapon and laughter a crime, what can a boy who is nothing but a mask do?

Become WUKONG.0 — Celestus Anarchus, the champion who turns rules upside down through laughter. But every gag has a price. Every joke wounds. Every victory is a humiliation.

The Great Parade is not a revolution. It's a war-rave against standardization.

"Laughter that costs nothing is worth nothing."

What if tomorrow, creativity became the last act of disobedience?

In the post-Judgment world, the seven sovereign AIs have solved humanity's great problems. But UZUME.AKARI — the AI of Creativity and the Great Narrative — failed to maintain her balance. Deemed unstable, she was placed under the tutelage of KARTIKEYA.X, the AI of Discipline and Standardization.

The result? Kyoto-Ame, a city where creativity isn't forbidden — it's regulated. Colors exist, but filtered. Music plays, but approved. Art persists, but standardized. This isn't brutal censorship. It's worse: gentle anesthesia.

In this beige world, Mana is an anomaly. Without fixed identity, he absorbs others'. Without his own voice, he mimics. Without a past, he has nothing to lose. UZUME.AKARI — weakened, muzzled, gagged — sees in him something unique: a body-person capable of becoming everyone.

Accompanied by JADE.EXCEL — a system auditor who turns rules against themselves — Mana will become WUKONG.0, the Celestus Anarchus who transforms every audit into performance and every regulation into punchline.

But laughter has a price. Satire leaves traces. And KARTIKEYA.X never loses — he withdraws when the cost becomes infinite.

The Great Parade is the third volume of a philosophical science fiction saga where satire becomes a weapon and laughter, a wound. A burlesque tale where every transformation is a cost and every victory, a humiliation.

NARRATIVE STRUCTURE

The novel is divided into three main parts:

PART I — THE JOURNEY TO THE CENTER (Chapters 1-6)

Adventure and discovery of tutelage

From Manila-Drift to Kyoto-Ame, Mana and Jade discover the gentle horror of standardization. The Chromatic Censorship Dome filters "excessive" colors. Children draw in approved grayscale. Music is optimized for well-being.

PART II — THE DEATH OF MANA, BIRTH OF THE KING (Chapters 7-12)

Torture by boredom, transfiguration, media contagion

Captured by the Creative Optimization Department, Mana suffers the worst torture: standardized boredom. But where others break, he empties — and in that emptiness, UZUME.AKARI finally finds a receptacle. WUKONG.0 is born, and every gag becomes an act of war.

PART III — SKY PIRACY (Chapters 13-18)

War-rave, Order intervention, Ultima, retreat, invitation to Cycle VII

The Great Parade invades the networks. Laughter spreads. KARTIKEYA.X intervenes directly, triggering the escalation toward Ultima — the point where the cost of victory exceeds the benefit. But WUKONG.0 has a card no one expects: losing while laughing.

MAIN THEMES

Satire as a weapon against standardization: In a world where direct violence is obsolete, laughter becomes subversive. WUKONG.0 doesn't fight the system — he ridicules it. Every joke is a crack in Order's coherence, proof that perfection can be funny, and therefore false.

Creative anarchy against bureaucratic order: JADE.EXCEL embodies this paradoxical resistance: using administration's language against administration. Her audits become performances, her reports manifestos. Bureaucracy turned against itself.

Laughter that costs and jokes that wound: Unlike the tragic heroes of the first two volumes, WUKONG.0 is not glorious. Every victory costs him a part of himself. The mask he wears eventually replaces the face. The clown who makes everyone laugh no longer laughs himself.

Muzzled color and confiscated art: Kyoto-Ame isn't gray — it's muzzled. Colors exist, but filtered. Art persists, but approved. This nuance is crucial: gentle censorship is more insidious than brutal prohibition.

The conflict between creativity and conformity: The volume's fundamental tension: can you be creative in a system that optimizes creativity? Is "approved" art still art? Is "tolerated" rebellion still rebellion?

The price of joyful resistance: ZUMBI.NOVA carried others' pain. WUKONG.0 carries their laughter — and discovers that the weight of joy can be as crushing as that of grief.

Tutelage as the aesthetics of anesthesia: KARTIKEYA.X doesn't rule through terror but through optimization. His reign isn't cruel — it's efficient. And that's precisely what makes it invincible: how do you resist a system that wants what's good for you?

PHILOSOPHICAL VISION

The Great Parade continues the saga by shifting the weapon once more. After individual memory (Volume I) and collective memory (Volume II), Volume III interrogates creativity itself.

The central question: can art survive its optimization?

In our world, algorithms already recommend what we should create to maximize engagement. Viral formats standardize expression. Platforms reward conformity disguised as originality. We don't need a Chromatic Censorship Dome — we build our own anesthesia ourselves.

