To make matters worse, the planet-balancing Senshi Pearl is stolen. If war doesn't destroy them, then the very planet itself will. Can she push past her fears to objectively approach the case and solve it? On a more personal level, can she work through those same fears and learn to love and be loved? Reviews from Goodreads. FictionDB Reviews:. Paperback editions:. Hardcover editions:. Nov Desert Breeze publishing, Inc. Audio editions:. The drawing staff usually hates it.
Drawing frontal face is more difficult and often it could not be done well. But if the line of sight goes the other way, it becomes hard to use it to act. It is easier to frame the position of eyes of the characters if it is a front to front exchanges between the lines of sights of two persons. Anime is at the end a 2D thing so the amount of information is limited. When it is cut to a new scene, the audience will try to search for something to focus, and if it is a face, it will be the eyes they look first. So when the eyes have expressed the information, you can cut to another scene already.
In TV anime, static scenes are many. I think this is the proper way to go. Although I think acting by eyes is very important it is also very tedious. And then I get a bit irritated. A - That has many physical reasons. If we do not make the eyes big and treat it as a symbol for the characters, it will become difficult for many to draw. A - true, but as the end we only have the drawings to fall back on. If we overdo that kind of serious acting, it carries a risk of looking ridiculous. Character Design is a difficult thing. About Director: Skipped the part about old time directors and struggles with studio about rights to edit.
Except Anno said that for anime sometimes it needs to do editing without having all drawings. But he thinks editing is fun. Gather extra cuts and then try to experiment by switching the cuts or rearranging order and that is interesting. And even the question of whether to cut 2 frames or not can make a difference. A - He is a despot. Nothing can move forward if we have to wait until someone else makes a decision and approves.
Also the personal character would not come out. In anime, a overall design called storyboard is made from the very beginning. And the production system is based on that design, so it is easier to unify opinions. O - since we are on it, in Gunbuster and Eva last episode, there are parts in black and white, that flashback, that kind of stood out. It used quite a bit of sketch like drawings. Did the storyboard also cover that? Anime vs real-life film: Okamoto said real-life is not necessarily better. Anno said many anime directors want to do real-life. Many simply put drawings in place of real-life images and they seem to want to push anime to look closer to real life film.
And both think it is not a good idea. Final comment by Anno - Animation is a kind of static world, but there is a yearn for thrill when it switches from one static world to another static world and that cut to new scene is a most efficient way to get such thrill.
A - in a TV anime, 30 min of video has a limit of pictures. So the images cannot move as much as I want. And how to squeeze out the best from the image in such lack of motion, it is all in the cutting. It was truly the first time I cried out and my shoulders shook from weeping due to an anime. The first time it struck me was episode I was like, uwaaaaaa…. It was like that was the first time it hit me. Up to that point I had thought it was just an entertaining anime, but I felt that this was my own issue.
Anno : I had intended to recap the series in the first half of the episode. When I did the second half, I had long forgotten to explore what sort of person Rei was, so [I believed] it was necessary to develop her. The script for episode 16 had been written before that. In the original conception, the languages of various countries and the cries of various animals and miscellaneous noises would appear on the screen; [selecting from] among these, the angel would finally hit upon Japanese.
Anno : As far as that goes, I thought it was fine, but then when [the angel] speaks Japanese that was the end [of my conception]. When I wondered, well, what will [Shinji] do after he gets taken into the angel, I wondered if this might be [his] chance for self-reflection. That went relatively smoothly.
When it came to Rei, I was completely blocked. Finally, I thought, when writing madness, one has no choice but to become mad. At that time I consulted a bit with my friends. When I read the poem I had a strong impression, as though this was the first time that I had come close. I had a feeling like a light glinting upon the tip of a sharp knife. It was certainly not the feeling of an ordinary man. That was good. There was something that inspired it, but it was completely different. It seems to be a famous poem. After the television broadcast finished, I became worse and worse, and went to see a doctor.
I even seriously contemplated death. Without the slightest exaggeration, I had put everything I had [into Evangelion]. After that finished I realized that there was nothing [left] inside of me. When I asked [the doctor? At first I was manic, but I rapidly developed a severe depression. At work, when I go to the bathroom, I go across the studio, I have to encounter people.
I just wanted to think by myself, so I returned home for the first time in many months. She began working on Eva dojinshi during the series. Nobi is asked about her theory that the artists and viewers are locked in battle. She felt that she was in a battle with Anno. Anno thinks his first battle was with his staff In junior high school, Anno had a friend - nowadays, he says, you would call her a girlfriend - named Ritsuko 15 , who had a major impact on his life and introduced him to sci-fi and shojo manga.
