Как пишется евангелион на английском - Правописание и грамматика

Neon Genesis Evangelion (Japanese: 新世紀エヴァンゲリオン, Hepburn: Shinseiki Evangerion, lit. ‘New Century Gospel’),^[4] also known simply as Evangelion or Eva, is a Japanese mecha anime television series produced by Gainax and animated by Tatsunoko, directed by Hideaki Anno and broadcast on TV Tokyo from October 1995 to March 1996. Evangelion is set fifteen years after a worldwide cataclysm named Second Impact, particularly in the futuristic fortified city of Tokyo-3. The protagonist is Shinji Ikari, a teenage boy who is recruited by his father Gendo to the shadowy organization Nerv to pilot a giant bio-machine mecha named Evangelion into combat against beings known as Angels.

新世紀エヴァンゲリオン (Shin Seiki Evangerion)
Neon Genesis Evangelion

Genre	Apocalyptic^[1] Mecha^[2] Psychological drama^[3]
Anime television series
Directed by	Hideaki Anno Masayuki (assistant) Kazuya Tsurumaki (assistant)
Produced by	Noriko Kobayashi (TV Tokyo) Yutaka Sugiyama (NAS)
Written by	Hideaki Anno, et al
Music by	Shirō Sagisu
Studio	Gainax Tatsunoko
Licensed by	Netflix (worldwide streaming license) ^AU Madman Entertainment ^BI Anime Limited ^NA GKIDS
Original network	TV Tokyo
English network	^AU SBS TV ^BI Sci Fi ^NA Anime Network ^PH ABS-CBN ABC-5 ^UK Propeller TV ^US KTEH, Cartoon Network (Toonami), Adult Swim ^ZA Animax
Original run	October 4, 1995 – March 27, 1996
Episodes	26 (List of episodes)
Manga
Neon Genesis Evangelion (adaptation) Angelic Days Shinji Ikari Raising Project Campus Apocalypse Petit Eva: Evangelion@School
Light novel
Neon Genesis Evangelion: ANIMA
Anime films
Revival of Evangelion Death & Rebirth (1997) The End of Evangelion (1997) Rebuild of Evangelion 1.0 You Are (Not) Alone. (2007) 2.0 You Can (Not) Advance. (2009) 3.0 You Can (Not) Redo. (2012) 3.0+1.0 Thrice Upon a Time (2021)

The series explores the experiences and emotions of Evangelion pilots and members of Nerv as they try to prevent Angels from causing more cataclysms. In the process, they are called upon to understand the ultimate causes of events and the motives for human action. The series has been described as a deconstruction of the mecha genre and it features archetypal imagery derived from Shinto cosmology as well as Jewish and Christian mystical traditions, including Midrashic tales and Kabbalah.^[5] The psychoanalytic accounts of human behavior put forward by Freud and Jung are also prominently featured.^[6]^[7]

Neon Genesis Evangelion received critical acclaim but was also subject to controversy. Particular controversy centered on the final two episodes of the series, as the ending was deemed confusing and abstract to many viewers and critics alike. In 1997, Hideaki Anno and Gainax released the feature film The End of Evangelion, which serves as an alternate ending replacing the final two episodes. A series of four films, titled Rebuild of Evangelion, retelling the events of the series with different plot elements and a new ending, were released between 2007 and 2021. Film, manga, home video, and other products in the Evangelion franchise have achieved record sales in Japanese markets and strong sales in overseas markets, with related goods selling over ¥150 billion by 2007 and Evangelion pachinko machines generating ¥700 billion by 2015.

PlotEdit

In 2015, fifteen years after a global cataclysm known as the Second Impact, teenager Shinji Ikari is summoned to the futuristic city of Tokyo-3 by his estranged father Gendo Ikari, director of the special paramilitary force Nerv. Shinji witnesses United Nations forces battling an Angel, one of a race of giant monstrous beings whose awakening was foretold by the Dead Sea Scrolls. Because of the Angels’ near-impenetrable force-fields, Nerv’s giant Evangelion bio-machines, synchronized to the nervous systems of their pilots and possessing their own force-fields, are the only weapons capable of keeping the Angels from annihilating humanity. Nerv officer Misato Katsuragi escorts Shinji into the Nerv complex beneath the city, where his father pressures him into piloting the Evangelion Unit-01 against the Angel. Without training, Shinji is quickly overwhelmed in the battle, causing the Evangelion to go berserk and savagely kill the Angel on its own.

Following hospitalization, Shinji moves in with Misato and settles into life in Tokyo-3. In his second battle, Shinji destroys an Angel but runs away afterward, distraught. Misato confronts Shinji and he decides to remain a pilot. The Nerv crew and Shinji must then battle and defeat the remaining fourteen Angels to prevent the Third Impact, a global cataclysm that would destroy the world. Evangelion Unit-00 is repaired shortly afterward. Shinji tries to befriend its pilot, the mysterious, socially isolated teenage girl Rei Ayanami. With Rei’s help, Shinji defeats another Angel. They are then joined by the pilot of Evangelion Unit-02, the multitalented but insufferable teenager Asuka Langley Sōryu, who is German-Japanese-American. Together, the three of them manage to defeat several Angels. As Shinji adjusts to his new role as a pilot, he gradually becomes more confident and self-assured. Asuka moves in with Shinji, and they begin to develop confusing feelings for one another, kissing at her provocation.

After being absorbed by an Angel, Shinji breaks free thanks to Eva acting on its own. He is later forced to fight an infected Evangelion Unit-03 and watches its pilot, his friend and classmate Toji Suzuhara, become incapacitated and permanently disabled. Asuka loses her self-confidence following a defeat and spirals into depression. This is worsened by her next fight, against an Angel which attacks her mind and forces her to relive her worst fears and childhood trauma, resulting in a mental breakdown. In the next battle, Rei self-destructs Unit-00 and dies to save Shinji’s life. Misato and Shinji visit the hospital where they find Rei alive but claiming she is «the third Rei». Misato forces scientist Ritsuko Akagi to reveal the dark secrets of Nerv, the Evangelion boneyard, and the Dummy Plug system which operates using clones of Rei, who was herself created with the DNA of Shinji’s mother, Yui Ikari. This succession of events leaves Shinji emotionally scarred and alienated from the rest of the characters. Kaworu Nagisa replaces the catatonic Asuka as the pilot of Unit-02. Kaworu, who initially befriends Shinji and gains his trust, is in truth the final foretold Angel, Tabris. Kaworu fights Shinji, then realizes that he must die if humanity is to survive and asks Shinji to kill him. Shinji hesitates but eventually kills Kaworu; the event makes Shinji overridden with guilt.

After the final Angel is defeated, Gendo triggers the «Human Instrumentality Project», a forced evolution of humanity in which the souls of all mankind are merged for benevolent purposes, believing that if unified, humanity could finally overcome the loneliness and alienation that has eternally plagued mankind. Shinji’s soul grapples with the reason for his existence and reaches an epiphany that he needs others to thrive, enabling him to destroy the wall of negative emotions that torment him and reunite with the others, who congratulate him.

CharactersEdit

Hideaki Anno attempted to create characters that reflected parts of his own personality.^[8] The characters of Evangelion struggle with their interpersonal relationships, their personal problems,^[9] and traumatic events in their past.^[10]^[11] The human qualities of the characters have enabled some viewers of the show to identify with the characters on a personal level, while others interpret them as historical, religious, or philosophical symbols.

Shinji Ikari is the series protagonist and the designated pilot of Evangelion Unit-01. After witnessing his mother Yui Ikari’s death as a child, Shinji is abandoned by his father, Gendo Ikari. He is emotionally hypersensitive and sometimes does as expected out of fear of rejection, but he has often rebelled and refused to pilot the Eva because of the excruciating harm that has been done to him or to his friends. Throughout the series, he says to himself «I mustn’t run away» as a means of encouraging himself to face the threats of the day, and this sometimes actually gives him bravery in battle, but he has a lingering habit of withdrawing in response to traumatic events. Anno has described Shinji as a boy who «shrinks from human contact» and has «convinced himself that he is a completely unnecessary person».^[13]

The cast of Neon Genesis Evangelion as depicted on the Japanese «Genesis» (volume) 14 laserdisc and VHS cover

The withdrawn and mysterious pilot of Evangelion Unit-00, Rei Ayanami, is a clone made from the salvaged remains of Yui and is plagued by a sense of negative self-worth stemming from the realization that she is an expendable asset.^[14] She at first despises Shinji for his lack of trust in his father Gendo, with whom Rei is very close. However, after Shinji and Rei successfully defeat the Angel Ramiel, she takes a friendly liking to him. Towards the end of the series, it is revealed that she is one of many clones, whose use is to replace the currently existing Rei if she is killed.

Asuka Langley Soryu is a child prodigy who pilots Evangelion Unit-02 and possesses a fiery temper and an overabundance of pride and self-confidence, which often gets her in trouble and difficulty, especially during battles. As a little girl, Asuka discovered the body of her mother shortly after she committed suicide, leading the child to repress her emotions and vow never to cry. Asuka and Shinji develop intense but ambiguous feelings toward each other having difficulty reaching out to others. Their relationship was initially modeled on the one between Jean, Nadia’s love interest and eventual husband in the earlier Nadia.^[15] Similarly to Shinji, Asuka and Rei are presented with their own flaws and difficulty relating to other people.^[16]

Misato Katsuragi is the caretaker and commanding officer for Shinji and Asuka.^[17] Her professional demeanor at Nerv contrasts dramatically with her carefree and irresponsible behavior at home. Character designer Yoshiyuki Sadamoto conceived her as an older «girl next door» and promiscuous loser who failed to take life seriously.^[15] Hideaki Anno described Shinji and Misato as «afraid of being hurt» and «unsuitable—lacking the positive attitude—for what people call heroes of an adventure.»^[13]

The teenage Evangelion pilots are ordered into battle by the steely Gendo Ikari, Shinji’s father and the commander of Nerv. He abandoned Shinji and recalled him only to serve as an Evangelion pilot. Gendo salvaged the remains of his dead wife’s body to create Rei, whom he viewed as a mere tool at his disposal to defeat the Angels and enact Instrumentality. Similar to Shinji, he is somewhat asocial and is afraid of being insulted by others and often runs away from such, often committing immoralities in the process. This fear is also what drove him to abandon Shinji. He is depicted as relentless in his drive to win, a man who «takes drastic and extreme measures, by fair means or foul, or by hook or by crook, in order to accomplish his own purpose.»^[18] According to Yoshiyuki Sadamoto, the characters of Gendo and Fuyutsuki are based on Ed Straker and Alec Freeman of the television series UFO.^[15] Sadamoto designed the visual appearance of the characters so that their personalities «could be understood more or less at a glance».^[19] The distinctive aesthetic appeal of the female lead characters’ designs contributed to the high sales of Neon Genesis Evangelion merchandise. The design of Rei, in particular, became so popular that the media referred to the character as «Premium Girl» due to the high sales of books with Rei on the cover.^[20]

ProductionEdit

Director Hideaki Anno fell into a depression following the completion of work on Nadia: The Secret of Blue Water^[21] and the 1992 failure of the Royal Space Force: The Wings of Honnêamise sequel project, Blue Uru.^[22] According to Yasuhiro Takeda, after the failure of Blue Uru Anno agreed to a collaboration between King Records and Gainax while drinking with King representative Toshimichi Ōtsuki;^[23] King Records guaranteed Anno a time slot for «something, anything».^[24] Anno began the development of the new series in 1993 around the notion of not running away, which had been the underlying theme of Aoki Uru, which focused on a protagonist accustomed to avoiding personal responsibility who finds himself trying to save the heroine of the story.^[25] Early into the production, he stated his intent to have Evangelion increase the number of anime fans, named otaku in Japanese, and attract interest in the anime medium^[26] bringing a breath of fresh air to the mecha genre. In the early design phase of the Evangelion project, several formats were considered, including a film, a television series and an original video animation (OVA) series. The producers finally opted for the television series, as it was the most widely accessible media in Japan at that time.^[15] Anno also originally proposed the title Alcion for the new series, but this was rejected due to its lack of hard consonant sounds.^[15] He conceived the series as a metaphor of his four-year depression, as he tried to put his whole self into the work and imprint his own feelings on the film.^[13]^[27]

Critics noted how Evangelion borrowed certain scenarios and the use of introspection as a narrative device from a previous Anno project entitled Gunbuster.^[28] He also incorporated the narrative structure of Nadia and multiple frames of reference, leaving the story open to interpretation.^[29] The production was complex and saw several changes to the scenario initially imagined by Gainax. A female protagonist was initially proposed for the series, but the idea was scrapped.^[15] In the first scenario, the first episode presented the battle between an Angel and Rei, while the character of Shinji was only introduced after the Angel had been temporarily defeated.^[30] Further changes to the plot were made following the Aum Shinrikyo sect’s sarin gas attack on the Tokyo subway in March. Azuma Hiroki has said that the original Evangelion story was «too close to reality» from Anno’s point of view. Anno thought that the original scenario was not suitable for broadcasting, and he feared censorship. However, he also criticized Aum Shinrikyo, because «they lost any contact with reality». For this reason, Azuma stated that Evangelion «is an intrinsic critique of Aum».^[26]

The final version of the story reflects inspiration drawn from numerous other anime and fictional works.^[31] Chief among these are Space Battleship Yamato,^[32] Mobile Suit Gundam,^[33]^[34] Devilman^[35]^[36] and Space Runaway Ideon.^[37]^[38] The series also incorporates tributes to Childhood’s End,^[39] the novels of Ryū Murakami,^[31]^[40] The Andromeda Strain, The Divine Invasion, the poem Pippa Passes,^[41] The Hitcher, and several television series including The Prisoner, Thunderbirds, Ultraman^[31]^[42] and Ultra Seven.^[43]

The development of the Neon Genesis Evangelion series ran close to deadlines throughout its production run. The initial cuts of the first two episodes were screened at the second Gainax festival in July 1995, only three months before they were aired on television.^[44] By the thirteenth episode the series began to deviate significantly from the original story, and the initial project was abandoned. The number of Angels was reduced to seventeen instead of the original twenty-eight; the writers also changed the story’s ending, which had originally described the failure of the Human Instrumentality Project after an Angel attack from the Moon.^[30]^[45] Not only did the series suffer from scheduling issues, but according to Anno, despite Gainax being the lead studio for the series, the company itself had inadequate materials and staff for the full production of the series. Only three staff members from Gainax were working on the series at any given time, and the majority of the series’ production was outsourced to Tatsunoko Production.^[46]

Starting with the sixteenth episode, the show changed drastically, discarding the grand narrative concerning salvation for a narrative focusing on the individual characters.^[47]^[48] This change coincided with Anno’s development of an interest in psychology after a friend lent him a book on mental illness.^[49] This focus culminated in a psychoanalysis of the characters in the two final episodes.^[9] Necessity forced Anno to abandon the script of the twenty-fifth episode to work with a new one.^[50] These episodes feature heavy use of abstract animation,^[51] flashbacks,^[52] simple line drawings, photographs^[53] and fixed image scenes with voice-over dialogue.^[54] Some critics speculated that these unconventional animation choices resulted from budget cuts,^[55] but Toshio Okada stated that it wasn’t only a problem of schedule or budget, since Anno «couldn’t decide the ending until the time came. That’s his style».^[56] These two episodes sparked controversy and condemnation among fans and critics of the series.^[57] In 1997, Hideaki Anno and Gainax released two animated feature films, providing another ending for the show, named Death & Rebirth and The End of Evangelion.^[58]

ThemesEdit

The cross-shaped explosion caused by the destruction of the third Angel exemplifies the use of Christian imagery in Evangelion.

References to mystical traditions in Judaism and Christianity, including Midrashic literature and Kabbalah, are threaded liberally through the series.^[59] Complicating viewers’ attempts to form an unambiguous interpretation,^[60] the series reworks Midrash stories, Zohar images and other Kabbalistic ideas developed from the Book of Genesis^[61] to create a new Evangelion-specific mythology.^[60] The plot also combines elements of esotericism and mysticism of the Jewish Kabbalah,^[62]^[63] including the Angels, which have common and individual features with the Angels of the religious tradition,^[64] such as Sachiel, Sandalphon and Ramiel.^[65]^[66] Assistant director Kazuya Tsurumaki stated the religious visual references were intended to make the series more «interesting» and «exotic» for a Japanese audience,^[67] denying the existence of a religious meaning for the use of Christian visual symbols in the show.^[68] According to Anno, «as the symbols are mixed together, for the first time something like an interrelationship or a meaning emerges».^[69]

According to Patrick Drazen, numerous allusions to the Kojiki and the Nihongi have a prominent role in Evangelion, along with the Shinto vision of the primordial cosmos and the mythical lances of the Shinto deities Izanagi and Izanami.^[70] Elements of the Judeo-Christian tradition also feature prominently throughout the series, including references to Adam, Lilith, Eve, the Lance of Longinus,^[71] the Dead Sea Scrolls,^[72] the Kabbalistic concept of Adam Kadmon, and the Tree of Life.^[70] The merging of all human souls into one through the Human Instrumentality Project at the end of the series has been compared to the Kabbalistic concept of tikkun olam.^[73] The Evangelions have been likened to the golem of Jewish folklore,^[43] and their visual design resembles the traditional depictions of oni, Japanese demons or ogres.^[74]

Neon Genesis Evangelion has been interpreted as a deeply personal expression of Hideaki Anno’s own emotional struggles with depression.^[43] During the production of the series, he became interested in mental illness and psychology.^[49] According to him, Rei is a schizophrenic character^[75] and a representation of Shinji’s unconscious,^[69] while Shinji has an Oedipus complex^[76]^[77]^[78] and is characterized by a libido-destrudo conflict.^[79] Similarly, Ritsuko has an Electra complex, in which she loves Gendo, a sort of substitute for her father figure.^[80] Anno himself stated that he identifies with Shinji in both a conscious and unconscious manner,^[81] while Rei is Anno’s «deepest part» and Kaworu his Jungian shadow.^[82] Shinji’s entering into Unit-01 has been interpreted as a Freudian «return to the womb», and his struggle to be free of the Eva as his «rite of passage» into manhood.^[83] The series also contains references to philosophical and psychoanalytic concepts, such as the oral stage, introjection, oral personality, ambivalence,^[84] and the death drive,^[85] including elements of the works of Sigmund Freud,^[86]^[87] Arthur Schopenhauer,^[88]^[89] and Søren Kierkegaard.^[90]

Edit

FilmsEdit

In May 1996, Gainax announced an Evangelion film^[91] in response to fan dissatisfaction with the series finale.^[58] On March 15, 1997, Gainax released Evangelion: Death & Rebirth, consisting of 60 minutes of clips taken from the first 24 episodes of the series and the first 30 minutes of the new ending due to production issues.^[92] The second film, The End of Evangelion, which premiered on July 19, 1997, provided the complete new ending as a retelling of the final two episodes of the television series. Rather than depicting the series’ climax within the characters’ minds, the film provides a more conventional, action-based resolution to the series’ plot lines. The film won numerous awards^[93]^[94] and grossed 1.45 billion yen within six months of its release.^[95] Ex.org ranked the film in 1999 as the fifth best ‘All-Time Show’, with the television series at the second.^[96] In 2009, CUT magazine ranked it the third greatest anime film of all time.^[97] In July 1998, the films were re-released as Revival of Evangelion which combined Death(true)² (the director’s cut of Death) with The End of Evangelion.

A new animated film series called Rebuild of Evangelion by Gainax was made,^[98] consisting of four movies. The first film retells the first six episodes from the series but from the second film onward the story is different, including new characters, Evas and Angels. The first film, Evangelion: 1.0 You Are (Not) Alone, was released in Japan on September 1, 2007, with Evangelion: 2.0 You Can (Not) Advance released on June 27, 2009, and Evangelion: 3.0 You Can (Not) Redo released on November 17, 2012. The final film, titled Evangelion: 3.0+1.0 Thrice Upon a Time, was released on March 8, 2021, after two delays.^[99] In 2015, Evangelion:Another Impact, a 3D-rendered short film collaboration between the Khara studio and the media company Dwango was directed by Shinji Aramaki, released and streamed as the twelfth anime short from the Japan Animator Expo on February 8. It depicts «the story of an Evangelion’s activation, rampage and howling in another world».^[100]

Manga and booksEdit

Ten months prior to the television broadcast of Evangelion, the character designer Yoshiyuki Sadamoto illustrated a manga version of the story, initially a supplement meant to promote the anime series.^[101] The first installment of the manga was published in the February issue of Shōnen Ace in December 1994 with subsequent installments produced on an irregular basis over an eighteen-year period. The final installment was published in June 2013.^[102]^[103] Several publishers were initially concerned at the selection of Sadamoto to develop the manga adaptation, viewing him as «too passé to be bankable».^[104] The first ten volumes sold over 15 million copies,^[105] and the eleventh volume reached number one on the Tohan charts,^[106] selling an additional two million copies.^[107] The manga series won the 1996 Comicker fan manga poll.^[108] The story has been adapted into several other manga series in addition to the original Sadamoto project, including Campus Apocalypse, a mystery story that omits the Evangelion units, and Petit Eva: Evangelion@School, a parody series which received its own original net animation serial show.

Soundtracks and musicEdit

Shirō Sagisu composed most of the original music for the series. The soundtracks released to high rankings on the Oricon charts, with Neon Genesis Evangelion III reaching the number one slot for highest sales in 1997;^[109] that same year, Sagisu received the Kobe Animation award for «Best Music Score» for his work on Evangelion.^[110] Classical music by Ludwig van Beethoven,^[54] Johann Sebastian Bach,^[111] Giuseppe Verdi and George Frideric Handel^[71] were also featured throughout the series and the movies. Additional classical works and original symphonic compositions were used to score later movies produced within the Neon Genesis Evangelion franchise. In total, the series’ discography includes twenty-one full studio, live, compilation and soundtrack albums and six CD singles. The series’ opening theme is «A Cruel Angel’s Thesis», performed by Yoko Takahashi. It ranked on two TV Asahi polls, reaching 55th for best anime theme songs of all time, and eighteenth for best anime theme songs of the 1990s.^[112]^[113] Fifteen years after its release, the theme won JASRAC’s annual award for the royalties it continues to generate from its usage in pachinko, pachislo, karaoke and other venues.^[114] The ending theme of the series is «Fly Me to the Moon», arranged and sung by Claire Littley and various other singers from the main vocal cast.^[115]

Video gamesEdit

Several video games based on the series have been developed, ranging from RPG and adventure games to mahjong and card games. The series has also spawned visual novels, two of which inspired the romance and comedy-focused manga series Angelic Days and Shinji Ikari Raising Project.