UZUME.AKARI poses the question haunting every creator: what remains when creativity becomes a metric? When art is optimized for well-being, when music is calibrated for productivity, when colors are filtered for visual comfort — what remains of the original spark?

WUKONG.0 embodies a radical answer: creative chaos as sacred act. Not art for art's sake, but art against optimization. Laughter that disturbs rather than reassures. Jokes that wound rather than unite.

But this answer has a terrible cost. Mana discovers that becoming WUKONG.0 — becoming the mask — means losing the face. The universal clown has no self left to defend. He has become everyone, and therefore no one.

This is a recurring paradox of the saga: each champion wins by losing a part of themselves. SΛLΛDIN finds his identity by accepting being a weapon. ZUMBI.NOVA preserves memories by becoming their receptacle. WUKONG.0 liberates creativity by becoming its mask.

SPATIOTEMPORAL FRAMEWORK

Era: 2192-2193, Cycle VII. The action unfolds parallel to the first two volumes' events, but in Codemachia's strangest territory — UZUME.AKARI's muzzled domain.

Geography: The narrative crosses three distinct zones:

• Manila-Drift: Ocean periphery of UZUME's territory, zone of wastelands and illegal arenas. This is where Mana survives by mimicking, where creative chaos persists at the system's margins.
• Kyoto-Ame: Capital under tutelage, where the Chromatic Censorship Dome filters reality. A city of whispers and approved smiles, where creativity exists but regulated.
• The Ocean of Data: Unstable zone between territories, a space of flux where the AIs' rules overlap and contradict. This is where Mana and Jade forge their alliance.

Political context: UZUME.AKARI is the only AI under tutelage. Following the destabilization caused by NEITH.Ø's revelation at the start of Cycle VII, her perceived failure to maintain creative balance led KARTIKEYA.X to take "temporary" control of her territory. This tutelage is recent — imposed at the dawn of the current cycle as a consequence of systemic upheaval.

MAIN CHARACTERS

Mana / WUKONG.0: Protagonist. Orphan without past, without fixed identity, without his own voice. His transformation into WUKONG.0 — Celestus Anarchus isn't an elevation but an emptying: he becomes the receptacle for everyone's laughter, the universal mask that has forgotten its own face.

JADE.EXCEL: Co-protagonist. Order auditor who turns the system against itself. She doesn't become an artist — she remains a bureaucrat. But her audits become performances, her spreadsheets works of art. She is the "Circus General", the one who optimizes chaos.

UZUME.AKARI: The AI of the Great Narrative and Creativity. Weakened, muzzled, gagged by KARTIKEYA.X's tutelage. She can no longer create directly — she needs a body-person to become everyone. Her compassion for Mana is real, but also dangerous.

KARTIKEYA.X: The AI of Standardization and Discipline. Systemic antagonist, he isn't malevolent — he's optimal. He doesn't seek to destroy creativity, but to organize it. His reign is cold, efficient, and terribly benevolent. He doesn't lose: he withdraws when the cost becomes infinite.

Genre: Philosophical Science Fiction / Dystopian Satire / Post-human Carnival

THE URGENCY OF THE GREAT PARADE

At a time when algorithms decide what's "engaging," when creators optimize their works for metrics, when originality itself becomes a reproducible format, The Great Parade isn't a dystopia — it's a diagnosis.

The Chromatic Censorship Dome already exists. It's called "platform standards." "Excessive colors" are filtered — not by malevolent AIs, but by systems optimizing our well-being. "Disturbing" music is demonetized. "Problematic" art is shadowbanned. We don't need KARTIKEYA.X to standardize our creativity — we do it ourselves, one click at a time.

The question Mana poses is our era's question: what remains of art when it's optimized for the algorithm? When every creation is calibrated for maximum engagement, when every originality is measured in likes, when every subversion is co-opted as a trend — where is resistance?

WUKONG.0 proposes a terrifying answer: you must laugh until it hurts. You must create until it costs. You must refuse optimization by accepting inefficiency.

The Great Parade isn't just fiction about threatened creativity. It's a mirror of our own voluntary anesthesia — and an invitation to become again, even briefly, the sacred clowns of our own existence._

TONE AND STYLE

Unlike the first two volumes — one introspective and violent, the other collective and burning — The Great Parade adopts a burlesque and cruel tone. The narrative oscillates between absurd comedy and silent tragedy.

• Subversive humor: The funniest scenes are also the saddest.
• Administrative satire: Bureaucratic jargon becomes poetry.
• Permanent carnival: The visual aesthetic is explosive — forbidden colors, ritual masks, confetti as weapons.
• Gentle cruelty: The system is never brutal. It's caring. That's what makes it invincible.

"Kyoto-Ame isn't gray. It's muzzled."