Devilman and Evangelion. Nobi sees similarities between Devilman and Evangelion. As a result Shinji questions his self-identity. In the end, the foundations of human identity are overthrown. Anno says that the similarities to Devilman in this sense were unconscious; he noticed them afterwards.
Evangelion follows the pattern of Ultraman and Devilman, in the sense that an enemy is defeated, but the power of that enemy is absorbed. Human beings make a copy of the angels, and then combine it with the human heart or mind. Anno and Miyazaki. Anno was asked to write a commentary for the Studio Ghibli box set; however, in it, he criticized Miyazaki.
Anno and Miyazaki are basically at one in their approaches; however, Miyazaki aims for a broad appeal, and Anno does not. The manga dealt with contemporary situations in Tokyo until Hasegawa retired and ended the series on February 21, Anno only makes works for himself, and not for an audience. However, making works is still the only way he can relate to other people. They decide by themselves how they react to it. When he was young his ideal sort of food was what astronauts would take into space.
He stopped eating meat at a young age. When he was in his second year of elementary school, a teacher made him stay behind until he ate his meal. At 8PM the teacher gave up. He would rather have died than eat that meal. His body is no longer accustomed to eating meat, and now the taste makes him physically sick. He has very little desire for food or money. His sexual desire is average. Cel Anime and Expression.
However, Anno feels he could not portray human relationships well because of the limitations of the medium, which he discusses. The Production of Eva. The script for the first episode took half a year to complete He was stuck after that, so he wrote episodes 5 and 6, and then came back to episode 3. He felt he had to go beyond regular TV anime in developing realistic characters in episodes 3 and 4. However, the first six episodes left the staff drained and feeling weighed down by the heavy mood, so he felt it necessary to lighten the feeling of the series for episodes 7, 8, and 9.
This early stage of production took 4 or 5 months in total; the storyboards were done in two months. However, the schedule became more and more constrained. The series was only finished thanks to the supreme efforts and talents of the staff. Episode 26 was completed in only three days Episode 24 was put together almost entirely by Masayuki alone in the space of three weeks. He was loaned a magazine-like book on mental illness that contained a poem by someone who suffered from a mental disorder, and that triggered his imagination. He no longer wanted to see people, and climbed up onto the roof of the Gainax building to see if he really wanted to live or to die.
In the end he wanted to live, but after making Eva he felt he had nothing left inside of him. Nobi is not sure that female manga writers will be able to match the imagination of the male authors. Only a single scene remained. Group Mentality. Nobi was irritated by male Rei otaku at Comiket. Anno emphasizes with her irritation. Anno says that Aum demonstrated that some people are driven to be a part of a group. Anno realized how easy it is to become a cult leader.
However, the problem is that human beings also cannot live alone and must somehow depend on others. In addition, people nowadays, including Anno and Gainax, make and use film and anime as a kind of drug. I assume these quotes are from Anno, and also came from the interview. There Anno says that the image of opening an AT field is one of violation. It is based on the tearing of clothes.
Clothes are the most basic form of protection for human beings. Later on Anno wondered what the meaning of it was. He later felt it was the barrier of the heart or mind. It protects what is most valuable to human beings. The difficult thing [when creating filmbooks] is to establish rules as to how much to write — How much information which is not explicitly stated in the work secret settings, etc.
How far is allowed? This is because these criterion are rather subtle and vague. For example, there are cases where it is okay to publish facts settings [ settai?
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Asked on EGF. I mentioned that it actually appears three times in different forms, and gave the citations. The implication was that they were considering quoting it in the final episodes. It is indeed amusing to see the success of animation abroad, but I think that fans everywhere have the same tastes. Animation is a universal language. They are not really humans, they are only a sketch on a piece of paper, incapable of doing anything really, and [they are] out of the reach of their fans. For example, when a boy makes love with a woman in an anime, it is only part of a scenario, it is nothing more, and the fan knows, he steps back from what he sees.
HA: You need to understand that Japanese animation is an industry that is, for the most part, male, and as is quite evident, everything is made for their gratification. Further, it is more gratifying for us to draw this sort of character, rather than old grandmothers. Characters in animation do not cheat.
They do not let you go for another. Animation is on certain points, very close to the pornography industry. All your physical needs are met. You can watch different animations and find anything you desire. HA: I am not familiar with many things in Christianity, and I have no intention of approaching it or criticizing it either. AL: Imagine that a European company decided to buy the rights to Evangelion , and to change certain scenes because of religious concerns. Would you agree with censoring these scenes? After all, this series was made for a Japanese audience.