ReleasesEdit

JapanEdit

Cover for the Blu-ray box set in Japan

The original home video releases in Japan included VHS and Laserdisc sets using a release structured around «Genesis 0:(volume number)», with each of the first twelve releases containing two episodes each. Each of the episodes received minor changes and episodes from the twenty-first to the twenty-fourth were extended with new scenes. «Genesis 0:13» and «Genesis 0:14» contained the original and the alternate versions of the last two episodes first presented in Neon Genesis Evangelion: The End of Evangelion. A fifteenth and final release for Laserdisc, entitled «Genesis 0:X», contained the broadcast versions of the episodes from the twenty-first to the twenty-fourth and was a special mail-in offer for fans who purchased all fourteen discs.^[116]^[117] The first Japanese DVD release was spread across seven volumes; all contained four episodes, with the seventh volume containing both the original and alternate versions of the last two episodes. This version was identical to the previous laserdisc and VHS release. The movies were also released as a special set, just like before. In 2000 and 2001, three box sets were released to commemorate the fictional Second Impact which occurred in the year 2000 in the series. The Second Impact Box contained the original episodes and both movies on nine DVDs — three per Box. The versions were the original broadcast and theatrical versions respectively and therefore different from the previous DVD release. In addition, the video game Girlfriend of Steel was included in the third box set.^[118]^[119]

The Japanese-only, nine-volume «Renewal of Evangelion» DVDs were released on June 25, 2003,^[120] with improved acoustic effects, remixed dialogue and remastered soundtrack for 5.1 stereo sound.^[121] The first eight volumes covered the original twenty-six episodes, including two versions of episodes from the twenty-first to the twenty-fourth: the extended video version that was available in previous releases, and a reconstruction of the shorter broadcast version, which was made available for the first time since the Genesis 0:X laserdisc and also wasn’t censored like in the original broadcast. The ninth volume contained Death(true)², while the tenth included End of Evangelion (omitting Rebirth).^[122] The Renewal Project release formed the basis for the western «Platinum Edition».^[121] On December 1, 2014, Studio Khara announced a Blu-ray boxset containing a new HD-remastering of the television series, the video versions of the episodes from the twenty-first to the twenty-fourth, as well as the two movies, both as Revival of Evangelion, the director’s cut, which was available in the Renewal DVDs, and as their original theatrical versions Death and Rebirth and The End of Evangelion.^[123]^[124] In addition, another DVD set, titled Archives of Evangelion, was announced. It contains the original unaltered broadcast version of the television series as well as the broadcast version of Death (True) & Rebirth that aired on January 2, 1998. Both sets were released on August 26, 2015, to commemorate the twentieth anniversary of the TV series.^[125]

ADV FilmsEdit

The series was distributed in North America and Europe by ADV Films.^[126] The thirteen English VHS tapes, released from August 20, 1996, to July 7, 1998, contained two episodes each and were released using the same «Genesis 0:(volume number)» titling convention as the first Japanese home video release. Two laserdisc collections were released as Collection 1 Deluxe Edition^[127] and Collection 2 Deluxe Edition,^[128] containing episodes one to four and five to eight, respectively. The first DVD release by ADV Films was the eight-disk Perfect Collection in 2002, containing the original installments.^[121] In 2004, ADV released two DVD compilations titled Neon Genesis Evangelion: Resurrection and Neon Genesis: Reborn, encompassing the directors’ cuts of episodes from the twenty-first to the twenty-fourth.^[121] In the same year, the Platinum Edition release was announced by ADV in 2004,^[129] consisting of seven DVDs^[130] released between July 27, 2004, and April 19, 2005.^[131] The Platinum Edition contained the original twenty-six episodes and the four «Director’s cut» versions^[132] of episodes from the twenty-first to the twenty-fourth. A six-disc version of the Platinum Edition, the Platinum Complete Edition, was released on November 22, 2005, and omitted several extras included in other versions, including commentary and trailers.^[133] A seven-disc Platinum Perfect Collection tin case version was released on November 27, 2007, and included the extras that were omitted from the Platinum Complete Edition.^[134]^[135] On November 18, 2008, a seven-disc Holiday Edition DVD was released; this would be the final DVD release of the series from ADV Films.^[136] In late November 2011, it was announced the series was going out of print.^[137]

Madman AnimeEdit

Madman has held the rights to the series since 1998^[138] in New Zealand and Australia, where Evangelion was broadcast in 1999 by the Special Broadcasting Service.^[139] Madman Anime also holds the home video licences for the Rebuild of Evangelion films.^[140]

NetflixEdit

On November 26, 2018, streaming company Netflix announced that it had acquired the worldwide streaming rights to the original anime series, as well as Evangelion: Death (True)² and The End of Evangelion, for release in Q2 2019.^[141] On March 22, 2019, Netflix announced a June 21, 2019 premiere date for the titles.^[142]^[143] Following the dissolution of ADV Films in late 2009,^[144] the Netflix release includes a re-translated script from Studio Khara’s in-house translator Dan Kanemitsu^[145]^[146] and a new English-language cast chosen by Khara.^[147] The Netflix release omits «Fly Me to the Moon» in some regions due to licensing issues.^[148]^[149]

Anime Limited and GKIDSEdit

On May 30, 2020, British anime distributor Anime Limited announced it had acquired home video distribution rights for the original series, Evangelion: Death (True)² and The End of Evangelion in the United Kingdom and Ireland, with an Ultimate Edition Blu-ray release scheduled for 2021, marking the international release of the original series on Blu-ray.^[150] On October 3, 2020, North American anime distributor GKIDS announced it had licensed the original TV series, Death (True)² and The End of Evangelion for home video, theatrical, and digital download release with an Ultimate Edition to be released in 2021, making this the first Blu-ray release of the franchise in North America.^[151]^[152] On August 30, 2021, GKIDS announced a Collector’s Edition and a Standard edition release in addition to the Ultimate Edition. The Collector’s/Ultimate edition had the «Classic Dub and Subtitled Version», including the ADV and Manga English dubs and subs, while the standard edition was only included the Netflix English dub and sub. «Fly Me to the Moon» was not included in any of the GKIDS/All the Anime releases. The Standard edition was released on November 9, 2021, while the Collector’s/Ultimate edition was released on December 8, 2021.^[153]^[154] On November 2, 2021, GKIDS released the TV series, Death (True)² and The End of Evangelion on all major digital download services six days ahead of the Standard Blu-ray release.^[155] This release, like the Standard BD, only contains the Netflix dub and sub.

ReceptionEdit

Even fans of the sci-fi genre who avoid anime altogether have likely heard of Cowboy Bebop and Ghost in the Shell, which were each landmarks of both style and substance. But arguably the greatest and certainly most thematically dense of the three ’90s sci-fi anime masterpieces is Neon Genesis Evangelion. It has one of the most enduring worldwide cult franchises and passionate fanbases in all of geekdom […] the most celebrated cast in anime [… and] poster boy/protagonist Shinji is one of the most nuanced, popular, and relatable characters in anime history.

— Nick Verboon, Unreality Mag (June 13, 2013)^[156]

Neon Genesis Evangelion received critical acclaim both domestically and internationally during its initial broadcast and in the decades since its release.^[157]^[158]^[159] On review aggregator Rotten Tomatoes, the series has an approval rating of 100% based on 31 reviews, with an average rating of 8.3/10. The website’s critical consensus reads, «Neon Genesis Evangelion, both a cultural touchstone for Japan and an uncompromising auteurist vision by creator Hideaki Anno, doubles as an enthralling apex for the mecha anime genre and as a harrowing exploration of depression – making for a wholly singular epic about angels and inner demons.»^[160]

The «richness» of the characters and «complex and layered» narrative has received praise by critics.^[161]^[162]^[163] In 1998, Max Autohead of Hyper rated it 10 out of 10, praising the «brilliant and fantastic storyline, with amazing characters who pull you not only into their world, but into their psyche as well.^[164] The same year, Shidoshi of GameFan magazine gave it an A rating, calling it an «awesome» series.^[165] Mike Hale of The New York Times described it in 2009 as «a superior anime, a giant-robot tale of unusual depth, feeling and detail.»^[166]

Following the conclusion of the series’ original television broadcast, the public and critical reception to Neon Genesis Evangelion was polarized,^[167] particularly with regard to the final two episodes. The experimental style of the finale confused^[168] or alienated many fans^[51]^[55] and spawned debate and controversy;^[157]^[169] the criticism was largely directed toward the lack of storyline resolution in the final two episodes.^[157] Opinion on the finale was mixed,^[157] with the audience broadly divided between those who considered the episodes «deep», and those who felt their meaning was «more apparent than real».^[170] The English voice actors admitted that they also had trouble understanding the series’ conclusion.^[168] The Mainichi Times wrote that broadcast of the penultimate episode,, «nearly all viewers felt betrayed … When commentator Eiji Ōtsuka sent a letter to the Yomiuri Shimbun, complaining about the end of the Evangelion series, the debate went nationwide.»^[171] Despite the criticism, Anno stood by his artistic choices for the series’ conclusion.^[157] Critic Zac Bertschy remarked in 2003 that «Most of the backlash against Evangelion existed because people don’t like to think».^[172] The initial controversy surrounding the end of Evangelion has had no lasting negative influence on the popularity of the series.^[157]^[173]

Evangelion has developed into a social phenomenon beyond its primary fan base, generating national discussion in Japan. The series has also been the subject of numerous media reports, debates, and research studies worldwide.^[174]^[47] The show has received review by critics, academics and sociologists alike, including by Susan J. Napier, William Rout, Mick Broderick, Mari Kotani,^[175] Shinji Miyadai,^[176] Hiroki Azuma,^[48] Yuriko Furuhata, and Marc Steinberg.^[177] The series has been described as both a critique and deconstruction of the mecha genre.^[5]^[178] Japanese critic Manabu Tsuribe considered that Evangelion was «extremely interior and is lacking in sociality, so that it seems to reflect pathology of the times.»^[179] Anime News Network’s Martin Theron described the character design as «distinctive, designed to be sexy rather than cutesy», and the mecha designs as «among the most distinctive ever produced for an anime series, with sleek, lithe appearances that look monstrous, fearsome, and nimble rather than boxy and knight-like».^[180] Mike Crandol stated «It no longer seems contrite to say that Evangelion is surely one of the all-time great works of animation».^[167] In February 2004 Cinefantastique listed the anime as one of the «10 Essential Animations».^[181]

AwardsEdit

Neon Genesis Evangelion has scored highly in popularity polls. In 1996, the series won first place in the «Best Loved Series» category of the Anime Grand Prix, a reader-polled award series published in Animage magazine.^[182] The show was again awarded this prize in 1997 by a large margin.^[183] The End of Evangelion won first place in 1998,^[184] making Neon Genesis Evangelion the first anime franchise to win three consecutive first place awards.^[185] The website IGN ranked Evangelion as the tenth best animated series in its «Top 100 Animated TV Series» list.^[186] The series also placed third in Animage‘s «anime that should be remembered in the 21st Century».^[187] In 1998, EX.org’s readers voted Neon Genesis Evangelion the best US anime release^[185] and in 1999, the second-best show of all time.^[188] In 2007, a large-scale survey poll by TV Asahi voted Evangelion as the second most appreciated anime in Japan.^[189] The series was also ranked as the most popular of all time in a 2006 survey of 80,000 attendees at the Japan Media Arts Festival.^[190]

Evangelion won the Animation Kobe award in 1996,^[191] and 1997.^[192] The series was also awarded the eighteenth Nihon SF Taisho Award and the Excellence Award at the first Japan Media Arts Festival in 1997,^[193]^[194] while the film ranked sixth on Wizard’s Anime Magazine on their «Top 50 Anime released in North America».^[195] In the August 1996 issue of Animage, Evangelion characters placed high in the rankings of best characters with Rei ranked first, Asuka third, Kaworu fourth and Shinji sixth. Rei Ayanami won in the Female Character category in 1995 and 1996 and Shinji Ikari won the Male Character category in 1996 and 1997.^[196] In 2010, Newtype magazine recognized Rei Ayanami as the most popular character of the 1990s in the female category, and Shinji Ikari in the male category.^[197] «A Cruel Angel’s Thesis» won the Animage award in the Best Song category in 1996,^[182] and TV Asahi recognized it as the 18th best anime song since 1990.^[198] TV Asahi also recognized the «suicide of Ayanami Rei» as the ninth most touching anime scene ever.^[199]

Influence and legacyEdit

Evangelion has had a significant impact on Japanese popular culture.^[169]^[200] The series also had a strong influence on anime, at a time when the anime industry and televised anime series were in a slump period.^[157] CNET reviewer Tim Hornyak credits the series with revitalizing and transforming the giant mecha genre.^[201] In the 1980s and 1990s, Japanese animation saw decreased production^[202] following the economic crash in Japan.^[203] This was followed by a crisis of ideas in the years to come.^[204] Against this background, Evangelion imposed new standards for the animated serial, ushering in the era of the «new Japanese animation serial»,^[205] characterized by innovations that allowed a technical and artistic revival of the industry. The production of anime serials began to reflect greater author control, the concentration of resources in fewer but higher quality episodes, typically ranging from thirteen to twenty-six, a directorial approach similar to live film, and greater freedom from the constraints of merchandising.^[206]

Two cosplayers portraying Asuka Langley Soryu and Rei Ayanami. The franchise has been credited as a conduit for making cosplay a worldwide phenomenon.^[207]

According to TV Tokyo’s Keisuke Iwata, the global spread of Japanese animation dramatically expanded due to the popularity of Evangelion.^[208] In Japan, Evangelion prompted a review of the cultural value of anime,^[209] and its success, according to Roland Kelts, made the medium more accessible to the international youth scene.^[210] With the interest in the series, otaku culture became a mass social phenomenon.^[211]^[212] The show’s regular reruns increased the number of otaku,^[213] while John Lynden links its popularity to a boom in interest in literature on the Dead Sea Scrolls, Kabbalah and Christianity.^[214]

Critics traced Evangelion‘s influence on subsequent anime series, including Serial Experiments Lain, RahXephon, Texhnolyze, Gasaraki,
Guilty Crown, Boogiepop Phantom,^[71] Blue Submarine No. 6,^[215] Mobile Battleship Nadesico,^[216] Rinne no Lagrange,^[217] Gurren Lagann,^[218] Dual! Parallel Trouble Adventure,^[219] Argento Soma,^[220] Pilot Candidate,^[221] Generator Gawl,^[222] and Dai-Guard.^[223]^[224] References, homages and tributes to the series are also contained in Japanese and Western media such as the third episode of Magical Shopping Arcade Abenobashi,^[225] Koi Koi Seven,^[226] Hayate the Combat Butler,^[227] Baka and Test,^[228] Regular Show,^[229] My Little Pony: Friendship is Magic,^[230] Gravity Falls,^[231] Sgt. Frog,^[232]^[233] Rick and Morty,^[234] One Hour Photo,^[235] Steven Universe,^[236] Kong: Skull Island,^[237] and Nope.^[238] The show’s mixture of religion and mecha also influenced subsequent Japanese video games, including Xenogears^[239] and El Shaddai: Ascension of the Metatron.^[240]

The design and personality traits of the character Rei Ayanami were reused for many anime and manga characters of the late 1990s, such as Ruri Hoshino of Nadesico, Ruriko Tsukushima (The Droplet),^[241] Miharu (Gasaraki),^[242] Anthy Himemiya (Revolutionary Girl Utena), and Lain Iwakura (Serial Experiments Lain).^[243] The character of Asuka was parodied by Excel (Excel Saga),^[244] and some of her traits were used to create the character of Mai in Gunparade March.^[245] According to Italian critic Guido Tavassi, Evangelion‘s mecha design, characterized by a greater resemblance to the human figure, and the abstract designs of the Angels, also had a significant impact on the designs of future anime productions.^[246] Nobuhiro Watsuki designed several characters for Rurouni Kenshin based on characters from Neon Genesis Evangelion, namely Uonuma Usui, Honjō Kamatari and Fuji.^[247]^[248] Other artists have cited the series as an inspiration, including Makoto Shinkai^[249] and Gege Akutami for their manga Jujutsu Kaisen.^[250] In the aftermath of Evangelion, Anno reused stylistic conceits from the series in the live-action Love & Pop and the anime romance Kare Kano.^[251] Neon Genesis Evangelion also influenced music artists, such as the British band Fightstar and its debut album, Grand Unification,^[251] and the Japanese band Rey, which derived its name from the character of Rei Ayanami.^[252]

MerchandisingEdit

In Japan, Evangelion is an enormous content and merchandise industry with hundreds of millions of dollars in revenue. Images of its biomechanical Eva robots are on everything from coffee mugs to smartphones and even airplane wraps.

— Tim Hornyak, CNET (July 16, 2013)^[201]

The popularity of Neon Genesis Evangelion extends to its merchandising, which exceeded $400 million within two years of its release.^[74] The series has established itself greatly on the Japanese market, developing a varied range of products for adult consumers, such as cell phones,^[253] laptop computers,^[254] many soundtracks, DVDs,^[255] action figures, telephone cards^[256] and an official set of Japanese coins.^[257]^[258] The stylized mecha design that would later earn praise for Evangelion was initially criticized by certain toy companies as being too difficult to manufacture,^[259] with some expressing concern that models of the Evangelion mecha «would never sell.»^[260] Eventually, Sega agreed to license all toy and video game sales.^[104] At the time of the release of the Japanese film Death & Rebirth and The End of Evangelion, estimated sales of Evangelion merchandise topped $300 million,^[256] of which 70% derived from sales of video and laser discs,^[261] soundtrack CDs, single CDs, computer software and the three-volume manga.^[256]^[262] Multiple merchandising products were released during the Renewal Project, such as CDs, video games, cel-art illustrations and collectible models.^[121]

The commercial exploitation of the series for the home video market achieved record sales and remained strong over a decade later.^[263] The fame of the show has grown through home video sales, which exceeded two or three times the sales of other contemporary anime series and films.^[264] According to anime critic Guido Tavassi, the series contributed significantly to the spread of the DVD format in Japan and generated a considerable impact on the Japanese economy, calculated in billions of yen.^[264] In 2006, Matt Greenfield stated that the franchise had earned over $2 billion.^[265] A 2007 estimate placed total sales of 6,000 related goods at over ¥150 billion.^[266]^[267] By 2015, more than two million Evangelion pachinko and pachislot machines had been sold, generating ¥700 billion in revenue.^[268]

ReferencesEdit

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BibliographyEdit

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External linksEdit

Official websitesEdit

Neon Genesis Evangelion—Gainax official Evangelion page (in Japanese)
Madman Entertainment Evangelion page
新世紀エヴァンゲリオン—King Records Evangelion page (in Japanese)

Articles and informationEdit

Neon Genesis Evangelion at IMDb
Neon Genesis Evangelion (anime) at Anime News Network’s encyclopedia
Neon Genesis Evangelion at Curlie

Источник

新世紀エヴァンゲリオン (Shin Seiki Evangerion)
Neon Genesis Evangelion

Genre	Apocalyptic^[1] Mecha^[2] Psychological drama^[3]
Anime television series
Directed by	Hideaki Anno Masayuki (assistant) Kazuya Tsurumaki (assistant)
Produced by	Noriko Kobayashi (TV Tokyo) Yutaka Sugiyama (NAS)
Written by	Hideaki Anno, et al
Music by	Shirō Sagisu
Studio	Gainax Tatsunoko
Licensed by	Netflix (worldwide streaming license) ^AU Madman Entertainment ^BI Anime Limited ^NA GKIDS
Original network	TV Tokyo
English network	^AU SBS TV ^BI Sci Fi ^NA Anime Network ^PH ABS-CBN ABC-5 ^UK Propeller TV ^US KTEH, Cartoon Network (Toonami), Adult Swim ^ZA Animax
Original run	October 4, 1995 – March 27, 1996
Episodes	26 (List of episodes)
Manga
Neon Genesis Evangelion (adaptation) Angelic Days Shinji Ikari Raising Project Campus Apocalypse Petit Eva: Evangelion@School
Light novel
Neon Genesis Evangelion: ANIMA
Anime films
Revival of Evangelion Death & Rebirth (1997) The End of Evangelion (1997) Rebuild of Evangelion 1.0 You Are (Not) Alone. (2007) 2.0 You Can (Not) Advance. (2009) 3.0 You Can (Not) Redo. (2012) 3.0+1.0 Thrice Upon a Time (2021)

Plot[edit]

Characters[edit]

The cast of Neon Genesis Evangelion as depicted on the Japanese «Genesis» (volume) 14 laserdisc and VHS cover

Production[edit]

Themes[edit]

The cross-shaped explosion caused by the destruction of the third Angel exemplifies the use of Christian imagery in Evangelion.

[edit]

Films[edit]

Manga and books[edit]

Soundtracks and music[edit]

Video games[edit]

Releases[edit]

Japan[edit]

Cover for the Blu-ray box set in Japan

ADV Films[edit]

Madman Anime[edit]

Netflix[edit]

Anime Limited and GKIDS[edit]

Reception[edit]

Even fans of the sci-fi genre who avoid anime altogether have likely heard of Cowboy Bebop and Ghost in the Shell, which were each landmarks of both style and substance. But arguably the greatest and certainly most thematically dense of the three ’90s sci-fi anime masterpieces is Neon Genesis Evangelion. It has one of the most enduring worldwide cult franchises and passionate fanbases in all of geekdom […] the most celebrated cast in anime [… and] poster boy/protagonist Shinji is one of the most nuanced, popular, and relatable characters in anime history.

— Nick Verboon, Unreality Mag (June 13, 2013)^[156]

Awards[edit]

Influence and legacy[edit]

Two cosplayers portraying Asuka Langley Soryu and Rei Ayanami. The franchise has been credited as a conduit for making cosplay a worldwide phenomenon.^[207]

Merchandising[edit]

In Japan, Evangelion is an enormous content and merchandise industry with hundreds of millions of dollars in revenue. Images of its biomechanical Eva robots are on everything from coffee mugs to smartphones and even airplane wraps.

