Dreams and circumstances collide as soon as they hit the road. At a bar, they meet a woman who Dionysus insists was in a dream he had in the asylum. Curiously, she introduces herself as Lilith. Thrust onstage through an odd series of events, the bar erupts into chaos. After the show she names the band Babylon, and sets them on a path of debauchery worthy of the name.
Former cop-turned-Marshal Adam Trevino tracks the trail of debauchery they cut across the country. Charged with observing them and reporting their activities back to the shadowy agency that recommissioned him, Trevino begins to wonder who the good guys really are. This uncertainty only mounts as more fans flock to Babylon with cult-like fervor.
This is no peace, love and happiness 60s revival, however. Lilith turns their rock act into the platform for an outright cultural war, with Loki as her chief architect. They steal a mobile TV broadcast vehicle and use it to launch a viral propaganda campaign. Lilith hunts the countryside for other “demigods,” prepared to awaken to their true nature and break the shackles imposed upon them by the forgetfulness of reincarnation. Dionysus also begins to wonder if their monikers are just a coincidence. This feelings grows even stronger as he falls in love with Ariadne, a fan and quickly recruited maenad-in-training. The two of them share a bond that makes them recall fragments of past or future lives together.
When a show leads to a bloody clash between authorities and civilians, Trevino is forced to make up his mind, and leads a group of hired mercenaries into the desert to remove this burgeoning threat to the American way of life, permanently.
However, he doesn’t understand the nature of what he’s up against. The more American blood that is spilled, the more likely a true revolution. To Lilith, believing herself the avatar of an immortal goddess, starting a revolution that will forever change the world just seems like a damn good time.
During this battle, and its aftermath, Trevino discovers the secret behind the nature of these “demigods.” As the story closes, we are left to consider a world very much like our own, but poised on the brink of a great transformation.
Part Fear and Loathing In Los Vegas, part Fight Club and Natural Born Killers, Fallen Nation: Party At The World’s End questions many of our cultural assumptions, makes us re-examine them, and hints at where they might lead.