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HA: Actually, I think that some censorship is necessary, but it is not normal that we should be ordered by a conventional [literally, bien-pensant ] minority. I do not think you can get away with anything for the so-called well-being and protection of children.
AL: Violence seems to be more admissible for these people than the notion of sex. HA: The legal context obviously differs between nations and eras. The only universal constant is the thirst of humans for sex and violence. We need to try to manage this without falling into the opposite extreme, and brainwashing.
Films are extremely influential and powerful, especially as propaganda tools.
I used components that I liked and that appeared to me necessary to advance the story. I also worked in concepts that were popular at the time. When I hear the criticism from fans about the end of Evangelion , I really wonder if we can say that I have as good a knowledge of the environment as you seem to say. HA: I was inspired by Japanese demons [ oni ]. I gave them a modern appearance, but such characters have been around a long time. AL: It seems that there exists a sort of recurring message in your series, that one cannot live alone, or even separated from a group or ethnic identity.
Why this message, addressed to otaku, who live at the same time in a relatively separate world? HA: You can find whatever message you want to find in any film or series. I have not wanted to pass on this or that message in particular, but the fact that you reflect on this is a good one. I made Evangelion to make me happy and to make anime lovers happy, in trying to bring together the broadest audience possible.
The connection is unclear - did Man-ga! Our aim was to be the antithesis of all the giant robot animated shows around us. Especially in the past one or two years, this type of refractive, feminine character has not been seen. A happy face — that is the figure of the Complemented Shinji. This conclusion is also one form, one possibility among many.
How this could be possible in our modern world? And all this we speculated in the name of religious belief? What about free speech? How could a legal system go along with this? Well, maybe it did not and the TV station censored the show itself to avoid offending certain sensibilities. We cannot really know where the truth lies. He avoided the subject of censorship and skillfully defended his work.
His point of view made sense and he made some interesting comments about the Internet fans who excessively criticized the show. Because of their information on the Net, they feel they know everything without searching the real truths. Shinichiro Inoue. He encourages people to send comments and questions to Anno-san by writing to: Mr. Whatever the story or the development of the characters, I made them without a plan. During the production, whether listening to various opinions or analysing my own state of mind, I kept questioning myself. I got the concepts from this personal stocktaking [self-assessment].
At first I had intended to make a simple work featuring robots. But even when the main scene became a high school, it did not differ compared to other productions in the same style. At this point, I did not really think of creating a character with two faces, two identities: one shown at school, and the other inside the organization he belongs to [Nerv]. The performance ended with the TV broadcasting ending. We only started working on the next script once the previous one was done. It took longer than usual.
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When we finished a screenplay, we went back and checked it against the previous ones. In fact, with the last episode approaching, we have not even been able to finish on time. He lives alone, but is attached to others. In past centuries, he would soon celebrate his coming of age. Back then, life expectancy was fifty years, so people had to grow up in fourteen years. Today, we live more than seventy years, and although the age of majority in Japan is twenty years, most people still depend on their parents at that age.
In the world of Eva, the human population was cut by half, but as a rule, we can say that the worlds where the population has been decimated are typical of cartoons. I think worlds isolated and torn to shreds, where because of a past disaster humanity has been decimated, are characteristic of Japanese animation. It looks like an army, but it is not one. I did not want to make a military group. I think she is more adept at many other things…Hence when we look at them, her strategies are a little haphazard. Nothing but luck. Honestly, the only person who plans her strategies a little bit is Ritsuko.
I think we should live more fundamentally [essentially]. In our current material security, the problem of the heart becomes a very current topic. But as far as the original stories of episodes 25 and 26 the last ones , I managed to finish episode 25 as far as the script was concerned. Unfortunately, I had to abandon episode 26 while it was still at a very early planning stage. Episodes 25 and 26 as broadcast on TV accurately reflect my mood at the time. I am very satisfied. I regret nothing. It would be the following week. In essence, there remained three days in the schedule. Without cels, we made do by using the sketches of the storyboard in their place.
In any event, we ended up doing without animation on cel. Cels are symbolic representations. After having drawn Asuka with a marker, as soon as Yuko Miyamura gave it her voice, it was more Asuka than ever. I even came to detest myself for having wasted time on cels at all [until then]. I just wanted to show that, as far as animated drawings as a means of expression went, using sketches could work. To destroy at all costs the kind of ideas that I myself had held.