— Tim Hornyak, CNET (July 16, 2013)^[201]

References[edit]

Citations[edit]

^ Creamer, Nick (July 10, 2019). «Neon Genesis Evangelion – Review». Anime News Network. Archived from the original on September 9, 2019. Retrieved February 23, 2020.
^ «Neon Genesis Evangelion Platinum Complete Collection». ADV Films. Archived from the original on June 8, 2007. Retrieved June 25, 2018.
^ Loo, Egan (September 8, 2007). «Human-Sized Eva Spear Auctioned for 13.7 Million Yen». Anime News Network. Archived from the original on July 22, 2018. Retrieved July 22, 2018.
^ Cavallaro 2007, p. 54:«The original title for the series, Shinseiki Evangelion, is composed of two parts: the Japanese compound Shinseiki, which means «new era» or «new generation,» and the Greek word Evangelion, which literally means «good news» […] and has subsequently come to also mean «gospel.» The English title Neon Genesis Evangelion, originally chosen by Gainax, consists of the Greek words neon, the neuter form of the word neos (= «new» or «young»), genesis (= «origin,» «source» or «birth, race») and evangelion».
^ ^a ^b Haslem, Ndalianis & Mackie 2007, p. 113.
^ «Neon Genesis Evangelion: 10 Undeniable Ways That It Changed Mecha Anime Forever». CBR. January 27, 2020. Archived from the original on March 29, 2020. Retrieved April 7, 2020.
^ Fujie & Foster 2004, pp. 147–160.
^ Kosukegawa, Yoichi (May 8, 1997). «Cartoon ‘Eva’ captures sense of void among Japanese youth». Japan Economic Newswire. In the September 1996 issue of the Quick Japan information magazine, Hideaki Anno, the director of Evangelion, described Eva as a ‘personal film,’ each character reflecting part of his own personality.
^ ^a ^b Napier 2002, p. 425.
^ Miller 2012, p. 85.
^ Ishikawa 2007, p. 76.
^ ^a ^b ^c Sadamoto, Yoshiyuki (December 1998) [1995]. «What were we trying to make here?». Neon Genesis Evangelion, Vol. 1. Essay by Hideaki Anno; translated by Mari Morimoto, English adaptation by Fred Burke. San Francisco: VIZ Media LLC. pp. 170–171. ISBN 1-56931-294-X.
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^ Evangelion Chronicle (in Japanese). Vol. 4. Sony Magazines. pp. 5–8.
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Bibliography[edit]

Azuma, Hiroki (2009). Otaku: Japan’s Database Animals. University of Minnesota Press. ISBN 978-0-8166-5351-5.
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Cavallaro, Dani (2009). The art of Studio Gainax: experimentation, style and innovation at the leading edge of anime. McFarland & Co. ISBN 978-0-7864-3376-6.
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Fujie, Kazuhisa; Foster, Martin (2004). Neon Genesis Evangelion: The Unofficial Guide. United States: DH Publishing, Inc. ISBN 0-9745961-4-0.
Haslem, Wendy; Ndalianis, Angelaa; Mackie, Chris (2007). Super/Heroes: From Hercules to Superman. New Academia Publishing. ISBN 978-0-9777908-4-5.
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External links[edit]

Official websites[edit]

Neon Genesis Evangelion—Gainax official Evangelion page (in Japanese)
Madman Entertainment Evangelion page
新世紀エヴァンゲリオン—King Records Evangelion page (in Japanese)

Articles and information[edit]

Neon Genesis Evangelion at IMDb
Neon Genesis Evangelion (anime) at Anime News Network’s encyclopedia
Neon Genesis Evangelion at Curlie

Источник

新世紀エヴァンゲリオン (Shin Seiki Evangerion)
Neon Genesis Evangelion

Genre	Apocalyptic^[1] Mecha^[2] Psychological drama^[3]
Anime television series
Directed by	Hideaki Anno Masayuki (assistant) Kazuya Tsurumaki (assistant)
Produced by	Noriko Kobayashi (TV Tokyo) Yutaka Sugiyama (NAS)
Written by	Hideaki Anno, et al
Music by	Shirō Sagisu
Studio	Gainax Tatsunoko
Licensed by	Netflix (worldwide streaming license) ^AU Madman Entertainment ^BI Anime Limited ^NA GKIDS
Original network	TV Tokyo
English network	^AU SBS TV ^BI Sci Fi ^NA Anime Network ^PH ABS-CBN ABC-5 ^UK Propeller TV ^US KTEH, Cartoon Network (Toonami), Adult Swim ^ZA Animax
Original run	October 4, 1995 – March 27, 1996
Episodes	26 (List of episodes)
Manga
Neon Genesis Evangelion (adaptation) Angelic Days Shinji Ikari Raising Project Campus Apocalypse Petit Eva: Evangelion@School
Light novel
Neon Genesis Evangelion: ANIMA
Anime films
Revival of Evangelion Death & Rebirth (1997) The End of Evangelion (1997) Rebuild of Evangelion 1.0 You Are (Not) Alone. (2007) 2.0 You Can (Not) Advance. (2009) 3.0 You Can (Not) Redo. (2012) 3.0+1.0 Thrice Upon a Time (2021)

Plot[edit]

Characters[edit]

The cast of Neon Genesis Evangelion as depicted on the Japanese «Genesis» (volume) 14 laserdisc and VHS cover

Production[edit]

Themes[edit]

The cross-shaped explosion caused by the destruction of the third Angel exemplifies the use of Christian imagery in Evangelion.

[edit]

Films[edit]

Manga and books[edit]

Soundtracks and music[edit]

Video games[edit]

Releases[edit]

Japan[edit]

Cover for the Blu-ray box set in Japan

ADV Films[edit]

Madman Anime[edit]

Netflix[edit]

Anime Limited and GKIDS[edit]

Reception[edit]

Even fans of the sci-fi genre who avoid anime altogether have likely heard of Cowboy Bebop and Ghost in the Shell, which were each landmarks of both style and substance. But arguably the greatest and certainly most thematically dense of the three ’90s sci-fi anime masterpieces is Neon Genesis Evangelion. It has one of the most enduring worldwide cult franchises and passionate fanbases in all of geekdom […] the most celebrated cast in anime [… and] poster boy/protagonist Shinji is one of the most nuanced, popular, and relatable characters in anime history.

— Nick Verboon, Unreality Mag (June 13, 2013)^[156]

Awards[edit]

Influence and legacy[edit]

Two cosplayers portraying Asuka Langley Soryu and Rei Ayanami. The franchise has been credited as a conduit for making cosplay a worldwide phenomenon.^[207]

Merchandising[edit]

In Japan, Evangelion is an enormous content and merchandise industry with hundreds of millions of dollars in revenue. Images of its biomechanical Eva robots are on everything from coffee mugs to smartphones and even airplane wraps.

— Tim Hornyak, CNET (July 16, 2013)^[201]

References[edit]

Citations[edit]

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External links[edit]

Official websites[edit]

Neon Genesis Evangelion—Gainax official Evangelion page (in Japanese)
Madman Entertainment Evangelion page
新世紀エヴァンゲリオン—King Records Evangelion page (in Japanese)

Articles and information[edit]

Neon Genesis Evangelion at IMDb
Neon Genesis Evangelion (anime) at Anime News Network’s encyclopedia
Neon Genesis Evangelion at Curlie

Источник

«И ходил Иисус по всей Галилее, уча в синагогах их и проповедуя Евангелие Царствия… » (Ев. от Матфея 9:35) — «And Jesus went about all Galilee teaching in their synagogues and preaching the gospel of the kingdom»

2) the Book of the Gospels, the Gospel(s), the Gospel Book, the Christian volume, устар. Evangely; the Evangel; evangelistary

апокрифическое Евангелие Никодима, Евангелие от Никодима — the gospel of Nicodemus

Евангелие от Иоанна, «От Иоанна святое Благовествование» — the Gospel According to St. John

«Евангелие от Луки», «От Луки святое Благовествование» — the Gospel According to St. Luke

«Евангелие от Марка», «От Марка святое Благовествование» — the Gospel According to St. Mark, St. Mark’s Gospel, the Evangel of St. Mark

Евангелие от Матфея, «От Матфея святое Благовествование» — the Gospel According to St. Matthew, the Evangel of St. Matthew

Евангелие, украшенное цветными рисунками — the illuminated Gospel

напрестольное Евангелие (текст первых четырёх книг Нового Завета и расписание евангельских богослужебных чтений, отпечатанные большим форматом и изданные одной книгой; находится на престоле на антиминсе) — the Evangelion, the Evangelastry, the liturgical [altar] Gospel, греч. Tetraevangelio, Evangelistarium, Evangelistarion

отрывок из Евангелия, зачитываемый во время богослужения , катол. — the (Holy) Gospel, the Gospel for the Day

Источник

Морфемный разбор слова:

Однокоренные слова к слову:

evangelion

1 evangelion

См. также в других словарях:

Evangelion — Studioalbum von Behemoth Veröffentlichung 7. August 2009 (Europa) 11. August 2009 (USA) Aufnahme 16. Februar 2009 – Mai 2009 bei Radio Gdań … Deutsch Wikipedia

Evangelion: 3.0 — Saltar a navegación, búsqueda Evangelion 3.0 : Quickening (ヱヴァンゲリヲン新劇場版：急, Evangelion Shin Gekijōban: Kyū?) es la tercera de una serie de 4 películas el cual se va a narrar de nuevo la historia del anime Neon Genesis Evangelion anunciada por … Wikipedia Español

Evangelion:2.22 — Filmdaten Deutscher Titel Evangelion:2.22 – You can (not) advance. Originaltitel Evangelion Shin Gekijōban: Ha … Deutsch Wikipedia

Evangelion:1.01 — Filmdaten Deutscher Titel Evangelion:1.01 – You are (not) alone. Originaltitel Evangerion Shin Gekijōban: Jo … Deutsch Wikipedia

Evangelion — Cette page d’homonymie répertorie les différents sujets et articles partageant un même nom. Evangelion peut faire référence à : Evangelion, un album du groupe de black death metal Behemoth paru en 2009 Neon Genesis Evangelion, un anime… … Wikipédia en Français

Evangelion — Evangelium or Evangelion may refer to *Good news (Christianity) *any Gospel *a Gospel Bookin popular culture: * Neon Genesis Evangelionee also*List of Gospels *Evangelicalism … Wikipedia

Evangelion — … Википедия

evangelion — evan·ge·lion … English syllables

evangelion — ˌeˌväŋˈgyelyȯn noun ( s) Etymology: Late Greek euangelion, from Greek, good news, gospel more at evangel 1. Eastern Church : evangelistary 2 … Useful english dictionary

Evangelion: 1.0 You Are (Not) Alone — Japanese movie poster Kanji ヱヴァンゲリヲン新劇場版: 序 Rōmaji … Wikipedia

Evangelion: 2.0 You Can (Not) Advance — Evangelion 2 redirects here. For the 2003 video game, see Shinseiki Evangelion 2: Evangelions. Evangelion: 2.0 You Can (Not) Advance The Japanese film poster is nearly identical to that of the first film but adds Asuka and Mari to the artwork … Wikipedia

Источник

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Источник

For other uses, see Evangelion (disambiguation).

Neon Genesis Evangelion (新世紀エヴァンゲリオン[?], «Shin Seiki Evangerion«, lit. New Century Evangelion), commonly referred to as Evangelion, is a Japanese anime series, created by Gainax, that began in October 1995. The anime was written and directed by Hideaki Anno, and co-produced by TV Tokyo and Nihon Ad Systems (NAS). It gained international renown and won several animation awards, and was the start of the Neon Genesis Evangelion series.

The name Shin Seiki Evangerion translates directly as «New Century Evangelion» or «New Era Evangelion». The term «Evangelion» is in relation to the ancient Greek term for «good messenger» or «good news». The name was chosen in part for its religious symbolism, as well as for the fact that Hideaki Anno said he liked the word «Evangelion» because it «sound[ed] complicated».

The Evangelion series revolves around the organization NERV, using large mechas called Evangelions to combat monstrous beings called Angels. They are piloted by several of the main characters, including Shinji Ikari, Asuka Sohryu, and Rei Ayanami. While the initial episodes focus largely on religious symbols and specific references to the Bible, the later episodes tend to go deeper into the psyches of the characters, where it is learned that many of them have deep-seated emotional and mental issues. Through the exploration of these issues, the show begins to question reality and the existences therein. Much of the series’s content was based on Hideaki Anno’s own clinical depression.^[1]

Plot

See also: Episode:Index

Setting

The story of Neon Genesis Evangelion primarily begins in 2000 with the «Second Impact», a global cataclysm which almost completely destroyed Antarctica and led to the deaths of half the human population of Earth. The Impact is believed by the public at large and even most of NERV to have been the impact of a meteorite landing in Antarctica, causing devastating tsunamis and a change in the Earth’s axial tilt (leading to global climate change) and subsequent geopolitical unrest, nuclear war (such as the nuking of Tokyo), and general economic distress. Later, Second Impact is revealed to be the result of contact with and experimentation on the first of what are collectively dubbed the Angels: Adam. The experiments were sponsored by the mysterious organization SEELE, and carried out by the research organization Gehirn.

In the year 2010, Gehirn had accomplished a number of its scientific and engineering goals and corporately changed into the paramilitary organization NERV which is headquartered in Tokyo-3, a militarized civilian city located on one of the last dry sections of Japan; NERV’s central mission is to locate the remaining Angels predicted by SEELE, and to destroy them. However, NERV has its own secret agenda, as directed by its Machiavellian commander Gendo Ikari: the Human Instrumentality Project, which, according to Gendo in episode 25, is the task of uniting all human minds into one global spiritual entity. Associated with NERV is the Marduk Institute, which has the task of selecting the pilots for the Evas, the most capable being children conceived after the Second Impact (14 year-olds). The institute consists of Commander Ikari, and NERV’s chief scientist Ritsuko Akagi; supporting the two are 108 companies which are all revealed to be ghost companies.

Story

As the first episode opens in the year 2015, Tokyo-3 is being attacked by the third Angel. Conventional weapons prove ineffective, largely due to its projected force field called an AT Field. NERV takes command of the battles, and is able to intercept and defeat the Angels using the Evangelions, biomechanical mecha previously developed in secret by Gehirn inside the underground GeoFront; the Geofront is located underneath Tokyo-3.

Not knowing why his father summoned him, Shinji Ikari, a 14-year-old boy arrives in Tokyo-3 just as the Third Angel attacks the city. Shinji reluctantly agrees to join NERV to pilot Evangelion Unit-01, and begins living with Captain Misato Katsuragi. He and Rei Ayanami battle the successive advances of the Angels together and are later joined by Asuka Langley Soryu, the pilot of Unit-02.

Each Eva has its own designated pilot (Unit-00–Rei, Unit-01–Shinji, Unit-02–Asuka, and subsequently Unit-03–Toji Suzuhara), and operates by synchronizing the pilot’s soul and the human soul inside the Eva via the enigmatic liquid substance known as LCL. Surrounded by LCL, the pilot’s nervous system, mind, and body join with the Eva’s controls, allowing the Eva to be controlled by the pilot’s thoughts and actions. The higher a pilot’s synchronization ratio, the better the pilot can control the Eva and fight more adeptly.

While Ritsuko mentions at the series’ beginning that the Evas do have some biological components to them, the extent of this is not immediately apparent. Unit-01 is connected to Yui Ikari, Gendo’s wife, and Shinji’s mother, since it absorbed her body and soul in a failed experiment, as shown in episodes 16 and 20. Rei herself is suspected to be a partial clone of Yui, and is known to harbor the soul of Lilith, the second Angel.^[2]

The Eva Unit-02 landing on the missile destroyer USS Ramage

It is finally revealed, towards the end of the series, that the Evas are not really «robots» but are actually cloned Angels (Units 00, 02, 03, and 04 are made from Adam, and 01 is made from Lilith) onto which mechanical components are incorporated as a means of restraint and control. This control is not perfect, as various units are shown over the course of the series driving into «berserker» mode, in which they can act of their own will, independent of any artificial power input.

Along with the battles against the Angels, the central characters struggle to overcome their personal issues and personality conflicts, which factor heavily into the events of the series and its eventual conclusion. Throughout the series, many of the main characters constantly have to cope with several social and emotional problems: characters are unwillingly forced to confront socially complex and challenging situations; unresolved sexual tensions grow between numerous characters; injuries, deaths, and defeats cause blows to their psyches; and previously steady relationships begin to falter.

Over the final months of 2015, the characters begin to learn of the true plan of NERV and SEELE, the Human Instrumentality Project. Its purpose is to force the completion of human evolution, and thereby save it from destroying itself. To do so, they plan to break down the AT fields that separate individual humans, and in doing so, reducing all humans to LCL, which is revealed to be the «primordial soup», the fundamental composite of human beings. All LCL would then be united into a supreme being, the next stage of humanity, ending all conflict, loneliness and pain brought about by individual existence. At the end of the series, SEELE and NERV come into direct conflict over the implementation of Instrumentality.

In the last two episodes (the second set in 2016), Gendo and Rei initiate the Human Instrumentality Project, forcing several characters (especially Shinji^[3]) to face their doubts and fears and examine their self-worth, with sequences that «suggest animated schizophrenia».^[4] This ending was made up of flashbacks, sketchy artwork, and flashing text «over a montage of bleak visuals, that include black and white photos of desolate urban motifs such as a riderless bicycle or vacant park benches interspersed with graphic stills of the devastated NERV headquarters in which Shinji’s colleagues are seen as bloodstained bodies»,^[5] and a brief interlude depicting an «alternate» Evangelion universe with the same characters but apparently in the high school comedy genre, eventually seems to depict Shinji concluding that life could be worth living and that he did not need to pilot an Eva to justify his existence; he is then surrounded by most of the cast, clapping and congratulating him. The introduction implies that this same process took place for everyone.

Characters

The cast of Neon Genesis Evangelion

Main article: Characters

Character Name	Kana	Role	Episodes
Shinji Ikari	碇シンジ	Protagonist	28
Asuka Sohryu	惣流アスカ	Protagonist	20
Misato Katsuragi	葛城ミサト	Protagonist	27
Gendo Ikari	碇ゲンドウ	Protagonist, Antagonist	28
Rei Ayanami	綾波レイ	Protagonist	28
Ritsuko Akagi	赤木リツコ	Supporting character	27
Tōji Suzuhara	鈴原トウジ	Supporting character	13
Kensuke Aida	相田ケンスケ	Minor character	14
Kaworu Nagisa	渚カヲル	Supporting character	2
Kōzō Fuyutsuki	冬月コウゾウ	Minor character	28
Keel Lorenz	キールローレンツ	Antagonist	??
Hikari Horaki	洞木ヒカリ	Minor character	??
Pen Pen	N/A	Minor character	??

Origin and production

Honnêamise sequel

In March 1992, Gainax had begun planning and production of an anime movie called Aoki Uru, which was to be a sequel to Oritsu Uchugun set 50 years later (so as to be easier to pitch to investors^[6]) which, like Oritsu, would follow a group of fighter pilots. Production would eventually cease in July 1993: a full-length anime movie was just beyond Gainax’s financial ability – many of its core businesses were shutting down or producing minimal amounts of money:

«General Products had closed shop. We’d pulled out of Wonder Festival [a «flea market for garage kits»] and garage kit making altogether. We weren’t taking on any subcontracting work for anime production. We did continue to make PC games – Akai had seen to that – but there wasn’t a lot of work tossed our way. With mere pennies coming in, we were having a hard enough time just paying everyone’s salaries. Finally the order came down for us to halt production on Aoki Uru. We were simply incapable of taking the project any further.»^[7]

Anno’s personal biography describes this period:

«In 1991, Anno spent many unproductive days as a result of his inability to mentally distance himself from the Nadia series even after the broadcast had ended. He would work out numerous plans and projects, both on his own initiative and in collaboration with others, but they all fell through, and in the end, Anno’s idle days were dotted with projects that he imploded by design. In the midst of all this, one project, a feature film entitled Blue Uru, finally took shape and animation production began, only to be shut down due to circumstances beyond his control.»^[8]

Evangelion pre-release

With the failure of the project, Anno, who had been slated from the beginning to direct Aoki Uru, was freed up. Legendarily, he would soon agree to a collaboration between King Records and Gainax while drinking with Toshimichi Ōtsuki, a representative at King;^[9] with King Records guaranteeing a time slot for «something, anything»,^[8] Anno set about actually making the anime. Unsurprisingly, elements of Aoki Uru were incorporated into the nascent Evangelion:

«One of the key themes in Aoki Uru had been «not running away.» In the story, the main character is faced with the daunting task of saving the heroine … He ran away from something in the past, so he decides that this time he will stand his ground. The same theme was carried over into Evangelion, but I think it was something more than just transposing one show’s theme onto another …»^[10]

The original early plotline for Evangelion remained relatively stable through development, although later episodes appear to have changed dramatically from the fluid and uncertain early conceptions; for example, originally there were 28 Angels and not 17, and the climax would deal with the defeat of the final 12 Angels and not with the operation of the Human Instrumentality Project. As well, Kaworu Nagisa’s initial design was a schoolboy who could switch to an «Angel form», accompanied by a pet cat.^[11]

Production was by no means placid. Sadamoto’s authorship of the manga (Neon Genesis Evangelion) caused problems as multiple publishers felt «that he was too passé to be bankable»;^[12] the stylized mecha design that Evangelion would later be praised for was initially deprecated by some of the possible sponsors of a mecha anime (toy companies) as being too difficult to manufacture (possibly on purpose),^[13] and that models of the Evangelions «would never sell.»^[14] Eventually, Sega agreed to license all toy and video game sales.

Airing

After several episodes were produced, Evangelion began to be shown: the first episode aired 4 October 1995, long after originally planned. Initially ignored (although received positively by those Gainax fans invited to early screenings), viewership grew slowly and largely by word of mouth.

Episode 16 marked a distinct shift that would characterize the second half of Evangelion as being more psychological than action or adventure.^[15] This change in emphasis was partly due to the development of the story, but also partly because by this point, production had begun running out of funding and failing to meet the schedule; this collapse has been identified by at least one Gainax employee as the impetus for Evangelion‘s turn into metafiction:

I didn’t mind it. The schedule was an utter disaster and the number of cels plummeted, so there were some places where unfortunately the quality suffered. However, the tension of the staff as we all became more desperate and frenzied certainly showed up in the film … About the time that the production system was completely falling apart, there were some opinions to the effect that, «If we can’t do satisfactory work, then what’s the point of continuing?» However, I didn’t feel that way. My opinion was, «Why don’t we show them the entire process including our breakdown.»^[16]

(In general, the animation^[17] and dub,^[18] as well as the character design, have often been praised.^[19]^[20]^[21]^[22])

But nevertheless, by Episode 18, it had become enough of a sensation that Unit-01’s violent rampage «is criticized as being unsuitable on an anime show that is viewed by children», and Episode 20 would be similarly criticized for the offscreen depiction of Misato and Ryoji having sex.^[23] With this popularity came the first merchandise, «Genesis 0:1» (containing the first two episodes). Beginning a trend, it sold out. As the series concluded on 27 March 1996 with «Take care of yourself.», the story apparently remained unresolved: Third Impact and the Human Instrumentality Project are implied to have begun or even finished, but the episodes focus largely on the psychology of the characters, leaving deeply unclear what actually happens.

The radically different and experimental style of the final two episodes confused^[24] or alienated many fans^[25] and spawned debate and analysis, both scholarly and informal, and accusations of meaninglessness;^[26] even mainstream publications like the Mainichi Times would remark that «When Episode 25 first aired the following week, nearly all viewers felt betrayed…when commentator Eiji Ōtsuka sent a letter to the Yomiuri Shimbun, complaining about the end of the Evangelion series, the debate went nationwide.»^[27] (It is worth noting that the ending received such coverage in part because Evangelion had attracted viewers not typically interested in such fare; the TV series was extremely popular.^[28]^[29]) After the end of the series, Anno ‘broke down’^[8] and delayed the upcoming films.

The series enjoyed incredible popularity among its fan base. In 1995, the series won first place in the reader-polled «Best Loved Series» category of the Anime Grand Prix, a reader-polled award series published in Animage magazine. The series was once again awarded this prize in 1996, receiving 2,853 votes, compared to the second-place show (which was unmentioned) with only 903 votes. The End of Evangelion would win first place in 1997, allowing Neon Genesis Evangelion to be the first anime franchise to win three consecutive first-place awards. This feat would not be duplicated again for several years, until Code Geass won the 2006, 2007, and 2008 awards. «Zankoku na Tenshi no These» won the Song category in 1995 & 1996; «The Beginning and the End, or «Knockin’ on Heaven’s Door»» won the 1996 Episode category; and Rei Ayanami won in the Female Character category in 1995 and 1996 (followed by Shinji Ikari winning in the Male Character category in 1996 and 1997), contributing to Megumi Hayashibara’s 1995-1997 wins in the Seiyuu category (and until 2001 for other series). In 1998, EX.org’s readers voted it the #1 US release^[30] and in 1999, the #2 show of all time.^[31]

In response to the backlash by fans against the nature of the series finale, Anno made several controversial comments in the months following the series conclusion, and preceding the release of The End of Evangelion. Anno commented in various interviews after the conclusion of the series that «anime fans need to have more self-respect» and to «come back to reality»; in a Newtype interview on 10 May, after the announcement on 26 April of a new movie and re-edited versions of the TV series, he also stated that «computer networking is graffiti on toilet walls.»^[23] These statements were even more controversial.

Episode List Staff

Neon Genesis Evangelion Episodes Staff List

Episode	Screenplay	Storyboard	Director	Animation Director	Airing Date
Opening	—	Hideaki Anno	Kazuya Tsurumaki	—	—
Episode:01	Hideaki Anno	Hideaki Anno Masayuki	Kazuya Tsurumaki	Shunji Suzuki	October 4, 1995
Episode:02	Hideaki Anno Yōji Enokido	Hideaki Anno Masayuki	Kazuya Tsurumaki	Takeshi Honda	October 11, 1995
Episode:03	Hideaki Anno Akio Satsukawa	Kazuya Tsurumaki Hiroyuki Ishidō	Hiroyuki Ishidō	Nobuhiro Hosoi	October 18, 1995
Episode:04	Akio Satsukawa	Jun’ichi Satō	Tsuyoshi Kaga	Satoshi Shigeta	October 25, 1995
Episode:05	Hideaki Anno Akio Satsukawa	Jun’ichi Satō	Keiichi Sugiyama	Shunji Suzuki	November 1, 1995
Episode:06	Hideaki Anno Akio Satsukawa	Masayuki	Hiroyuki Ishidō	Nobuhiro Hosoi	November 8, 1995
Episode:07	Hideaki Anno Yōji Enokido	Keiichi Sugiyama Hideaki Anno	Keiichi Sugiyama	Shunji Suzuki	November 15, 1995
Episode:08	Hideaki Anno Yōji Enokido	Shinji Higuchi	Kazuya Tsurumaki	Takeshi Honda	November 22, 1995
Episode:09	Hideaki Anno Akio Satsukawa	Shinji Higuchi	Seiji Mizushima	Shinya Hasegawa	November 29, 1995
Episode:10	Hideaki Anno Akio Satsukawa	Tsuyoshi Kaga Hideaki Anno	Tsuyoshi Kaga Hiroyuki Ishidō	Satoshi Shigeta	December 6, 1995
Episode:11	Hideaki Anno Yōji Enokido	Masayuki	Tetsuya Watanabe	Toshio Kawaguchi	December 13, 1995
Episode:12	Hideaki Anno Akio Satsukawa	Masayuki	Hiroyuki Ishidō	Satoshi Shigeta	December 20, 1995
Episode:13	Hideaki Anno Mitsuo Iso	Tensai Okamura	Tensai Okamura	Kazuchika Kise	December 27, 1995
Episode:14	Hideaki Anno	Hideaki Anno	Masahiko Ōtsuka Ken Andō	Kazuya Tsurumaki	January 3, 1996
Episode:15	Hideaki Anno Akio Satsukawa	Jun’ichi Satō	Naoyasu Habu	Shunji Suzuki	January 10, 1996
Episode:16	Hideaki Anno Hiroshi Yamaguchi	Kazuya Tsurumaki	Kazuya Tsurumaki	Shinya Hasegawae	January 17, 1996
Episode:17	Hideaki Anno Shinji Higuchi	Akira Oguro	Minoru Ōhara	Tomonori Kogawa	January 24, 1996
Episode:18	Hideaki Anno Shinji Higuchi	Tensai Okamura	Tensai Okamura	Kazuchika Kise	January 31, 1996
Episode:19	Hideaki Anno Akio Satsukawa	Masayuki	Masayuki	Takeshi Honda	February 7, 1996
Episode:20	Hideaki Anno	Kazuya Tsurumaki Hideaki Anno	Masahiko Ōtsuka	Kazuya Tsurumaki	February 14, 1996
Episode:21	Hideaki Anno Akio Satsukawa	Jun’ichi Satō	Hiroyuki Ishidō (TV) Masahiko Ōtsuka Shunji Suzuki (DC)	Satoshi Shigeta	February 21, 1996
Episode:22	Hideaki Anno Hiroshi Yamaguchi	Kazuya Tsurumaki	Akira Takamura (TV) Kazuya Tsurumaki (DC)	Kazuya Tsurumaki Yoshiyuki Sadamoto Tomonori Kogawa	February 28, 1996
Episode:23	Hideaki Anno Hiroshi Yamaguchi	Kazuya Tsurumaki Hideaki Anno	Shōichi Masuo	Shunji Suzuki	March 6, 1996
Episode:24	Hideaki Anno Akio Satsukawa	Masayuki	Masayuki	Masayuki	March 13, 1996
Episode:25	Hideaki Anno	Kazuya Tsurumaki Hideaki Anno	Kazuya Tsurumaki	—	March 20, 1996
Episode:26	Hideaki Anno	Masayuki Kazuya Tsurumaki Hideaki Anno	Masayuki Kazuya Tsurumaki	—	March 27, 1996

^[32]

Video Releases

The series and its films has had many home video releases, like Laserdisc, VHS, DVD, Blu-ray and streaming.

VHS Release

Neon Genesis Evangelion was released on a series of 17 tapes from February 3, 1996 to December 23, 1998. Each tape generally contained 2 episodes of the show, with The End of Evangelion split between two releases and edited to resemble episodes. Each tape was named Genesis 0:1 — 0:14, with the last tape, 0:X containing the TV versions of episodes 21-24. 0:X was only available through mail order with proof of purchase for every Genesis volume. The theatrical version of The End of Evangelion was released as part of a two tape box set alongside Death and Rebirth. Also included in each Genesis release was an «Eva Fan Club» sheet.

Title	Release date	Episodes
Genesis 0:1	February 3, 1996	1-2
Genesis 0:2	March 6, 1996	3-4
Genesis 0:3	April 5, 1996	5-6
Genesis 0:4	May 2, 1996	7-8
Genesis 0:5	June 5, 1996	9-10
Genesis 0:6	July 5, 1996	11-12
Genesis 0:7	August 7, 1996	13-14
Genesis 0:8	September 5, 1996	15-16
Genesis 0:9	October 2, 1996	17-18
Genesis 0:10	December 5, 1996	19-20
Genesis 0:11	February 4, 1998	21′-22′
Genesis 0:12	July 3, 1998	23′-24′
Genesis 0:13	August 12, 1998	25-25′
Genesis 0:14	September 9, 1998	26-26′
Genesis 0:X	1999	21-24
Theatrical Box Set	December 23, 1998	EoE, D&R

Laserdisc Release

The Laserdisc release was mostly identical to the VHS Genesis series. Each disc was CAV format with analog and digital stereo audio. The first pressing for volumes 1, 6, and 10 included boxes to hold the separate releases. The CLV format was used for Genesis 0:X and the episodic form of The End of Evangelion

90’s DVD release

Neon Genesis Evangelion was first released on DVD between July 19, 1997 and September 22, 1999.
Each volume contained 4 episodes, with a total of 8 releases. Volume 7 contained episodes 25-26 as well as the episodic version of The End of Evangelion. The theatrical edition of The End of Evangelion was released as a separate DVD alongside Death and Rebirth. Each DVD is 4:3 interlaced video, except for the movies, which are 16:9 progressive scan. The Theatrical Edition release is the only DVD to contain the real version of Rebirth.

Title	Release date	Episodes
Volume 1	July 19, 1997	1-4
Volume 2	August 21, 1997	5-8
Volume 3	September 26, 1997	9-12
Volume 4	October 22, 1997	13-16
Volume 5	December 22, 1997	17-20
Volume 6	November 27, 1998	21′-24′
Volume 7	January 22, 1999	25-26, 25′-26′
Theatrical Edition Set	September 22, 1999	D&R, EoE

Second Impact Box

The original DVD releases were collected in three box sets, each containing three DVDs. The third box also included the Girlfriend of Steel PC game, but removed the episodic version of The End of Evangelion from Volume 7. The cover art of each volume was changed for this release.^[33]

2003 Renewal DVD release

A new set of DVDs was later released as part of a Renewal of Evangelion campaign, which included a complete remastering of the audio and video from the original 16mm prints. The series was released on 10 DVDs, with each single containing 4 episodes. Volume 8 contains only episodes 25 and 26, but fills the remaining space with a 5.1 DVD audio version of 22 songs from the series. The films Death(true)² and The End of Evangelion were released as a two disc pack named The Feature Films: Neon Genesis Evangelion. This release was also remastered with DTS audio and sold as a separate DTS Collector’s Edition.

Title	Release date	Episodes
01 Test-Type	March 26, 2003	1
Volume 1	July 24, 2003	1-4
Volume 2	July 24, 2003	5-8
Volume 3	August 27, 2003	9-12
Volume 4	August 27, 2003	13-16
Volume 5	September 26, 2003	17-20
Volume 6	September 26, 2003	21-22, 21’-22’
Volume 7	October 22, 2003	23-24, 23’-24′
Volume 8	October 22, 2003	25-26
The Feature Film	November 27, 2003	D&R, EoE
The Feature Film DTS Collector’s Ed.	November 3, 2004	D&R, EoE

DVD-BOX

The Renewal singles were collected as an 11 disc box set and released on June 25, 2003. The set contained each episode of the show, as well as both films and the on-air cuts of 21-24. Also included was a bonus disc with the Genesis 0:0 and 0:0′ PVs and other trailers for the series. The bonus disc also included the cut live action sequence from The End of Evangelion. The 14 «Eva Fan Club» sheets from the Genesisr eleases were reprinted and included with this set.
The box was reprinted on April 23, 2007, shortly before the 2007 edition of the box set was released.

DVD-BOX ’07 Edition

A re-release of the 2003 Box Set’s material in a slimmer case. This version did not include the Eva Fan Club sheets. The set was released on August 1, 2007.

NTV Box Set

A special order box set from Nihon Terebi containing the 8 single Renewal volumes, the Test-Type DVD, and The Feature Films. The cases came in a slipcover with 3 separate holders, marked «Evangelion 00» through «Evangelion 02».

Re-releases

Following the series’s end, Hideaki Anno was dissatisfied as a result of time constraints, budget problems, and network censorship issues. When the series was finally released as a VHS set, the series was remastered and additional footage was provided in Episodes 21 through 24, and Episodes 25 and 26 were completely remade into Death and Rebirth. However, the original remastering was put somewhat aside to favor the movie, again in part due to budget constraints. Following this, Anno decided that Rebirth II should include some of the previous animations, and ended up being renamed The End of Evangelion. In 1998, the Evangelion films were released in their original intended form, without the extra scenes in the recap movie (Death(true)²) and with the full new ending.

In 2000, the «Second Impact Box» was released in 3 parts, containing Episode 26 uncut, as well as the remastered episodes and the 2 movies (also including Rebirth).

In 2003, the nine-volume «Renewal of Evangelion» DVDs were released, with the series’ sound and picture remastered for HD and 5.1 technology. The first eight volumes covered the original 26 episodes (with two versions of episodes 21-24: the uncut version and a reconstruction of the edited version). The ninth volume, containing two discs, named Evangelion: The Movie, contained Death(true)² and End of Evangelion. The Renewal release formed the basis for the western «Platinum Edition», which features slightly different English subtitles than the original VHS and DVD releases. The original dub of Episodes 25 and 26 were replaced with only the «Director’s Cut» dubs of these episodes.

Inspiration

Evangelion is filled with allusions to biological, military, religious, and psychological concepts, as well as numerous references or homages to older anime series (for example, the basic plot is seen in earlier anime like Space Battleship Yamato), a tendency which inspired the nickname for the series, the «remixed anime». Hideaki Anno’s use of Freudian psychoanalytical theory, as well as his allusions to religion and biology are often idiosyncratically used and redefined to carry his message. This tendency of Anno’s has been criticized as «total plagiarism» and «just more mindgames from the animation crew». However, Anno has defended himself by denying the possibility of really original work without borrowing in anime.

Anno’s original goal, which was arguably achieved, was to reinvigorate the anime genre and create a «new» anime. He has imbued many symbols and interesting perspectives into the series and individual episodes. A number of these symbols were noted on the English DVD commentary for Death and Rebirth and End of Evangelion.

Many of the characters share their names with Japanese warships from World War II (such as the Sōryū, Akagi, and Katsuragi; though the ship names and character names are written with different kanji, they share the same pronunciations). Other characters’ names refer to other works of fiction, such as the two characters named after the protagonists of Ryu Murakami’s Ai to Genso no Fascism («Fascism in Love and Fantasy»; the two main characters are named Aida Kensuke and Suzuhara Toji; Anno later directed a Murakami adaptation, Love & Pop).

Psychoanalysis

Evangelion is often considered a deeply personal expression of Hideaki Anno’s personal struggles.^[1] From the start, Evangelion invokes many psychological themes. Oftentimes, titles of episodes, titles of music used in the series, and other repeated phrases are based on psychological concepts such as those of Sigmund Freud and Jacques Lacan. Some such phrases include «Thanatos», «oral stage», «separation anxiety», and «mother is the first other» (based on Freud’s idea of the Oedipus complex).

The episodes also seem laden with some deeper psychological concepts. Some have speculated on the significance of the descent into the GeoFront in Tokyo-3 as being related to a «dive into the unconscious». Additionally, the Evas’ connection with their pilots could be deciphered as a psychological connection and conflict. As the series progresses, the hedgehog’s dilemma is mentioned, referring to humans’ inability to get close to each other without causing pain to one another; this term is used to related directly to Shinji Ikari, but applies to other characters in the series as well.

Beyond Freud and Lacan, elements of Gestalt therapy are laden throughout the series. This theory is directly referenced in Episode 15, when the concepts of homeostasis and transistasis are mentioned. Furthermore, Episode 19 is titled «Introjection», a Gestalt term for a mechanism in the human brain designed to process experiences.

The characters in the series seem to extend deep psychological traumas, oftentimes in relationship with their parents. Shinji, a classic case of introversion and social anxiety, seems to get his psychological traits from the loss of his mother at such an early age, coupled with the perception of his father abandoning him. Asuka, a victim of her mother’s insanity, found her mother after she committed suicide, which led to her hardened exterior personality and satisfaction from piloting the Evas. Like Shinji, Misato experienced neglect from her father; in Episode 25, Misato mentions that Ryoji Kaji reminds her of her father, which has led to an ambivalent feeling toward him. A display of further conflict is seen from Ritsuko, who, after seeing her mother having an affair with Gendo, is simultaneously attracted and spiteful toward him.

To further the psychological prevalence in the final two episodes, they are stripped of their colorful visuals and shot with muted tones as Shinji is heard asking himself deep, brooding psychological questions. In these two episodes, Shinji and Asuka both display the fact that they experienced similar pasts; Shinji, however, claims he has no life without the Evas, though this is later disproved in the final scene of Episode 26.

Religion

NERV’s logo featuring half a fig leaf

The destruction of an Angel causes an cross-shaped explosion, representing a Christian icon.

The themes in Evangelion are often drawn from religious symbols, such as from Judaism, Christianity, Gnosticism, and Kabbalism. Hidaeki Anno has said that, in this work of science fiction, one of the main goals of Gainax was to examine the nature of philosophy and religion, and to bring forth questions about god.^[34]

Kazuya Tsurumaki, a recurring assistant director, has stated that they chose to use religious symbolism simply to set themselves apart from other shows featuring giant mechas, and that it didn’t have any prominent meaning beyond this.^[35] Gainax’s PR department head, Hiroki Sato and former president Toshio Okada have made similar statements.^[36]

There are several individual religious references seen throughout the series.

The Christian cross is shown often, many times as the result of large explosions (particularly those of the Angels).
The Angels themselves are a reference to the angels of God, particularly from the Old Testament.
The names of the Magi supercomputers, as well as «Magi» itself, are references to the Biblical Magi.
The Tree of Life of Kabbalism is mentioned.
The Marduk Institute is the name of the chief deity from Babylonian mythos.

Human Instrumentality Project

Main article: Human Instrumentality Project

The Human Instrumentality Project shows a strong influence from Arthur C. Clarke’s novel Childhood’s End, an influence Anno acknowledged. Similarities between the works, such as the larger themes and the declining birth rate after the Second Impact, were gleaned from this work.

Legacy

Anime

From the period from 1984 to the release of Evangelion, most highly acclaimed anime had a style somehow distanced from the usual styles of anime. For example, Hayao Miyazaki’s My Neighbor Totoro (1988), and Kiki’s Delivery Service (1989) were both low-key works, while Akira (1988) was influenced by American comic books. Acclaimed director Mamoru Oshii had said that, in the words of Hiroki Azuma, nobody wanted to watch «simple anime-like works» anymore. Evangelion, however, shows the reversal of this trend. It fully embraced the style of mecha anime, and in particular shows a large influence from Yoshiyuki Tomino’s Space Runaway Ideon,^[37] which Anno recommends;^[38] particularly, there are scenes in The End of Evangelion which are clear homages to the last movie for the Ideon series.

As much as Evangelion has been impacted by other works like Devilman,^[39] the series itself has become a staple in Japanese fiction. The nature of the show made it a landmark work in the more psychological and sophisticated vein of anime that would be picked up by later works such as Revolutionary Girl Utena (1997) that, like Evangelion, center on an ambiguous world-changing event to come. Serial Experiments Lain is a later anime which dealt with many of the same themes as Evangelion,^[40] and so is often thought to be influenced by Neon Genesis Evangelion, although the writer did not see any of Evangelion until he had finished the fourth episode of Lain,^[41] and attributes the utility pole visual motif to independent invention and the screen captions to his borrowing from Jean-Luc Godard and Anno from Kon Ichikawa. The show His and Her Circumstances (1999), which was also directed by Hideaki Anno, shares techniques (the experimental ‘ripping-apart’ of the animation and use of real photographs) and portrayed psychological conflicts in much the same way (although the various cinematic devices can be traced back to works other than Eva, for instance, the works of Osamu Tezuka.^[42]).

Evangelion dramatically changed the design of giant robots in animated works. Previously, mecha or giant robot shows took their «mechanical suit» designs from Mobile Suit Gundam, Mazinger, and other similar shows from the 70s and 80s. Evangelion changed this with its fast and sleek Evas, making a noticeable contrast to the comparatively bulky and cumbersome looking Patlabors and Mobile Suits of the past. Indeed, the style set and created by Evangelion has become more common since its release, yet series like The King of Braves GaoGaiGar have continued to use the classic «mecha» style. RahXephon, a show with designs inspired by 1970s mecha shows, was compared to Evangelion by many English language reviewers.^[43]^[44] Evangelion is generally viewed to be a part of the soft science fiction genre, by avoiding the technical hard S.F. approach of Gundam and other popular mecha anime in favor of psychological struggle^[45] and metaphysical symbolism.^[46] Some anime have been made in direct opposition to NGE; Tomino Yoshiyuki publicly stated that with Brain Powerd he intended to «outdo Evangelion«.^[47]^[48]^[49] Shows or works involving similar mixtures of religion and mecha are often compared to NGE, such as Xenogears^[50] or Gasaraki.^[51]^[52]

Music

The UK band Fightstar’s debut album, Grand Unification, is purported to have been heavily influenced by Neon Genesis Evangelion.^[53] The track «Lost Like Tears in Rain» even contains the lyric «It’s Neon Genesis».^[54] The artwork for the record portrays vast ruined cityscapes that are reminiscent of similar scenes in Evangelion. Fightstar’s second album features a track called «Unfamiliar Ceilings», a reference to the Evangelion chapter «Unfamiliar Ceiling»; there is also a song named «H.I.P. (Enough)» in which H.I.P. stands for «Human Instrumentality Project». Also, the words «Human Instrumentality Project» can be seen in the album insert booklet. Fightstar’s EP Deathcar also features two Evangelion-related songs. One is titled «NERV/SEELE» and the other is titled «Shinji Ikari». The back of the EP artwork also shows an image of the Spear of Longinus visibly separating the two songs from the other tracks. Their third album, Be Human, also takes its name from an episode of Evangelion (episode 22).

Gallery

Logo

References

↑ ^1.0 ^1.1 Hideaki Anno Diagnosed with Depression (1991).
↑ The End of Evangelion – Theatrical Program: Glossary from EvaOtaku.com.
↑ Episode 26
↑ «Overcome by the strain of fighting the Angels and the revelations of his commanders’ duplicity, his ego implodes. The series ends in a long collage of flashbacks and still artwork, accompanied by a protracted internal dialogue between Shinji and the other characters as he conceives them.
These profoundly unsettling episodes suggest animated schizophrenia and recall the chilling conclusion of Yukio Mishima’s Sea of Fertility tetralogy, in which the main character realizes he can no longer be certain of his own existence. Both works offer a desolate vision of a universe in which no answers exist—in this life or any other. » ‘DVD Review’, Charles Solomon, 2 October 2003, Los Angeles Times[1]
↑ pg 427 of Napier 2002
↑ pg 155, Takeda 2002
↑ pg 157–158 of Takeda 2002
↑ ^8.0 ^8.1 ^8.2 http://web.archive.org/20100718101128/khara.weblogs.jp/hideakianno/personal-biography.html
↑ «Anno knew a guy from King Records named Otsuki, and as the story goes, the two were out drinking one day when Otsuki suggested to Anno that they work on a TV anime project together. Anno agreed on the spot, came back to the office and promptly announced it to everyone. Nobody even batted an eyelash. We just accepted it without further thought.» pg 164 of Takeda 2002
↑ pg 165 of Takeda 2002
↑ NEWTYPE 100% COLLECTION: NEON GENESIS EVANGELION. 1997 Kadokawashoten. ISBN 4-04-852700-2. Partial translation.
↑ pg 167 of Takeda 2002
↑ «At the planning stage, director Hideaki Anno is reported to have said, «With recent robot anime series there have been too many instances of toy makers sticking their big noses in from the design stage so they can get a spec that is easy to turn into a toy. I don’t want any interference from toy makers, so I’m going to design a robot that just cannot be turned into a toy.» pg 97 of Fujie 2004
↑ Takeda continues: «He said the legs were too skinny, and then proceeded to give Otsuki a lecture on the principles of robot design. Otsuki is bitter about the incident to this day.» pg 166–167 of Takeda 2002
↑ «Fans liked the concept, praising it for a psychoanalytical look at anime that had never been attempted before. Sato sees Episode 16 was of particular importance. A spherical black Angel called Ririeru (Leliel in English) appears and Shinji’s Eva Unit-01 is absorbed into it. Normally, such close contact between an Evangelion and an Angel would have resulted in combat. Instead, in this episode, Shinji is confronted by another version of himself. The two Shinjis engage in conversation as the young boy probes «himself» about who he really is and the meaning of «self.» The episode clearly shows how Shinji explores his inner self as he continues asking why it is that he has been selected to pilot the Eva. The series continues in this way with a strong focus on Shinji’s internal struggles until Evangelion draws toward its climax.» «Evangelion Special: From phenomenon to legacy»
↑ «A STORY OF COMMUNICATION: The Kazuya Tsurumaki Interview»
↑ http://www.ex.org/2.3/19-harmeln.html
↑ http://www.ex.org/2.7/22-anime_psychodiver.html
↑ «The animation in this series is a major selling point. I especially like the way the characters are drawn. Their faces are vivid and express wonderfully. It’s no GHOST IN THE SHELL, but it’s very good. » «I saw the first EVANGELION volume in subtitles, so I braced myself for linguistic torture. However, my fears were for naught. Misato actually sounded sleepy in the morning! Allison Keith presents one of the best voice-over performances I’ve heard. That’s all it took to make me forgive the stiff and unnatural moments that occasionally cropped up in the rest of the tape. The rest of the cast do a pretty good reading, but Misato’s lines made me cringe the fewest number of times. When compared to most other English dubbed anime this one shines. The language is clear and usually isn’t too clunky. Dubs really are getting better, and the future sounds pretty good.» http://www.ex.org/2.1/19-eva02.html
↑ «EVANGELION was complex and layered» http://www.ex.org/5.6/20-animej_flcl.html
↑ «Takagi: Yes, but I have very little time. One of my current favorites is EVANGELION for its richness in stories and characters.» http://www.ex.org/2.3/08-kcon2.html
↑ «The art is beautifully done and the character designs are reminiscent of EVANGELION or GUNDAM WING.» http://www.ex.org/4.2/15-anime_gasaraki.html
↑ ^23.0 ^23.1 pg 162, Fujie 2004
↑ «Even though some fans had heard that the final two episodes were unusual, they didn’t realize how strange they were until AD Vision released them. They found those episodes were a cross between the «stargate» sequence in 2001 and a Fellini film: talky and unfocused, a stream-of-consciousness meandering that left some Eva questions unanswered. When the American voice actors who handled the lead roles in those episodes were asked about the final volume, they admitted that they also had trouble understanding it.
«The last two episodes of Eva I had no idea what was going on,» said Tristan MacAvery, who played Gendou. «I had to figure how I should read the part, flat or philosophical.» MacAvery and the other actors said there was nothing wrong with the English translation, that the Japanese original was incomprehensible.» http://web.archive.org/web/20080617215942/www.fansview.com/080798h.htm
↑ «Unfortunately, this is where things get a little odd. Due to budget cuts and other factors, the end of the series seems abrupt and confusing and leaves a lot of loose ends. Many fans felt that it was a cop-out, prompting the studio, Gainax, to create several movies as attempts to deliver a better ending and retell certain parts of the story.» «DStv Pick of the week: Neon Genesis Evangelion : Monday, 15:45, Animax», Matthew Vice, 15 November 2009, The Times
↑ «Almost as soon as they were broadcast, the final episodes of «Evangelion» became the subject of heated discussions that show no signs of abating. Some viewers hailed them as profound; detractors replied that their meaning was more apparent than real.» Solomon 2003
↑ «Evangelion Special: From phenomenon to legacy»
↑ «Miyadai categorizes young Japanese into three groups. One is what he calls the ‘street’ group who seek only to enjoy the fads of the moment, such as those who crave for Tamagotchi ‘virtual pet’ toys and exchange tiny self-portrait photo seals taken from ‘Print Club’ machines with their friends. Another group is the ‘otaku,’ the rough equivalent of computer nerds — people who withdraw into the world of video games and animation, rejecting communication with the outside world. The third is a middle group of the so-called ‘good boys, good girls’ who do well in school in line with the expectations of their parents. Miyadai says the middle group is now at a ‘critical’ stage. Like Ikari, who questions the reasons he has to fight, middle-group people have doubts about why they have to go to school to satisfy their families’ expectations. ‘It should be noted that Evangelion is attracting such middle-group people in addition to the otaku group,’ Miyadai says.» from «Cartoon ‘Eva’ captures sense of void among Japanese youth»
↑ «— Now even businessmen are debating the mysteries of «Eva» in bars. (laugh)
KT — (laugh) For example, Hideaki Anno says that, «Anime fans are too introverted, and need to get out more.» Further, he should be happy that non-anime fans are watching his work, right?» «A STORY OF COMMUNICATION: The Kazuya Tsurumaki Interview»
↑ http://www.ex.org/3.1/44-holiday_contest.html
↑ http://www.ex.org/news/1999_05.html
↑ https://web.archive.org/web/20070208121507/http://www.gainax.co.jp/anime/eva/staff.html
↑ https://web.archive.org/web/20001017210643/http://www.gainax.co.jp/soft/second/index.html
↑ Animerica, «Gainax Returns to Anime with Shinseiki Evangelion» (ed. February 1995): «Anno says the new offering from Gainax will consider some of the ultimate questions posed by science fiction, and, indeed, philosophy, such as: What is the nature of evolution? What is humanity’s relationship to his or her god? Does god, in fact, exist? What does it mean for the human race if that question can be answered definitively?»
↑ The Evangelion Otaku Page — Evangelion FAQ
↑ Japan Economic Newswire (May 8, 1997): «But Hiroki Sato, 32, head of the public relations department of GAINAX, the company that produced the animation, says various devices included in Evangelion are only elements of the product and are not directly linked to its theme. ‘Anno made a soul-searching journey in producing Evangelion by including his daily sufferings and thinking about them,’ Sato says.»
↑ «If this sounds blasphemous to the numerous EVANGELION fans out there, bear in mind that Anno Hideaki, director of EVANGELION, cites Tomino’s traumatic IDEON as one of his key influences.» http://www.ex.org/2.2/06-news1.html
↑ «Anno: Of the movies, I recommend Gundam III — Meeting in Space. The picture is quite nice. Moreover, if I have to recommend Mr. Tomino’s animation, I would choose Legendary Giant IDEON (1980, TV). It would be best to watch the movie version’s Part II (1982, movie) after watching the TV series. Although some of the picture quality might be poor, please tolerate it.» http://web.archive.org/web/20050407200800/home.comcast.net/~hasshin/shimamoto.html
↑ «The overall design of Evangelion calls to mind Devilman by Go Nagai. In fact, the whole concept of the Evas, which are made from Adam, and harbor the souls of humans, can be considered borrowed from scenes from Devilman, where the soul of Akira Fudo is possessed by Amon, the Lord of War. Moreover, the heavily religious undertones, the suggestion of conflict with an indigenous people, and the cosmic view that mankind may not be the ultimate being all owe something to Devilman.» pg 76 of Fujie 2004
↑ «Neon Genesis Evangelion and Serial Experiments Lain have much in common. They can readily be described as postmodern in terms of their concern with a notion of identity as fluctuating, their rapid and sometimes incoherent narrative pace, and their refusal of conventional forms of closure … More importantly, they share a complex and problematic attitude toward the real. The two stories also deal with issues that are perhaps culturally specific to Japan: the increasing distrust and alienation between the generations, the complicated role of childhood, and, most significantly, a privileging of the feminine, often in the form of the young girl or shōjo.» «This contributes to a pervasive sense of the uncanny that imbues both narratives, linking them with the genres of horror and fantasy.» pg 423–424 of Napier 2002
↑ HK: Interview with Chiaki Konaka .
↑ «Neon Genesis’s 14 year-old protagonist, Shinji Ikari, lives in Tokyo without contact with his family, and his mood is often illustrated by the use of shooting scenes from above, animation cells washed in drab blue, and passages of extreme action interspersed with reflective passages of stillness or close-ups of Ikari’s face.
(But, as Brophy explains, such innovation is by no means a first for Neon Genesis — in the late 1940s the Japanese cartoonist Osama Tezuka borrowed artistic techniques from German Expressionism in his four-volume cartoon version of Dostoyevsky’s Crime And Punishment.)» The Age (Melbourne, Australia) January 14, 1999 Thursday Late Edition «Orient expressive». by David M. Walker GREEN GUIDE; Pg. 23
↑ Review: RahXephon DVD 7: Crescendo; Anime News Network.
↑ Is RahXephon an Evangelion Rip Off?; Ask John.
↑ «Although the scenes of combat are gripping and imaginative for the genre, what makes Evangelion truly groundbreaking are the psychic struggles in which the characters engage. These struggles are both wide-ranging and emotionally draining. They are also presented with surprising psychoanalytical sophistication as the characters try to come to grips with their own inner turmoil, their problematic relations with each other, and finally, their relation to more remote forms of Otherness – the gigantic machines that are the EVAs and with which they must synchronize, and the enigmatic Angels who present a riddle that is increasingly depicted in terms of what seems to be a Christian or perhaps Gnostic notion of apocalypse.» pg 425 of Napier 2002
↑ «Grading SF for Realism»: «Science fantasy: … Examples include Peter Hamilton’s Night’s Dawn Trilogy and the Shadowrun RPG (both of which incorporate supernatural elements into an otherwise typical medium (space opera) or very hard (cyberpunk) SF setting), and the Neongenesis [sic] Evangelion anime series.»
↑ «After resurfacing with the DUNBINE sequel GARZEY’S WING, rumor had it that Tomino was planning to do another robot show. Could it be? In an interview with Sunrise Radio, Tomino himself took the stage and confirmed that yes, he was preparing to work on another show this year. Not just any robot show, but one that would, in his words, «outdo EVANGELION…!»» http://www.ex.org/2.2/06-news1.html
↑ «Over a year and a half ago, Tomino Yoshiyuki, creator of GUNDAM, announced that he was going to start work on a new mecha show that would outdo EVANGELION. Rumors flew about what it would be about, who would work on it, and even where and when it would air.» http://www.ex.org/3.5/18-anime_brainpowerd.html
↑ «Indeed, Tomino was so confident about BRAIN POWERED he bragged it will outdo EVANGELION. Don’t you believe him.» http://www.ex.org/4.7/14-anime_brainpowered.html
↑ «The game starts with a stunning full motion video sequence that feels rather reminiscent of NEON GENESIS EVANGELION. It starts by quoting Revelations 1:8, «I am the Alpha and the Omega… who is, and who was, and who is to come, the Almighty.»…Then, most of the second disk concentrates on explaining all the questions and telling the whole story using monologues. (A friend of the reviewer noted, «It’s just like the last 2 TV episodes of EVANGELION!»)» http://www.ex.org/3.3/38-game_xenogears.html
↑ «So after a somewhat slow and confusing start, this show is starting to pick up steam. Like NEON GENESIS EVANGELION, there is a lot of intrigue and unanswered questions floating around. However, unlike EVANGELION, GASARAKI seems to have an excellent sense of direction and looks to be heading towards a very interesting conclusion. With each new volume the story becomes even more engrossing, and I am looking forward to following this series to its end.» http://www.ex.org/articles/2001/2001.07.20-rev_anime-us-gasaraki-vol_2_3.html
↑ «The first two episodes of GASARAKI do not shed much light on where the story is going; they merely introduce the Gowa clan and what their role is in the warfare industry. The series seems to be following in the footsteps of NEON GENESIS EVANGELION with its religious overtones. As for what Shintoism has to do with the development of the mechs is beyond this author’s experience, but I’m sure as the story progresses more will be explained. The art is beautifully done and the character designs are reminiscent of EVANGELION or GUNDAM WING.» http://www.ex.org/4.2/15-anime_gasaraki.html
↑ «Now, in a remarkable turnaround, Fightstar’s debut long-player, Grand Unification, has been called «stunning posthardcore» by Kerrang! magazine; it even put the boys on its cover. The record is inspired by Manga – particularly the Neon Genesis Evangelion series (act like you know). It’s about time comics and metal got a pin-up.» «GIG Fightstar», by Beth Pearson, from The Herald, March 16, 2006, GOING OUT; Pg. 2
↑ http://lyrics.wikia.com/Fightstar:Lost_Like_Tears_In_The_Rain

External Links

Evangelion Official Website (Japanese)
Gainax’s Official Evangelion Webpage (Japanese) (Archived)
Neon Genesis Evangelion at IMDb
Neon Genesis Evangelion at the Anime News Network
Neon Genesis Evangelion — Graphic designer Peiran Tan plumbs the typographic psyche of the celebrated anime franchise.
The Power of Fonts, as Shown by Evangelion — Interview with Shiro Mihara and Kazuhiko Shibata (Archived)
The Tenacity Embedded in the Film — Interview with Kohei Fujimori and Masato Yukita (Archived)
In a downpour, the gospel falls around the poor model shops. — Interview with Shuichi Miyawaki (sennmu) from Kaiyodo Co, LTD (Archived)
The Man Who Created 3,000 Evangelion Products — Interview with Katsumi Yasuda, designer of Movic (Archived)
A Journey to Solve the “Mystery” of Animation — Interview with Ryusuke Hikawa (Archived)
Music, Eva, and Bicycles20 Years of Graphic Designer Masashi Ichifuru — Interview with Masashi Ichifuru (Archived)

	Episodes & Films
Neon Genesis Evangelion	01 • 02 • 03 • 04 • 05 • 06 • 07 • 08 • 09 • 10 • 11 • 12 • 13 • 14 • 15 • 16 • 17 • 18 • 19 • 20 • 21 • 22 • 23 • 24 • 25 • 26
Evangelion: Death and Rebirth	Evangelion: Death • Evangelion: Death (true) • Evangelion: Rebirth • After the End
Revival of Evangelion	Evangelion: Death (true)² • The End of Evangelion (25′ • 26′)
Evangelion: New Theatrical Edition	Evangelion: 1.0 You Are (Not) Alone • Evangelion: 2.0 You Can (Not) Advance • Evangelion: 3.0 You Can (Not) Redo • 3.0 (-120 min.) • 3.0 (-46h) • Evangelion: 3.0+1.0 Thrice Upon A Time
Making of	Rebuild of EVANGELION: 1.01 • Rebuild of EVANGELION: 2.02 • Rebuild of EVANGELION: 3.33 • EVANGELION: 3.333 Breakdown • Imageboards by Mahiro Maeda • Rebuild of EVANGELION: 3.0+1.11 • (Making of ) evangelion: Another Impact
Others	Evangelion Symphony • NEON GENESIS EVANGELION MUSIC DVD • NEON GENESIS EVANGELION MUSIC remix • Evangelion: Another Impact (Confidential) • Beautiful World • until You come to me. • One Last Kiss • Neon Genesis IMPACTS • Petit Eva: Evangelion@School • Evangelion: Hakata Angel Attack Alternative • Stage Evangelion Beyond

Источник

Neon Genesis Evangelion (新世紀エヴァンゲリオン Shin Seiki Evangerion, lit. New Century Evangelion^?), commonly referred to as NGE, Eva, or Evangelion, is a commercially^[1] and critically^[2] successful, influential, and controversial Japanese anime that began in October 1995; the series launched the Neon Genesis Evangelion franchise. It won several major animation awards.^[3]^[4]^[5] The anime was created by Gainax, written and directed by Hideaki Anno, and co-produced by TV Tokyo and Nihon Ad Systems (NAS).

Evangelion is an apocalyptic mecha action series which revolves around the efforts by the paramilitary organization Nerv to fight monstrous beings called Angels, primarily using giant mecha called Evangelions which are piloted by select teenagers, one of whom is the primary protagonist.

Events in the series refer to Judeo-Christian symbols from the Book of Genesis and Biblical apocrypha among others.^[6] Later episodes shift focus to psychoanalysis of the main characters, who display various emotional problems and mental illnesses;^[7]^[8] the nature of existence and reality are questioned in a way that lets Evangelion be characterized as «postmodern fantasy».^[9] Hideaki Anno, the director of the anime series, suffered from clinical depression prior to creating the series, and the psychological aspects of the show are based on the director’s own experiences with overcoming this illness.^[10]

In the original Japanese, the word «Evangelion» is pronounced with a hard g per its Greek roots (see Translation notes on the title below).

Plot[]

See also: List of Neon Genesis Evangelion episodes

Setting[]

The story of Evangelion primarily begins in 2000 with the «Second Impact», a global cataclysm which almost completely destroyed Antarctica and led to the deaths of half the human population of Earth. The Impact is believed by the public at large and even most of Nerv to have been the impact of a meteorite landing in Antarctica, causing devastating tsunamis and a change in the Earth’s axial tilt (leading to global climate change) and subsequent geopolitical unrest, nuclear war (such as the nuking of Tokyo), and general economic distress. Later, Second Impact is revealed to be the result of contact with and experimentation on the first of what are collectively dubbed the Angels: Adam. The experiments were sponsored by the mysterious organization Seele, and carried out by the research organization Gehirn.

In the year 2010, Gehirn had accomplished a number of its scientific and engineering goals and corporately changed into the paramilitary organization Nerv which is headquartered in Tokyo-3, a militarized civilian city located on one of the last dry sections of Japan; Nerv’s central mission is to locate the remaining Angels predicted by Seele, and to destroy them. However, Nerv has its own secret agenda, as directed by its Machiavellian commander Gendo Ikari: the Human Instrumentality Project, which, according to Gendo in episode 25, is the task of uniting all human minds into one global spiritual entity. Associated with Nerv is the Marduk Institute, which has the task of selecting the pilots for the Evas, the most capable being children conceived after the Second Impact (14 year olds). The institute consists of Commander Ikari, and Nerv’s chief scientist Ritsuko Akagi; supporting the two are 108 companies which are all revealed to be ghost companies.

TV[]

As the first episode opens in the year 2015, Tokyo-3 is being attacked by the third Angel. Conventional weapons prove ineffective, largely due to its projected force field called an AT Field. Nerv takes command of the battles, and is able to intercept and defeat the Angels using the Evangelions (Evas), biomechanical mecha previously developed in secret by Gehirn inside the underground Geofront; the Geofront is located underneath Tokyo-3.

Not knowing why his father summoned him, Shinji Ikari, a 14 year old boy arrives to Tokyo-3 just as the Third Angel attacks the city. Shinji reluctantly agrees to join Nerv to pilot Evangelion Unit 01, and begins living with Captain Misato Katsuragi. He and Rei Ayanami battle the successive advances of the Angels together and are later joined by Asuka Langley Soryu, the pilot of Unit 02.

Each Eva has its own designated pilot (Unit 00–Rei, Unit 01–Shinji, Unit 02–Asuka, and subsequently Unit 03–Toji Suzuhara), and operates by synchronizing the pilot’s soul and the human soul inside the Eva via the enigmatic liquid substance known as LCL. (In the context of Evangelion, a «soul» refers to an individual’s conscious existence, mental structure and identity, rather than a more conventional «supernatural» entity.) Surrounded by LCL, the pilot’s nervous system, mind and body join with the Eva’s controls, allowing the Eva to be controlled by the pilot’s thoughts and actions. The higher a pilot’s synchronization ratio, the better the pilot can control the Eva and fight more adeptly.

While Ritsuko mentions at the series’ beginning that the Evas do have some biological components to them, the extent of this is not immediately apparent. Unit 01 is connected to Yui Ikari, Gendo’s wife and Shinji’s mother, since it absorbed her body and soul in a failed experiment, as shown in episodes 16 and 20. Rei herself is suspected to be a partial clone of Yui, and is known to harbor the soul of Lilith, the second Angel.^[11]

Over the final months of 2015, the characters begin to learn of the true plan of Nerv and Seele, the Human Instrumentality Project. Its purpose is to force the completion of human evolution, and thereby save it from destroying itself. To do so, they plan to break down the AT fields that separate individual humans, and in doing so, reducing all humans to LCL, which is revealed to be the «primordial soup«, the fundamental composite of human beings. All LCL would then be united into a supreme being, the next stage of humanity, ending all conflict, loneliness and pain brought about by individual existence. At the end of the series, Seele and Nerv come into direct conflict over the implementation of Instrumentality.

In the last two episodes (the second set in 2016), Gendo and Rei initiate the Human Instrumentality Project, forcing several characters (especially Shinji^[12]) to face their doubts and fears and examine their self-worth, with sequences that «suggest animated schizophrenia»^[13] This ending was made up of flashbacks, sketchy artwork, and flashing text «over a montage of bleak visuals, that include black and white photos of desolate urban motifs such as a riderless bicycle or vacant park benches interspersed with graphic stills of the devastated Nerv headquarters in which Shinji’s colleagues are seen as bloodstained bodies»,^[14] and a brief interlude depicting an «alternate» Evangelion universe with the same characters but apparently in the high school comedy genre, eventually seems to depict Shinji concluding that life could be worth living and that he did not need to pilot an Eva to justify his existence; he is then surrounded by most of the cast, clapping and congratulating him. The introduction implies that this same process took place for everyone.

Characters[]

Main article: List of characters in Neon Genesis Evangelion

The characters of Evangelion are continuously struggling with their interpersonal relationships, their inner demons, and traumatic events in their pasts, creating a complex pattern of relationships.

Anno described the hero, Shinji Ikari, as a boy who «shrinks from human contact», and has «convinced himself that he is a completely unnecessary person, so much so that he cannot even commit suicide.» He describes Shinji and Misato Katsuragi as «extremely afraid of being hurt» and «unsuitable — lacking the positive attitude — for what people call heroes of an adventure.»^[10] When compared to the stereotypical hero, Shinji is characterized more by lack of energy and emotion than by any sort of heroism or bravery.^[15] Rei Ayanami and Asuka Langley Soryu, the other major protagonists, have similar flaws and difficulty relating to other people.

According to Anno, Evangelion was an attempt to make all perspectives into one, creating characters that represent different things to different viewers to make it impossible for everyone to arrive at a single theory. To some viewers, the characters are psychological representations, while to others, they are philosophical, religious, historical, and even themselves. It seems the main goal was to present characters who reflected the deep depression and eventual recovery that Anno experienced before beginning work on Evangelion;^[10]^[17]^[18] the characters all reflect at least a little of Anno.^[19]

However the deeply pessimistic nature of the series as well as the rarely seen huge array of problems in all the characters has drawn curiousity on why there is no real happiness in the setting’s world. Assistant Director Kazuya Tsurumaki said of the series, «But when all is said and done, Hideaki Anno’s comments on ‘Evangelion’ + ‘Evangelion’ are that it is a message aimed at anime fans including himself, and of course, me too. If a person who can already live and communicate normally watches it, they won’t learn anything.»^[20]

The character designs by Yoshiyuki Sadamoto have also contributed to the popularity of Evangelion. Sadamoto’s attractive designs of the three main female leads, Asuka, Rei and Misato, led to extremely high sales of merchandise^[21] (especially of Rei, the «Premium Girl»^[22]), and they have been immortalized in the dōjinshi community,^[23] garage kit models, and in subsequent anime (such as Burst Angel).

Origin and production[]

Honnêamise sequel[]

In March 1992, Gainax had begun planning and production of an anime movie called Aoki Uru, which was to be a sequel to Oritsu Uchugun set 50 years later (so as to be easier to pitch to investors^[24]) which, like Oritsu, would follow a group of fighter pilots. Production would eventually cease in July 1993: a full-length anime movie was just beyond Gainax’s financial ability – many of its core businesses were shutting down or producing minimal amounts of money:

«General Products had closed shop. We’d pulled out of Wonder Festival [a «flea market for garage kits»] and garage kit making altogether. We weren’t taking on any subcontracting work for anime production. We did continue to make PC games – Akai had seen to that – but there wasn’t a lot of work tossed our way. With mere pennies coming in, we were having a hard enough time just paying everyone’s salaries. Finally the order came down for us to halt production on Aoki Uru. We were simply incapable of taking the project any further.»^[25]

Evangelion pre-release[]

With the failure of the project, Anno, who had been slated from the beginning to direct Aoki Uru, was freed up. Legendarily, he would soon agree to a collaboration between King Records and Gainax while drinking with Toshimichi Ōtsuki, a representative at King;^[26] with King Records guaranteeing a time slot, Anno set about actually making the anime. Unsurprisingly, elements of Aoki Uru were incorporated into the nascent Evangelion:

«One of the key themes in Aoki Uru had been «not running away.» In the story, the main character is faced with the daunting task of saving the heroine … He ran away from something in the past, so he decides that this time he will stand his ground. The same theme was carried over into Evangelion, but I think it was something more than just transposing one show’s theme onto another …»^[27]

The original early plot line for Evangelion remained relatively stable through development, although later episodes appear to have changed dramatically from the fluid and uncertain^[10] early conceptions; for example, originally there were 28 Angels and not 17, and the climax would deal with the defeat of the final 12 Angels and not with the operation of the Human Instrumentality Project. As well, Kaworu Nagisa’s initial design was a schoolboy who could switch to an «Angel form», accompanied by a pet cat.^[28]

Production was by no means placid. Sadamoto’s authorship of the manga (Neon Genesis Evangelion) caused problems as multiple publishers felt «that he was too passé to be bankable»;^[29] the stylized mecha design that Evangelion would later be praised for was initially deprecated by some of the possible sponsors of a mecha anime (toy companies) as being too difficult to manufacture (possibly on purpose),^[30] and that models of the Evangelions «would never sell.»^[31] Eventually, Sega agreed to license all toy and video game sales.

Airing[]

Episode 16 marked a distinct shift that would characterize the second half of Evangelion as being more psychological than action or adventure.^[32] This change in emphasis was partly due to the development of the story, but also partly because by this point, production had begun running out of funding and failing to meet the schedule; this collapse has been identified by at least one Gainax employee as the impetus for Evangelion‘s turn into metafiction:

I didn’t mind it. The schedule was an utter disaster and the number of cels plummeted, so there were some places where unfortunately the quality suffered. However, the tension of the staff as we all became more desperate and frenzied certainly showed up in the film … About the time that the production system was completely falling apart, there were some opinions to the effect that, «If we can’t do satisfactory work, then what’s the point of continuing?» However, I didn’t feel that way. My opinion was, «Why don’t we show them the entire process including our breakdown.»^[33]

(In general, the animation^[34] and dub^[35], as well as the character design, have often been praised^[36]^[37]^[38]^[39].)

But nevertheless, by the 18th episode, it had become enough of a sensation that Eva-01’s violent rampage «is criticized as being unsuitable on an anime show that is viewed by children», and episode 20 would be similarly criticized for the offscreen depiction of Misato and Ryoji having sex.^[40] With this popularity came the first merchandise, «Genesis 0:1» (containing the first two episodes). Beginning a trend, it sold out. As the series concluded on 27 March 1996 with «Take care of yourself.«, the story apparently remained unresolved: Third Impact and the Human Instrumentality Project are implied to have begun or even finished, but the episodes focus largely on the psychology of the characters, leaving deeply unclear what actually happens.

The radically different and experimental style of the final two episodes confused^[41] or alienated many fans^[42] and spawned debate and analysis, both scholarly and informal, and accusations of meaninglessness^[43] ; even mainstream publications like the Mainichi Times would remark that «When Episode 25 first aired the following week, nearly all viewers felt betrayed…when commentator Eiji Ōtsuka sent a letter to the Yomiuri Shimbun, complaining about the end of the Evangelion series, the debate went nationwide.»^[44] (It’s worth noting that the ending received such coverage in part because Evangelion had attracted viewers not typically interested in such fare; the TV series was extremely popular.^[45]^[46])

Despite this controversy, the series enjoyed incredible popularity among its fan base. In 1995, the series won first place in the reader-polled «Best Loved Series» category of the Anime Grand Prix, a reader-polled award series published in Animage magazine.^[47] The series was once again awarded this prize in 1996, receiving 2,853 votes, compared to the second place show (which was unmentioned) with only 903 votes.^[48] The End of Evangelion would win first place in 1997, allowing Neon Genesis Evangelion to be the first anime franchise to win three consecutive first place awards. This feat would not be duplicated again for several years, until Code Geass won the 2006, 2007, and 2008 awards. «A Cruel Angel’s Thesis» won the Song category in 1995 & 1996; «The Beginning and the End, or «Knockin’ on Heaven’s Door»» won the 1996 Episode category; and Rei Ayanami won in the Female Character category in 1995 and 1996 (followed by Shinji Ikari winning in the Male Character category in 1996 and 1997), contributing to Megumi Hayashibara’s 1995-1997 wins in the Seiyuu category (and until 2001 for other series). In 1998, EX.org’s readers voted it the #1 US release^[49] and the 1999 #2 show of all time^[50]

Re-releases[]

After the series ended, Anno was not completely satisfied due to issues of time, financial troubles, and network censorship. Thus, when the series was released on VHS and Laserdisc, each episode was remastered and cuts were reincorporated into episodes 21-26, with the first four being drastically enhanced and the final two being completely remade as the double-feature Death and Rebirth. However, again, due to time and budget constraints, the remastering and reanimating of episodes 21-24 was put on hold in favor of the movie. However, the Rebirth animation wasn’t finished and it was decided to later release the second half of Death and Rebirth as a stand alone release. Death included some of the scenes that were already completed for the remastered episodes 21-24. It was then decided that Evangelion: Rebirth II should also include the previous animation and was then renamed The End of Evangelion.

After that, the tapes «Genesis 0:11 and 0:12» were released and contained the redone episodes 21-24 and «Genesis 0:13 and 0:14» contained both endings, 0:13 containing both the TV and film versions of episode 25 and 0:14 containing the TV and film versions of episode 26.
In 1998, the Evangelion films were released in their original intended form, without the extra scenes in the recap movie (Death(true)²) and with the full new ending.

In 2000, the «Second Impact Box» was released in 3 parts, containing the 26 uncut, remastered episodes and the 2 movies (also including Rebirth).

In 2003, the nine-volume «Renewal of Evangelion» DVDs were released, with the series’ sound and picture remastered for HD and 5.1 technology (for example, new background sounds were recorded). The first eight volumes covered the original 26 episodes (with two versions of episodes 21-24: the uncut version and a reconstruction of the edited version).
The ninth volume, containing two discs, named Evangelion: The Movie, contained Death(true)² and End of Evangelion.

The Renewal release formed the basis for the western «Platinum Edition» (which didn’t include the movies, as the movies were licensed by Manga Entertainment, while the series was licensed by A.D. Vision).

It should also be noted that the «Platinum Edition» features slightly different English subtitles than the original VHS and DVD releases of the series.

Inspiration and symbolism[]

See also: Neon Genesis Evangelion glossary

Evangelion is dense with allusions to biological, military, religious, and psychological concepts, as well as numerous references or homages to older anime series (for example, the basic plot is seen in earlier anime like Space Battleship Yamato^[51]) – a tendency which inspired the nickname for the series, the «remixed anime».^[52] Anno’s use of Freudian jargon and psychoanalytical theory as well as his allusions to religion and biology are often idiosyncratically used and redefined to carry his message. This tendency of Anno’s has been criticized as «Total plagiarism!» and «just more mindgames from the animation crew».^[53] However, Anno has defended himself by denying the possibility of really original work without borrowing in anime:

«There is no longer room for absolute originality in the field of anime, especially given that our generation was brought up on mass-produced anime. All stories and techniques inevitably bring with them a sense of déjà vu. The only avenue of expression left open to us is to produce a collage-like effect based on a sampling of existing works.»^[54]

«The people who make anime and the people who watch it always want the same things. The creators have been making the same story for about 10 years; the viewers seem to be satisfied and there’s no sense of urgency. There’s no future in that.»^[55]

Regardless, Anno seems to have hoped to reinvigorate the genre of anime – seen as lifeless and moribund in the early 1990s – and restore originality: to create a new anime. This desire is also the reason Anno cited for creating the Rebuild of Evangelion movies:

«Many different desires are motivating us to create the new «Evangelion» film … The desire to fight the continuing trend of stagnation in anime.

The desire to support the strength of heart that exists in the world…
Many times we wondered, «It’s a title that’s more than 10 years old. Why now?»
«Eva is too old», we felt.

However, over the past 12 years, there has been no anime newer than Eva.^[56]

The interpretation of the symbols and concepts varies from individual to individual,^[57] and it is not clear how many are intentional or meaningful, nor which were merely design elements or coincidences. Anno himself said, «It might be fun if someone with free time could research them.»^[10] A number of these symbols were noted on the English DVD commentary for Death and Rebirth and End of Evangelion.

Many of the characters share their names with Japanese warships from World War II (such as the Sōryū, Akagi, and Katsuragi; though the ship names and character names are written with different kanji, they share the same pronunciations.) Other characters’ names refer to other works of fiction, such as the two characters named after the protagonists of Ryu Murakami‘s Ai to Genso no Fascism («Fascism in Love and Fantasy»; the two main characters are named Aida Kensuke and Suzuhara Toji; Anno later directed a Murakami adaptation, Love & Pop).

Psychology and psychoanalytic theory[]

Evangelion has long been taken as a deeply personal expression of Hideaki Anno’s personal struggles.^[58]. From the start, Evangelion invokes many psychological themes. Phrases used in episodes, their titles, and the names of the background music frequently derive from Sigmund Freud‘s works,^[59] in addition to perhaps some Lacanian influences in general.^[60] Examples include «Thanatos«, «Oral stage«, «Separation Anxiety«, and «Mother Is the First Other» (the mother as the first object of a child’s love is the basis of the Oedipus complex). The scenery and buildings in Tokyo-3 often seem laden with psychological import, even in the first episode.^[61]

The connection between the Evas and their pilots, as well as the ultimate goal of the Human Instrumentality Project, bear a strong resemblance to Freud’s theories on internal conflict and interpersonal communication.^[62]

The hedgehog’s dilemma is a concept described by philosopher Arthur Schopenhauer and later adopted by Freud. It is the subtitle of episode 4 and is mentioned in that episode by Misato Katsuragi as descriptive of her relationship with Shinji.^[63]

Many of the characters have deep psychological traumas in relation to their parents. Shinji’s introversion and social anxiety stem from the death of his mother at an early age and his abandonment by his father. Asuka was the target of her mother’s insanity, and discovered her mother’s body after she hanged herself; her tough, bullying personality is a means of distracting herself from her pain, and she has made piloting Unit 02 her only source of pride and satisfaction. Misato’s father neglected her when she was a child; after he was killed in the Second Impact, she stopped talking for a couple of years. In episode 25, Misato states that she was both attracted to and afraid of Ryoji Kaji because he reminded her of her father. Ritsuko saw her mother having an affair with Gendo Ikari; after her mother’s suicide she felt both attraction and hate towards Gendo. Indeed, the last two episodes are «stripped of the high-tech gadgetry and the colorful visuals that characterize the earlier episodes in the series, these last two episodes take place largely in muted tones… a form of interrogation proceeds to be carried out as he [Shinji] asks himself – or is asked by an unseen voice – probing psychological questions.»^[64] The questions elicit unexpected answers, particularly the ones dealing with Shinji’s motivation for piloting the Eva – he feels worthless and afraid of others (especially his father) if he is not piloting the Eva.^[65] Asuka and Rei are also depicted in deep introspection and consideration of their psyches. Asuka comes to the realization that her entire being is caught up in being a competent Eva pilot and that without it, she has no personal identity: «I’m the junk… I’m worthless. Nobody needs a pilot who can’t control her own Eva.»^[66] Rei, who throughout the series has displayed minimal emotion, reveals that she does have one impulse; it is Thanatos, an inclination to death: «I am Happy. Because I want to die, I want to despair, I want to return to nothing.»^[66] In episode 25 Shinji and Asuka both show that they in fact suffered similar pasts and found different ways of dealing with it. This is further established in Shinji when he claims he has no life without Eva and this is disproven by the world shown in episode 26 followed by the famous «Congratulations» scene.^[67]

Besides the references to Freudian Psychoanalysis there are also some minor references to the theories behind Gestalt Therapy, a form of psychotherapy influenced by both psychoanalytic ideas as well as philosophical notions of a holistic self, personal responsibilities and the consciousness. In episode 15 there is a reference to Gestalt’s theory of change, the constant shifting between ‘homeostasis’ and ‘transistasis’ on which Fritz Perls wrote in his work ‘The Gestalt Approach’. Furthermore episode 19 is entitled ‘Introjection’, a psychoanalytical term used by many Gestalt Therapists to indicate a neurotic mechanism used for the mental processing of the things humans experience. Introjection is closely related to three other neurotic forms of mental processing; namely projection, confluention and retroflection.

Religion[]

The most prominent symbolism takes its inspiration from Judeo-Christian sources and frequently uses iconography and themes from Judaism, Christianity, Gnosticism,^[68] and Kabbalism, in the series’s examination of religious ideas and themes.^[69]

Assistant director Kazuya Tsurumaki said that they originally used Christian symbolism only to give the project a unique edge against other giant robot shows, and that it had no particular meaning,^[70] and that it was meant to be susceptible to multiple interpretations.^[71] Hiroki Sato, head of Gainax’s PR department, has made similar statements^[72], as has Toshio Okada^[73].

References, with multiple equally plausible interpretations which exist, include:

The Christian cross is often shown, frequently represented by energy beams shooting up skyward.^[74]
The Angels are a reference to the angels of God from the Old Testament (in Japanese, the word used is the same one used for apostle (or messenger), as in the New Testament). They are named after angels from Biblical angelology, including Sachiel, Shamshel, and Arael.^[74] The first Angel is named Adam, just as the biblical Adam is the first man created by God.^[75] The second Angel is named Lilith, a reference to the Jewish folklore in which Lilith is the first wife of Adam,^[75] and in some works of popular culture, the first vampire. Lilith is shown crucified and impaled with a spear named the «Lance of Longinus«, the same lance used to pierce the side of Jesus during his crucifixion,^[75] according to the Gospel of Nicodemus. Eve or Eva comes from Adam’s rib; similarly, most of the Evas come from the Angel first identified as Adam.^[76]
The Magi supercomputers are named Melchior, Balthasar and Casper after the names traditionally given for the Magi who were mentioned in the Gospel of Matthew as having visited Jesus in Bethlehem.^[77] (often called «the three wise men», though the number of visitors is not recorded in the Gospel)
The Tree of Sephiroth (Tree of Life) is mentioned, as well as shown in the opening title sequence and on the ceiling of Gendo’s office,^[78] with Hebrew inscriptions on it (the terms written there are mostly Kabbalic). It also appears in The End of Evangelion during Seele’s version of Instrumentality.
The Marduk Institute is a front organization for Nerv, tasked with finding the teenagers suitable for piloting Evangelion units. Marduk was the name of the chief Babylonian deity and patron god of the city of Babylon.^[74]

Fiction and philosophy[]

See also: Human Instrumentality Project

Neon Genesis Evangelion and particularly the Human Instrumentality Project show a strong influence from Arthur C. Clarke‘s novel Childhood’s End, an influence Anno acknowledged.^[79] Similarities between the works, such as the larger theme of humanity’s evolution to a higher plane of existence, or lesser details such as the declining birth rate after the Second Impact, were gleaned from this work.Template:Citation needed

Evangelion shows influences from the science fiction author Dr. Paul Linebarger,^[79] better known by his pseudonym, Cordwainer Smith. Linebarger was raised in China, became the god-son of the nationalistic leader Sun Yat-sen, and during World War II, worked in psychological warfare on behalf of the U.S. Army, including propaganda efforts by the U.S. against the Japanese. Linebarger’s work included strong influences from both East Asian culture and Christianity. His science fiction novels revolve around his own concept of the Instrumentality of Mankind, an all-powerful central government of humanity.^[80] Like Seele, the Instrumentality of Mankind see themselves «to be shapers of the true destiny of mankind.»^[81] Although Anno insisted that Hokan (補完^? complementation, completion) be translated as «Instrumentality» in English, perhaps as a way to pay homage to Linebarger, the two authors’ conceptions of «instrumentality» are extremely different.^[79]

Other fiction allusions Philip K. Dick‘s The Divine Invasion, and «The Prisoner, Thunderbirds, Ultra Seven, UFO, The Andromeda Strain, even The Hitcher.»^[82]

Existential themes of individuality, consciousness, freedom, choice, and responsibility are heavily relied upon throughout the entire series, particularly through the philosophies of Jean-Paul Sartre and Søren Kierkegaard. For Sartre, humans ultimately exist in an abandoned and free state. There is no essential truth about what human beings want to be or ought to be- instead, each person must find their own identity and their own purposes. This incredible freedom, in a way, makes us «condemned to be free», because our actions and choices are our own and no one else’s, which makes us responsible for them. We are constantly making decisions and choices, whether to continue doing something or to stop and do something else. Being aware of this fact, can bring on despair or anguish; and typically we try to avoid the consciousness of our own freedom.^[83]

Sartre’s position can be seen as standing in opposition to the theories of Freud, which held that we are not in control of ourselves, but are more at the mercy of primordial unconscious mechanisms which drive us. Sartre found such theories dangerous, since he believed that human passions arise not from the animal element of human nature, but from the fact that human beings are not merely animals or objects, and not merely minds or free subjects either, but always both. In the series, even the mecha Evangelion units turn out not to be machines, with Unit 01 moving without a pilot to protect Shinji and fighting even without the aid of an external power source when it goes berserk. Eventually, it is learned that the Evas’ external armor is actually to restrain its freedom and to bind it to the control of Nerv, and that they are not just simply machines or animals, but have souls of their own.

To act as if one is merely an object or label or to use outwards perceptions and actions to change their inner thoughts and feelings is what Sartre called bad faith, which was in a sense an individual rejecting their ability towards free choice and definition. Examples of this include Rei’s single-minded allegiance to Gendo and Nerv’s agenda, Ritsuko’s dying her hair blonde to hide her similarity to her mother (even as it is hinted throughout the series, particularly in her relationship to Gendo), and Shinji calling himself a coward as if that is an excuse that makes it impossible for him to act differently. This sort of self-deception was also addressed by Kierkegaard in a paradox he called «the sickness unto death», someone who goes on pretending in life as though he has no soul, and as a result, is in danger of losing his «self». Episode 16’s title, «The Sickness Unto Death, And…» (死に至る病、そして Shi ni itaru yamai, soshite^?) is a reference to this work.^[84]

Sartre in Being and Nothingness calls the conditions that bring about consciousness (ourselves, the world, others) «instrumentalities». Martin Heidegger, another existentialist, wrote an essay describing technology as an instrumentality that reveals «truth». Philosophically, the Human Instrumentality Project is a representation of the idealism developed by Georg Wilhelm Friedrich Hegel: a unification of all conflicts and tensions between societies, knowledge, and consciousness through a sort of historical evolution. Earlier philosophers such as Fichte had proposed that the human ego had come about through the instrumentality of freedom; it was Hegel’s theory that this consciousness was not separated from the world, but was a part of it and would eventually evolve into an Absolute spirit or mind, a sort of God-like being with absolute freedom. In the film The End of Evangelion, Shinji literally becomes such an absolute being, dissolving all other conscious beings and merging with them.^[85] Søren Kierkegaard criticized Hegel’s theory, not only because it was arrogant for a mere human to claim such a unity, but because such a system negates the importance of the individual in favor of the whole unity. He wrote:

So-called systems have often been characterized and challenged in the assertion that they abrogate the distinction between good and evil, and destroy freedom. Perhaps one would express oneself quite as definitely, if one said that every such system fantastically dissipates the concept existence. … Being an individual man is a thing that has been abolished, and every speculative philosopher confuses himself with humanity at large; whereby he becomes something infinitely great, and at the same time nothing at all.

As illustrated in episodes 25 and 26, part of what shapes us as individuals are limitations: gravity, the horizon, a body, and other people. Misato tells Shinji in the first episode, he has to learn how to deal with his anxiety and how to deal with others. Sartre in his earlier works went so far as to say that «hell is other people». Other people limit our freedoms, or may tell us things we do not like to hear, and they may see aspects of our personality we do not. Shinji later reflects upon the fact that everyone he knows has their own impression of him that may be different from his own. But in his later work, Sartre said he felt that both Hegel and Kierkegaard had a point. Individuality is important, but because part of who we are is shaped by the way others see us, we can have an effect on others too, and must work together with others in our collective struggle for existence.

During the period Kierkegaard wrote The Sickness Unto Death, he wrote in his journal a poem listing seven discourses. He wrote: «Let not the heart in sorrow sin so you abandon faith in God, so you abandon faith in men, so you abandon hope of eternity, so you abandon hope for this life, so you abandon love to God, so you abandon love to men, and finally, let not the heart in sorrow sin so you abandon love to yourself. The last episode of the series is fittingly subtitled «Take care of yourself.»

Interestingly, some Eastern philosophies, such as Brahmanism and its derivatives, teach that enlightenment involves liberation from individuality through the re-absorption of the soul into a great All-Soul of creation. Seele attempts to engineer such enlightenment for the entire human race, unifying all souls into one and causing all pain and misunderstanding to end. If one wants a separate existence from others, one must be limited and opposed to others, causing pain and suffering (the Hedgehog’s Dilemma inevitably arises); Buddhism identifies existence as inevitably bringing pain. The way to avoid pain is to extirpate desire and become formless. In the final episode, Shinji realizes how to attain his individuality, that he can come to have an identity separable from being an Evangelion pilot, a self he can perhaps come to love and not hate. Arthur Shoepenhauer, whose work is referred to in the title of «The Hedgehog’s Dilemma», was heavily influenced by Buddhist thought, but Friedrich Nietzsche and Sartre both came to a similar conclusion, rejecting many of his tenets.

Inspirations and influence[]

Anime[]

From the period from 1984 to the release of Evangelion, most highly acclaimed anime had a style somehow distanced from the usual styles of anime. For example, Hayao Miyazaki‘s My Neighbor Totoro (1988), and Kiki’s Delivery Service (1989) were both low-key works, while Akira (1988) was influenced by American comic books.^[7] Acclaimed director Mamoru Oshii had said that, in the words of Hiroki Azuma, nobody wanted to watch «simple anime-like works» anymore.^[7] Evangelion, however, shows the reversal of this trend. It fully embraced the style of mecha anime, and in particular shows a large influence from Yoshiyuki Tomino’s Space Runaway Ideon,^[86] which Anno recommends;^[87] particularly, there are scenes in The End of Evangelion which are clear homages to the last movie for the Ideon series.^[7]

As much as Evangelion has been impacted by other works like Devilman,^[54] the series itself has become a staple in Japanese fiction. The nature of the show made it a landmark work in the more psychological and sophisticated vein of anime that would be picked up by later works such as Revolutionary Girl Utena (1997) that, like Evangelion, center on an ambiguous world-changing event to come. Serial Experiments Lain is a later anime which dealt with many of the same themes as Evangelion,^[88] and so is often thought to be influenced by Neon Genesis Evangelion, although the writer did not see any of Evangelion until he had finished the fourth episode of Lain^[89], and attributes the utility pole visual motif to independent invention and the screen captions to his borrowing from Jean-Luc Godard and Anno from Kon Ichikawa. The show His and Her Circumstances (1999), which was also directed by Hideaki Anno, shares techniques (the experimental ‘ripping-apart’ of the animation and use of real photographs) and portrayed psychological conflicts in much the same way (although the various cinematic devices can be traced back to works other than Eva, for instance the works of Osamu Tezuka.^[90]).

Evangelion dramatically changed the design of giant robots in animated works. Previously, mecha or giant robot shows took their «mechanical suit» designs from Mobile Suit Gundam, Mazinger, and other similar shows from the 70s and 80s. Evangelion changed this with its fast and sleek Evas, making a noticeable contrast to the comparatively bulky and cumbersome looking Patlabors and Mobile Suits of the past. Indeed, the style set and created by Evangelion has become more common since its release, yet series like The King of Braves GaoGaiGar have continued to use the classic «mecha» style. RahXephon, a show with designs inspired by 1970s mecha shows,^[91] was compared to Evangelion by many English language reviewers.^[92]^[93]^[94] Evangelion is generally viewed to be a part of the soft science fiction genre, by avoiding the technical hard S.F. approach of Gundam and other popular mecha anime in favor of psychological struggle^[68] and metaphysical symbolism.^[95] Some anime have been made in direct opposition to NGE; Tomino Yoshiyuki publicly stated that with Brain Powerd he intended to «outdo Evangelion«.^[96]^[97]^[98] Shows or works involving similar mixtures of religion and mecha are often compared to NGE, such as Xenogears^[99] or Gasaraki.^[100]^[101]

References in popular media[]

Neon Genesis Evangelion has been frequently parodied and explicitly referenced in popular media. In the Digimon Tamers series, many Evangelion elements were used in the back stories for the three main children, their friends, and D-Reaper. The same can be said for both WarGrowlmon and Gallantmon Crimson Mode, as they bear a resemblance to Unit 01. Gainax’s own His and Her Circumstances and FLCL had Evangelion parodies, as did Magical Shopping Arcade Abenobashi.Template:Or

Invader Zim’s Christmas episode, «The Most Horrible X-Mas Ever», had a cameo parody of Evangelion (a reference to when Shinji was assimilated inside Unit 01.) In the episode «Hamstergeddon», Ultra-Pipi (the class hamster that Zim accidentally mutates into a giant monster) rushes at Zim’s War Cruiser in a manner that is a rip from the blitz that Unit 01 makes at the Third Angel, Sachiel (as admitted by the episode’s director in the commentaries.) In the online community, Evangelion is a common source of parody. Numerous webcomics, such as Tsunami Channel, have featured Evangelion tributes. Some ‘creatures’ also appear in other works such as the manga Berserk where a transformed demon soldier, in chapter 233, shares an uncanny resemblance with the unleashed Eva-01.

Anno himself has also poked fun at his work. In the soundtrack Neon Genesis Evangelion Addition, a twenty minute audio drama (directed and written by Anno) was included that reunited the entire voice acting cast, titled «After the End». The drama is set after episode 26 and has the characters breaking the fourth wall and discussing a sequel. Anno is believed to be featured as a guest voice in the piece, taking on the role of the «Black Space God»^[102] . On a similar note, Spike Spencer made fun of the series’ rather ambiguous ending by acting as Shinji throughout the ending credits in a hidden track in the Platinum re-release of the series, highlights of which include him deducting that previous advice given to him towards him not running away doesn’t apply to his current predicament on the account that he’s on «a big blue ball» and complaining that the animators «ran out of ink», a reference to the lowered budget to the second half of the series.

Evangelion has been referenced in American media as well. In the 2002 film One Hour Photo starring Robin Williams, the character Jake begs his mother to buy him the «Eva» 05 action figure, and Williams’ character later offers it to him for free. It is commonplace for movies and shows to rename or repackage existing products with a generic name and graphic logo. In this case however, the toy was from Williams’ personal collection (he is said to be a fan of the show, as is director Wes Anderson),^[103] so the series name Neon Genesis Evangelion and the graphics on the blister card are left untouched, and are clearly visible. A Evangelion Unit 01 action figure is seen in Jacob’s room in the 2008 remake of The Day the Earth Stood Still and several Evangelion figures are seen in Michael’s son’s room in the 2007 film Michael Clayton starring George Clooney.

Fan interpretations and reworking of Evangelion have ranged from various stories,^[104] fanfictions,^[105] and even screenplays^[106] that expand or reinterpret the ending to comical fan-dubs such as Evangelion: ReDeath and even hoax posters such as that for the fictional sequel Reprise of Evangelion.^[107]

Music[]

Neon Genesis Evangelion (including the album art work and promo videos) …» Thu October 20, 2005 http://forums.animeuknews.net/viewtopic.php?t=2580&highlight= —>
The UK band Fightstar‘s debut album, Grand Unification is purported to have been heavily influenced by Neon Genesis Evangelion.^[108] The track «Lost Like Tears in Rain» even contains the lyric «It’s Neon Genesis». The artwork for the record portrays vast ruined cityscapes that are reminiscent of similar scenes in Evangelion. Fightstar’s second album features a track called «Unfamiliar Ceilings», a reference to the Evangelion chapter «Unfamiliar Ceiling»; there is also a song named «H.I.P. (Enough)» in which H.I.P. stands for «Human Instrumentality Project«. Also the words «Human Instrumentality Project» can be seen in the album insert booklet. Fightstar’s EP Deathcar also features two Evangelion-related songs. One is titled «Nerv / Seele» and the other is titled «Shinji Ikari«. The back of the EP artwork also shows an image of the Lance of Longinus visibly separating the two songs from the other tracks. Their third album, Be Human, also takes its name from an episode of Evangelion (episode 22).

The Mexican electronica/indie group Childs bears self-admitted Evangelion influences; its sole CD, Yui, contains some subtle Evangelion sound sampling and a track titled «Post: Seele«.

The New York noise group In Air sings about Rei II in their album White Lake on the Moon, namely on the song titled «Paper Key Twins».

The anime/video game musician Piano Squall created an extended piano instrumental of «A Cruel Angel’s Thesis» for his album Game.

The indie group LeetStreet Boys song «Yuri the Only One», a love song using anime and gaming references, contains the line, «You’re my Angel out of Tokyo-3″. In the music video, an image of the Third Angel Sachiel appears.

The song «Arue» by Bump of Chicken is dedicated to Rei Ayanami. The title is written as RA, the initials of Rei.

The song «….» by Australian band Parkway Drive consists of Asuka repeating the words ‘I don’t want to die’ when she is stuck in her EVA and breaks down.

Translation notes on the title[]

See also: Neon Genesis Evangelion glossary

The Japanese title for the series, Shin Seiki Evangelion, is composed of two parts: «Shin Seiki» (新世紀^? new era/century) from Japanese and «Evangelion» (εὐαγγέλιον, Anglicisation eüangélion, «gospel, good messenger, good news»—etymologically unrelated to the Hebrew word Eva) from Ancient Greek. The decision to call the series Neon Genesis Evangelion in English was originally made by Gainax, and not by translators; the use of the word «Evangelion» in particular was chosen by Anno «because it sounds complicated»^[109] It appears in the eyecatches of the original, untranslated episodes, and is used by Gainax to market the series worldwide.

The title Neon Genesis Evangelion (Template:Polytonic, New Beginning Gospel) appears to be wholly Greek, except that «genesis» (nominative case and feminine gender) is not grammatically correct with respect to the other two words (nominative case and neuter gender). (If the title was to be translated into Ancient Greek it would have the form Νέας Γενέσεως Εὐαγγέλιον Template:Pron «New Beginning’s Gospel», where the two first words are the respective grammatically/syntactically appropriate allomorphs of νέον and γένεσις —that is, both genitive case and feminine gender.) Genesis (γένεσις) means «origin, source» or «birth, race» and is the Greek title for the first book of the Hebrew Scriptures, describing the creation of the universe and early Hebrew history. The Japanese term for the first book in the Bible is «Souseiki» (創世記^? Account of the beginning of the world), perhaps a wordplay (with two different beginning and ending kanji) with «Shin Seiki» in the Japanese title. Euangelion (Latinized evangelium) originally referred to a reward offered for good news (eu (εὖ) meaning «good» and angelos (ἄγγελος) meaning «messenger», and later «messenger of god; angel»), and later came to mean «good news» itself.^[110] Eventually it became most commonly associated with the Christian gospel (from Old English gōdspell «good story»). It is the source of the English word «evangelist.» This dual meaning (message and messenger) may be the reason both the series itself and the «mecha» are called Evangelion.

There has been debate over the correct pronunciation of «Evangelion.» In the original Japanese version a hard ‘g’ (Template:IPA2) pronunciation is used by Japanese characters, and, episode 18 of the series, a native English-speaking announcer. Official secondary dubs, including the English one, use the pronunciation Template:IPA-en with a hard ‘g’. The confusion probably results from that related words in English, such as «evangelist», the ‘g’ is soft (Template:IPA). The pronunciation Template:IPA (with the first vowel rhyming with «Eve» instead of Template:IPA) is not uncommon.

The hard ‘g’ and Template:IPA is correct because it is accurate in both the original Greek and Japanese, and they are the pronunciations preferred by Gainax since Evangelion is a Greek word.

In the first episode, Ritsuko names the robot with a hard ‘g’ Template:IPA when presenting it to Shinji.

The three influential organizations, Gehirn, Nerv and Seele, originate from German cognates. Gehirn is translated literally into the English word brain or mind, referencing it as the brainchild of the EVA Project. Nerv comes from the German Nerv meaning literally nerve, referencing it as the nerves of the EVA Project. Seele, pronounced Template:IPA-de in German, means literally soul, referencing it as the soul of the EVA Project.

References[]

↑ Evangelion has reportedly grossed over 150 billion yen, or approximately 1.2 billion USD[1]. In a discussion at the 2006 Tekkoshocon, Matt Greenfield claimed Evangelion has grossed over 2 billion USD[2]; Takeda 2002 reiterates that «It sold record numbers of laserdiscs in Japan, and the DVD is still selling well today.» (pg 166).
↑ «Considered by many scholars to be an anime masterpiece, the series is credited by some critics with singlehandedly reviving the genre from what they saw as its creative doldrums in the early 1990s (Azuma 4). While I would not go quite so far, it is certainly true that Evangelion is one of the most important and groundbreaking anime series ever created.» pg 424 of Napier 2002; see also «Not exactly the kind of words you’d expect from director Hideaki Anno about his 1995 production ‘Neon Genesis Evangelion’. Taking him by surprise, it’s been hailed by critics in Japan (and later in America and Europe) as the landmark Japanese animated TV series of the 90’s. The modestly budgeted production has also become a commercial success, grossing over 800 million dollars in video sales and 400 million in merchandise in Japan alone.» Wong 1996
↑ «Japan Media Arts Festival awards». Retrieved on 2008-10-26.
↑ «Animation Kobe winners» (in Japanese). Retrieved on 2008-10-26.
↑ «文化庁メディア芸術祭10周年企画アンケート日本のメディア芸術100選結果発表» (in Japanese). Plaza.bunka.go.jp. Retrieved on 2008-09-01.
↑ «Constructing a mythic universe that is almost Blakean both in its complex and mythic vision and in its dizzying array of Christian and Judaic religious symbols, the series questions the construction of human identity, not only in relation to the technology that the series’ plot and imagery insistently privilege, but also in relation to the nature of reality itself.» pg 424 of Napier 2002
↑ ^7.0 ^7.1 ^7.2 ^7.3 Azuma 4
↑ «I didn’t have any interest in studying human psychology in the past. I only took a course about it in University, but I suppose I always had something in my mind to analyse human psyche. I thought I wasn’t interested in humans very much, but then when I started talking about myself, I needed words to explain. So I started reading books on psychology. From Episode #16, Evangelion’S story went into the direction to ask just what the human mind is all about inside. I wrote about myself. My friend lent me a book on human psychological illness and this gave me a shock, as if I finally found what I needed to say.» Anno, Protoculture Addicts 43.
↑ «The narratives, the characters, and the mise en scene of these works evoke the disturbing postmodern fantasy … Sconce suggests that, «where there were once whole human subjects, there are now only fragmented and decentered subjectivities, metaphors of ‘simulation and ‘schizophrenia'» and he finds that, «in postmodernism’s fascination with the evacuation of the reference and an ungrounded play of signification and surface, we can see another vision of beings who, like ghosts and psychotics, are no longer anchored in reality instead wander through a hallucinatory world where the material real is forever lost»». (Sconce quote from Jeffrey Sconce’s Haunted Media). pg 419 of Napier 2002
↑ ^10.0 ^10.1 ^10.2 ^10.3 ^10.4 Template:Cite book
↑ «The End of Evangelion – Theatrical Program: Glossary». EvaOtaku.com (1998-02-20). Retrieved on 2006-09-03.
↑ episode 26
↑ «.Overcome by the strain of fighting the Angels and the revelations of his commanders’ duplicity, his ego implodes. The series ends in a long collage of flashbacks and still artwork, accompanied by a protracted internal dialogue between Shinji and the other characters as he conceives them.
These profoundly unsettling episodes suggest animated schizophrenia and recall the chilling conclusion of Yukio Mishima’s Sea of Fertility tetralogy, in which the main character realizes he can no longer be certain of his own existence. Both works offer a desolate vision of a universe in which no answers exist—in this life or any other. » ‘DVD Review’, Charles Solomon, 2 October 2003, Los Angeles Times[3]
↑ pg 427 of Napier 2002
↑ «This, the opening episode is constructed around all the conventions of the classic «saving the world» narrative, only to undermine them by showing IKARI [sic] Shinji, its fourteen-year-old ostensible hero, in a far from heroic light … In a more conventional anime sf narrative, Shinji would climb into the EVA with gusto and proceed to save the world. In fact he does pilot the EVA and succeeds in destroying the Angel – who turns out to be the third of seventeen – but only with the greatest reluctance and after a display of temper, fear, and vulnerability that seems less than conventionally heroic.» pg 424–425 of Napier 2002
↑ «Evangelion is my life, and I have put everything I know into this work. This is my entire life. My life itself.» Hideaki Anno, Protoculture Addicts 43
↑ «Anno often deconstructs the main casts’ mental states, via abstractly presented interrogations within each character’s mind. Re-opening hidden emotional wounds from the past and uncompromisingly addressing their personality flaws, ‘Evangelion’ offers a fascinatingly complex character study that is rare indeed, especially in popular animated entertainment. Returning to write and direct the series after an extended hiatus – reportedly due to depression – there is an acute sense that ‘Evangelion’ is a very personal statement.» Wong 1996
↑ «In the September 1996 issue of the Quick Japan information magazine, Hideaki Anno, the director of Evangelion, described Eva as a ‘personal film,’ each character reflecting part of his own personality. Anno, born in 1960, told the magazine that Japanese in his age group have nothing but TV, unlike their parents who worked furiously to help Japan rise from the ashes of World War II.»
Japan Economic Newswire MAY 8, 1997, THURSDAY «Cartoon ‘Eva’ captures sense of void among Japanese youth». by Yoichi Kosukegawa. TOKYO, May 8 Kyodo
↑ Gainax (1998-02-20). «A Story of Communication: The Kazuya Tsurumaki Interview». Red Cross Book. Retrieved on 2006-08-15.
↑ «The release in October 1995 of Neon Genesis Evangelion on Japanese TV ignited a boom in merchandise unprecedented in a country already awash with such goods. As if overnight, well over 600 different items were made to commemorate the event. Figures were the most popular, with the inimitable bandaged Rei outselling all else. The Eva girls, kitted out in swimwear and striking suggestive poses, were, overall, a huge success, and things went a bit too far…» pg 126 of Fujie 2004. See also: «Arguably, it is because of Anno’s dictates on design that few Evangelion toys were initially made. But figures of Rei, in all her bandaged beauty, sold like wild fire. This is probably the first and only example of an animated [mecha] series where reproductions of the human characters outsold those of the robots.» pg 98.
↑ «Rei’s popularity soared in Japan, with books featuring her image on the cover selling like hot cakes. She was christened by the media, «The girl who manipulates magazine sales at will», «The fastest route to the sold-out sign!» And even, «The Premium Girl.»» pg 39 of Fujie 2004
↑ Woznicki, Krystian (1998-02-20). «Towards a Cartography of Japanese Anime — Interview with Azuma Hiroki». Retrieved on 2006-08-15.
↑ pg 155, Takeda 2002
↑ pg 157–158 of Takeda 2002
↑ «Anno knew a guy from King Records named Otsuki, and as the story goes, the two were out drinking one day when Otsuki suggested to Anno that they work on a TV anime project together. Anno agreed on the spot, came back to the office and promptly announced it to everyone. Nobody even batted an eyelash. We just accepted it without further thought.» pg 164 of Takeda 2002
↑ pg 165 of Takeda 2002
↑ NEWTYPE 100% COLLECTION: NEON GENESIS EVANGELION. 1997 Kadokawashoten. ISBN 4-04-852700-2. Partial translation.
↑ pg 167 of Takeda 2002
↑ «At the planning stage, director Hideaki Anno is reported to have said, «With recent robot anime series there have been too many instances of toy makers sticking their big noses in from the design stage so they can get a spec that is easy to turn into a toy. I don’t want any interference from toy makers, so I’m going to design a robot that just cannot be turned into a toy.» pg 97 of Fujie 2004
↑ Takeda continues: «He said the legs were too skinny, and then proceeded to give Otsuki a lecture on the principles of robot design. Otsuki is bitter about the incident to this day.» pg 166–167 of Takeda 2002
↑ «Fans liked the concept, praising it for a psychoanalytical look at anime that had never been attempted before. Sato sees Episode 16 was of particular importance. A spherical black Angel called Ririeru (Leliel in English) appears and Shinji’s Eva Unit 01 is absorbed into it. Normally, such close contact between an Evangelion and an Angel would have resulted in combat. Instead, in this episode, Shinji is confronted by another version of himself. The two Shinjis engage in conversation as the young boy probes «himself» about who he really is and the meaning of «self.» The episode clearly shows how Shinji explores his inner self as he continues asking why it is that he has been selected to pilot the Eva. The series continues in this way with a strong focus on Shinji’s internal struggles until Evangelion draws toward its climax.» «Evangelion Special: From phenomenon to legacy»
↑ «A STORY OF COMMUNICATION: The Kazuya Tsurumaki Interview»
↑ http://www.ex.org/2.3/19-harmeln.html
↑ http://www.ex.org/2.7/22-anime_psychodiver.html
↑ «The animation in this series is a major selling point. I especially like the way the characters are drawn. Their faces are vivid and express wonderfully. It’s no GHOST IN THE SHELL, but it’s very good. » «I saw the first EVANGELION volume in subtitles, so I braced myself for linguistic torture. However, my fears were for naught. Misato actually sounded sleepy in the morning! Allison Keith presents one of the best voice-over performances I’ve heard. That’s all it took to make me forgive the stiff and unnatural moments that occasionally cropped up in the rest of the tape. The rest of the cast do a pretty good reading, but Misato’s lines made me cringe the fewest number of times. When compared to most other English dubbed anime this one shines. The language is clear and usually isn’t too clunky. Dubs really are getting better, and the future sounds pretty good.» http://www.ex.org/2.1/19-eva02.html
↑ «EVANGELION was complex and layered» http://www.ex.org/5.6/20-animej_flcl.html
↑ «Takagi: Yes, but I have very little time. One of my current favorites is EVANGELION for its richness in stories and characters.» http://www.ex.org/2.3/08-kcon2.html
↑ «The art is beautifully done and the character designs are reminiscent of EVANGELION or GUNDAM WING.» http://www.ex.org/4.2/15-anime_gasaraki.html
↑ ^40.0 ^40.1 pg 162, Fujie 2004
↑ «Even though some fans had heard that the final two episodes were unusual, they didn’t realize how strange they were until AD Vision released them. They found those episodes were a cross between the «stargate» sequence in 2001 and a Fellini film: talky and unfocused, a stream-of-consciousness meandering that left some Eva questions unanswered. When the American voice actors who handled the lead roles in those episodes were asked about the final volume, they admitted that they also had trouble understanding it.
«The last two episodes of Eva I had no idea what was going on,» said Tristan MacAvery, who played Gendou. «I had to figure how I should read the part, flat or philosophical.» MacAvery and the other actors said there was nothing wrong with the English translation, that the Japanese original was incomprehensible.» http://web.archive.org/web/20080617215942/www.fansview.com/080798h.htm
↑ «Unfortunately, this is where things get a little odd. Due to budget cuts and other factors, the end of the series seems abrupt and confusing and leaves a lot of loose ends. Many fans felt that it was a cop-out, prompting the studio, Gainax, to create several movies as attempts to deliver a better ending and retell certain parts of the story.» «DStv Pick of the week: Neon Genesis Evangelion : Monday, 15:45, Animax», Matthew Vice, 15 Nov 2009, The Times
↑ «Almost as soon as they were broadcast, the final episodes of «Evangelion» became the subject of heated discussions that show no signs of abating. Some viewers hailed them as profound; detractors replied that their meaning was more apparent than real.» Solomon 2003
↑ «Evangelion Special: From phenomenon to legacy»
↑ «Miyadai categorizes young Japanese into three groups. One is what he calls the ‘street’ group who seek only to enjoy the fads of the moment, such as those who crave for Tamagotchi ‘virtual pet’ toys and exchange tiny self-portrait photo seals taken from ‘Print Club’ machines with their friends. Another group is the ‘otaku,’ the rough equivalent of computer nerds — people who withdraw into the world of video games and animation, rejecting communication with the outside world. The third is a middle group of the so-called ‘good boys, good girls’ who do well in school in line with the expectations of their parents. Miyadai says the middle group is now at a ‘critical’ stage. Like Ikari, who questions the reasons he has to fight, middle-group people have doubts about why they have to go to school to satisfy their families’ expectations. ‘It should be noted that Evangelion is attracting such middle-group people in addition to the otaku group,’ Miyadai says.» from «Cartoon ‘Eva’ captures sense of void among Japanese youth»
↑ «— Now even businessmen are debating the mysteries of «Eva» in bars. (laugh)
KT — (laugh) For example, Hideaki Anno says that, «Anime fans are too introverted, and need to get out more.» Further, he should be happy that non-anime fans are watching his work, right?» «A STORY OF COMMUNICATION: The Kazuya Tsurumaki Interview»
↑ Template:Cite journal
↑ Template:Cite journal
↑ http://www.ex.org/3.1/44-holiday_contest.html
↑ http://www.ex.org/news/1999_05.html
↑ «Although it draws upon earlier classic anime such as the Yamato series in terms of the ostensible narrative – alien invaders, in this case known as Angels, are attacking the Earth and only a small group of young people can save it, using impressive giant robots with which they synergize – the narrative’s actual execution defamiliarizes this rather hackneyed story line.» pg 424 of Napier 2002
↑ «Evangelion carries a large number of quotes from and references to other anime productions, such as the mecha designs of Ultraman, Space Battleship Yamato, and Gundam. The works of Go Nagai – such as Mazinga Z – and even the novelist Ryu Murakami are also referred to; in particular, Devilman is seen as a major source for the overall plot. This was so apparent that Evangelion became known as «the remixed anime». pg 9 of Fujie 2004
↑ pg 75 of Fujie 2004
↑ ^54.0 ^54.1 «The overall design of Evangelion calls to mind Devilman by Go Nagai. In fact, the whole concept of the Evas, which are made from Adam, and harbor the souls of humans, can be considered borrowed from scenes from Devilman, where the soul of Akira Fudo is possessed by Amon, the Lord of War. Moreover, the heavily religious undertones, the suggestion of conflict with an indigenous people, and the cosmic view that mankind may not be the ultimate being all owe something to Devilman.» pg 76 of Fujie 2004
↑ Anno, as quoted in Wong 1996
↑ From 17 February 2007 movie theater poster by Anno; translation from «Hideaki Anno Releases Statement About New Evangelion Movies: EVA creator posts message in theatres across Japan, hopes to lure new audiences to Evangelion films», 2007-02-20, Anime News Network.
↑ «It should be clear by now that Evangelion is a text that can be read on many levels. On the one hand, as Kotani and other critics point out, it can be seen as a coming-of-age story, expressed through the narrative of a young boy’s growth vis-a-vis others, in particular the patriarchy represented by his father and the feminine presence represented by not only his colleagues but, as Kotani argues, by the EVA itself.» «… a moment that suggests that Shinji’s endeavor to develop a cohesive form of subjectivity has been successful. Or has it?» pg 429 of Napier 2002
↑ «Whereas Yamaga Hiroyuki last year said that Honneamise reflected his opinion of the world at the time he wrote and directed it, Anno Hideaki declared in last November’s issue of Newtype that he’s going only by his own value system in judging the series. That, combined with Anno’s surprise remarks at the end of vol. 1 of «Eva» character designer Sadamoto Yoshiyuki’s Evangelion manga (itself a similar, but «alternate» version of the anime story) that this project represents the end of four years that were for him no more than «simply not dying,» indicate this TV anime series is personal and deeply felt to Anno.» «Overriding it all, as the noted Japanese social writer, Sato Kenji, has remarked, is Anno Hideaki’s overall honesty, his own whisper of the heart—«to live is to change»—from one of Japan’s top animators, caught for four years in the personal hell of depression and helplessness as an artist. It helps to remind one that the people who make anime don’t do it just for the often paltry living it provides, but to express what’s inside them with these tools they know. To make something that means something to them is the reason Gainax makes everything. «Arrogant and selfish» is how Anno describes it.» «Speaking Once as They Return: Gainax’s Neon Genesis Evangelion»]; Carl Horn, AMPlus 1.2 1995
↑ «Aside from Old Testament quotes, there are numerous cases in Evangelion of far-reaching references to such Freudian concepts as the Libido and death wish…», «Going off on a tangent, the choice of theme songs, «Thanatos – If I can’t be yours» and «Come Sweet Death» both illustrate the importance of the death wish to the movie.» pg 147, 150 of Fujie 2004
↑ «In the final episode, Anno is clearly referencing Freud and perhaps Lacan as the unseen voice inside Shinji’s head explains to him that he creates his personality first through disassociating with the mother and then through distinguishing himself from others.» pg 234 of Napier 2002
↑ «Shinji and Misato’s descent into the seemingly bottomless depths of Nerv headquarters can be read, as critic Endo Toru suggests, as a descent into the unconsciousness, metonymically reinforced by the profusion of downward escalators and elevators from which the protagonists emerge into a disorienting maze of long empty corridors and bizarre machinery (84). It is surely no coincidence that, in the first episode, Misato and Shinji enter Nerv only to become hopelessly lost, a situation that recurs symbolically and concretely throughout the series until the final episode explicitly displays Shinji as «lost» in his own subconscious.» pg 428 of Napier 2002
↑ «In the terms of the thermodynamic model which informs Freud’s concept of the death drive, what is feared is the entropy’ at work at the heart of all organization, all differentiation. By this same token the woman also signifies precisely that desired ‘state where everything is the same’: the pre-Oedipal bliss of the fusion of bodies in which infant and mother are «‘inextricably mixed’, that absence of the pain of differing, condition of identity and meaning, whose extinction is deferred until death.» ―Victor Burgin
Template:Cite book
↑ «The hedgehog’s dilemma… The nearer we get, the deeper we hurt each other… I see.»
↑ pg 426 of Napier 2002
↑ «At first he insists that he does so to «save mankind.» But when that answer is met with the response «Liar», he shifts to a more complex self-analysis… he admits to piloting the Eva because of his own need for the liking and respect of others, and finally acknowledges that he feels «worthless» unless he is joined with the Eva.» pg 426 of Napier 2002
↑ ^66.0 ^66.1 As quoted in pg 426 of Napier 2002
↑ Kentaro ONIZUKA. «»Neon Genesis Evangelion: Final Episode»». Literal Translation Series. Animanga.com. Retrieved on 2008-09-01.
↑ ^68.0 ^68.1 «Although the scenes of combat are gripping and imaginative for the genre, what makes Evangelion truly groundbreaking are the psychic struggles in which the characters engage. These struggles are both wide-ranging and emotionally draining. They are also presented with surprising psychoanalytical sophistication as the characters try to come to grips with their own inner turmoil, their problematic relations with each other, and finally, their relation to more remote forms of Otherness – the gigantic machines that are the EVAs and with which they must synchronize, and the enigmatic Angels who present a riddle that is increasingly depicted in terms of what seems to be a Christian or perhaps Gnostic notion of apocalypse.» pg 425 of Napier 2002
↑ «Anno says the new offering from Gainax will consider some of the ultimate questions posed by science fiction, and, indeed, philosophy, such as: What is the nature of evolution? What is humanity’s relationship to his or her god? Does god, in fact, exist? What does it mean for the human race if that question can be answered definitively?» From «Gainax Returns to Anime with Shinseiki Evangelion«, published in the February 1995 edition of Animerica, and as quoted in Neon Genesis Evangelion, volume 10.
↑ «There are a lot of giant robot shows in Japan, and we did want our story to have a religious theme to help distinguish us. Because Christianity is an uncommon religion in Japan we thought it would be mysterious. None of the staff who worked on Eva are Christians. There is no actual Christian meaning to the show, we just thought the visual symbols of Christianity look cool. If we had known the show would get distributed in the US and Europe we might have rethought that choice.» ― Kazuya Tsurumaki
EvaOtaku.com FAQ; see also an interview with Tsurumaki which contains the same quote[4] (Archive link)
↑ «Evangelion is like a puzzle, you know. Any person can see it and give his/her own answer. In other words, we’re offering viewers to think by themselves, so that each person can imagine his/her own world. We will never offer the answers, even in the theatrical version. As for any Evangelion viewers, they may expect us to provide the ‘all-about Eva’ manuals, but there is no such thing. Don’t expect to get answers by someone. Don’t expect to be catered to all the time. We all have to find our own answers.» from Hideaki Anno’s Anime Expo ’96 interview, pp20–3 in the November 1996 Newtype, as translated by Miyako Graham in issue 43, pages 40–41 of Protoculture Addicts and as quoted by Lawrence Eng[5][6] [7]
↑ «But Hiroki Sato, 32, head of the public relations department of GAINAX, the company that produced the animation, says various devices included in Evangelion are only elements of the product and are not directly linked to its theme. ‘Anno made a soul-searching journey in producing Evangelion by including his daily sufferings and thinking about them,’ Sato says.» Japan Economic Newswire, 8 May 1997, ‘Cartoon ‘Eva’ captures sense of void among Japanese youth’
↑ «Mr. Anno («Evangelion») apparently never read the Bible, despite the heavy Christian symbology of his work; he just (according to Mr. Okada) picked out a few interesting technical terms. Likewise, the anime creation staff might open a book on psychology and, rather than read it thoroughly, simply go through it picking out «great technical terms» to use in the anime!» http://web.archive.org/web/20080504115217/www.mit.edu/people/rei/manga-okadaluncheon.html
↑ ^74.0 ^74.1 ^74.2 Template:Cite book
↑ ^75.0 ^75.1 ^75.2 Template:Cite book
↑ In episode 23,Tear/Rei III, Ritsuko states that «These are dummies. And nothing but parts for Rei. Humans found a god, and thus, tried to obtain it. As a result, humanity was punished. That was 15 years ago. The god that they found vanished. However, they tried to revive the god themselves. It was Adam. A human was made from Adam to be close to the god. That is Eva.» See also Fujie 2004: «Elsewhere, we learn, «That which was born of Adam is the Eva», effectively proving that Adam was the model for the Evangelions.» (pg 48).
↑ pg 60 of Fujie 2004
↑ Broderick, Mick. «Anime’s Apocalypse: Neon Genesis Evangelion as Millenarian Mecha». Intersections 7, 2002. Retrieved December 29, 2009
↑ ^79.0 ^79.1 ^79.2 Horn, Carl G. «Speaking Once as They Return: Gainax’s Neon Genesis Evangelion«. Retrieved on 2006-08-15.
↑ «References to: Cordwainer Smith and the Instrumentality Project». Yoko NGE All-In-One FAQ. Yoko NGE InfoCenter (2004). Retrieved on 2006-08-15.
↑ Galen Strickland. «Cordwainer Smith Profile». The Templeton Gate. Retrieved on 2006-08-19.
↑ Horn 1995
↑ Template:Cite book
↑ Template:Cite book
↑ Tsuribe, Manabu. «Prison of Self-Consciousness: an Essay on Evangelion». Otaku Fanzine.
↑ «If this sounds blasphemous to the numerous EVANGELION fans out there, bear in mind that Anno Hideaki, director of EVANGELION, cites Tomino’s traumatic IDEON as one of his key influences.» http://www.ex.org/2.2/06-news1.html
↑ «Anno: Of the movies, I recommend Gundam III — Meeting in Space. The picture is quite nice. Moreover, if I have to recommend Mr. Tomino’s animation, I would choose Legendary Giant IDEON (1980, TV). It would be best to watch the movie version’s Part II (1982, movie) after watching the TV series. Although some of the picture quality might be poor, please tolerate it.» http://web.archive.org/web/20050407200800/home.comcast.net/~hasshin/shimamoto.html
↑ «Neon Genesis Evangelion and Serial Experiments Lain have much in common. They can readily be described as postmodern in terms of their concern with a notion of identity as fluctuating, their rapid and sometimes incoherent narrative pace, and their refusal of conventional forms of closure … More importantly, they share a complex and problematic attitude toward the real. The two stories also deal with issues that are perhaps culturally specific to Japan: the increasing distrust and alienation between the generations, the complicated role of childhood, and, most significantly, a privileging of the feminine, often in the form of the young girl or shōjo.» «This contributes to a pervasive sense of the uncanny that imbues both narratives, linking them with the genres of horror and fantasy.» pg 423–424 of Napier 2002
↑ Nakajima, Shin-suke (1999). «HK: Interview with Chiaki Konaka». Retrieved on 2006-09-16.
↑ «Neon Genesis’s 14 year-old protagonist, Shinji Ikari, lives in Tokyo without contact with his family, and his mood is often illustrated by the use of shooting scenes from above, animation cells washed in drab blue, and passages of extreme action interspersed with reflective passages of stillness or close-ups of Ikari’s face.
(But, as Brophy explains, such innovation is by no means a first for Neon Genesis — in the late 1940s the Japanese cartoonist Osama Tezuka borrowed artistic techniques from German Expressionism in his four-volume cartoon version of Dostoyevsky’s Crime And Punishment.)» The Age (Melbourne, Australia) January 14, 1999 Thursday Late Edition «Orient expressive». by David M. Walker GREEN GUIDE; Pg. 23
↑ Template:Cite journal
↑ Template:Cite journal
↑ Bertschy, Zac (2004-01-12). «Review: RahXephon DVD 7: Crescendo». Anime News Network. Retrieved on 2006-10-13.
↑ Oppliger, John (2002-08-20). «Is RahXephon an Evangelion Rip Off?». Ask John. Retrieved on 2006-10-13.
↑ «Grading SF for Realism»: «Science fantasy: … Examples include Peter Hamilton’s Night’s Dawn Trilogy and the Shadowrun RPG (both of which incorporate supernatural elements into an otherwise typical medium (space opera) or very hard (cyberpunk) SF setting), and the Neongenesis [sic] Evangelion anime series.»
↑ «After resurfacing with the DUNBINE sequel GARZEY’S WING, rumor had it that Tomino was planning to do another robot show. Could it be? In an interview with Sunrise Radio, Tomino himself took the stage and confirmed that yes, he was preparing to work on another show this year. Not just any robot show, but one that would, in his words, «outdo EVANGELION…!»» http://www.ex.org/2.2/06-news1.html
↑ «Over a year and a half ago, Tomino Yoshiyuki, creator of GUNDAM, announced that he was going to start work on a new mecha show that would outdo EVANGELION. Rumors flew about what it would be about, who would work on it, and even where and when it would air.» http://www.ex.org/3.5/18-anime_brainpowerd.html
↑ «Indeed, Tomino was so confident about BRAIN POWERED he bragged it will outdo EVANGELION. Don’t you believe him.» http://www.ex.org/4.7/14-anime_brainpowered.html
↑ «The game starts with a stunning full motion video sequence that feels rather reminiscent of NEON GENESIS EVANGELION. It starts by quoting Revelations 1:8, «I am the Alpha and the Omega… who is, and who was, and who is to come, the Almighty.»…Then, most of the second disk concentrates on explaining all the questions and telling the whole story using monologues. (A friend of the reviewer noted, «It’s just like the last 2 TV episodes of EVANGELION!»)» http://www.ex.org/3.3/38-game_xenogears.html
↑ «So after a somewhat slow and confusing start, this show is starting to pick up steam. Like NEON GENESIS EVANGELION, there is a lot of intrigue and unanswered questions floating around. However, unlike EVANGELION, GASARAKI seems to have an excellent sense of direction and looks to be heading towards a very interesting conclusion. With each new volume the story becomes even more engrossing, and I am looking forward to following this series to its end.» http://www.ex.org/articles/2001/2001.07.20-rev_anime-us-gasaraki-vol_2_3.html
↑ «The first two episodes of GASARAKI do not shed much light on where the story is going; they merely introduce the Gowa clan and what their role is in the warfare industry. The series seems to be following in the footsteps of NEON GENESIS EVANGELION with its religious overtones. As for what Shintoism has to do with the development of the mechs is beyond this author’s experience, but I’m sure as the story progresses more will be explained. The art is beautifully done and the character designs are reminiscent of EVANGELION or GUNDAM WING.» http://www.ex.org/4.2/15-anime_gasaraki.html
↑ «www.evamonkey.com/addition_audio_drama.php». Retrieved on 2007-03-17.
↑ http://www.animenewsnetwork.com/news/2009-03-12/director-wes-anderson-lists-eva-among-favorite-dvds
↑ «EVA RE-TAKE». Kurogane’s Anime Blog (February 7, 2006). Retrieved on 2008-09-01.
↑ «Evafics.org». Retrieved on 2008-09-01.
↑ «Neon Genesis Evangelion — Unofficial Fan Continuation». Eva-r.com. Retrieved on 2008-09-01.
↑ [8] Poster for hoax sequel Reprise of Evangelion
↑ «Now, in a remarkable turnaround, Fightstar’s debut long-player, Grand Unification, has been called «stunning posthardcore» by Kerrang! magazine; it even put the boys on its cover. The record is inspired by Manga – particularly the Neon Genesis Evangelion series (act like you know). It’s about time comics and metal got a pin-up.» «GIG Fightstar», by Beth Pearson, from The Herald, March 16, 2006, GOING OUT; Pg. 2
↑ Sevakis, Justin (May 3, 2007). «Buried Treasure: Hideaki Anno Talks to Kids» (Web page). Anime News Network. Retrieved on 2007-05-03. «»Why is that robot-thingy called Evangelion?» «It comes from a Christian word meaning ‘Gospel’ and it’s supposed to bring blessings. It has some Greek roots. I chose the name because it sounds complicated.»»
↑ Liddell, Henry George with Robert Scott and Henry Stuart Jones. A Greek-English Lexicon. Oxford, 1940.

Official websites[]

Madman Entertainment’s Evangelion page
Neon Genesis Evangelion – Gainax’s official Evangelion page.
新世紀エヴァンゲリオン – Evangelion Website of King Record.

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evangelion

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