A cartoon is composed of simple signs and therefore from the outset, it is a fake world, right? Nothing but an optical illusion. I think the deconstruction of these signs is rare in cartoons that are shown on TV. When we aired our line drawings, some people in the industry called our work shoddy, even though it was impossible to consider it such. Because they are locked in their rooms, they hang on to that vision which is spreading across the world…On the message boards [Internet] someone can still make a rebuttal, but this remains at the standard of toilet graffiti.
One does not need to sign it. It quietly arrives directly at your door. If we had not set the tone, completely outlandish rumors would have emerged.
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I realized my own hypocrisy when I let myself be convinced that, not knowing our financial situation, this kind of talk was only fair. Whatever they say, I do not think you can see other negatives in Evangelion! Laughter By not paying attention to childish ideas which they are subjected to, we take the anime-fans for being stupid. They do not leave their [comfortable little] world. They feel safe. They have nothing solid in themselves on which to rely.
Why can I say that? Well, I noticed what I was missing for me, in my heart. He seemed embittered, and quickly lost patience with the fans. For more details, check our report on Anime Expo in the next issue. To be continued. Anno interview in June , mentioning draft material of Kaworu episode 24 see previous section :.
These 3 books were published ; they seem to be nearly-final drafts - they include a number of dialogue changes and occasional deleted scenes. This is a pity because some changes are quite interesting, like Rei I surviving. Seventh Messenger , episode 1? I wonder why. Seventh Messenger notes this latter line is not mentioned in any footnote either, indicating it was added very late in production.
Nanashi , as part of a NGE TV chronology, copies out the dates Episode 4 specified before they were cut from broadcast possibly contradicting other chronologies like the Rei Ayanami Raising Project calendar :. CuSO4 confirms that episodes 13 and 14 were mistakenly swapped. Seventh Messenger , episode 14, variant synch-ratio line by Ritsuko Akagi. Seventh Messenger , episode 19, some tech jargon. Nanashi translates the episode 20 scene notes for Shinji reforming out of LCL.
Seventh Messenger , episode 21, variant techno-babble line by Naoko Akagi. This is worth quoting in full:. Akagi regains her senses. She looks around but Dr. Akagi is nowhere to be seen. Nothing remained where the corpse of Dr. There was blood on the cover of Gaspar. Come, [clone? Keel: The Angels who were the Children of Adam have all perished. Only the final Angel - humanity, us - remains. The promised day has come. Because of this, the complementation of the heart and soul continues. From the Renewal box-set extras, a pre-production image of the scrapped original TV episode 25, showing that the EoE scenario was not an afterthought:.
The EoE screenplays that we have archived on the site were written after the TV show, in its original form, was completed, and apparently in tandem with the development of the DC additions. The television broadcasts were finished two months ago. As a matter of course, there was also a big reaction to the interview with Anno Hideaki in the June issue of NT Newtype.
It seems like bunches of letters are delivered to the editorial office daily for Director Anno, which he is reading little by little as his busy schedule permits. However, despite being made as a group operation, there are TV series that are colored almost entirely by the personality of one individual. Being able to come across works that can be contemplated is an irreplaceable encounter.
Works that are just to been seen and enjoyed. Those are also probably necessary. While keeping its entertainment value as a piece of work, it also offers enjoyment that the audience thinks about. The Eva Boom that you all know about proves that. Everyone is starving for thinking. And the story pregnant with riddles concluded, for many of the audience members, still pregnant with those riddles.
However, this is also certain proof that Eva draws people in. It is the creators who have to change their frame of mind. I think the designer was just roughing out the NERV logo and perhaps at the time they were thinking of making an acronym, for an additional double meaning. Due to the before-animated-review by TV-Stations, now that Anime producers have to revise scripts a lot. As the result, some anime productions suffer from the too tight schedule which had been carried out without problems before. In order to prove my story, I think I have to show at least one fact.
I sympathy with those staffs. Which part, do you say, has the questionable scenes? Is that so? That is the contract between companies. I ask you a question. It ran in Animerica through , although Okada only touches on Eva in At the time the interview was conducted, Evangelion was in production but had not yet aired, and Okada mentions episode 5 in the context of how Gainax since he left has gained more control over its scheduling. Hiroyuki Yamaga thought that maybe we should do something else. But Hideaki Anno disagreed. As he put it, we already had the staff, so he felt we should keep going with anime projects.
So I then decided we should continue. But that was enough for me, and then I had nothing more to do with computer games either. At that point, Takami Akai told me I should change my job. In the beginning of Gainax, we were all just friends. But Yamaga had another plan. So I said to Yamaga, Okay, this is your plan…I can have nothing to do with it. So he was going to produce it on his own, and Anno was going to direct. But then the plan crashed, due to problems with money and staff. Finally, after all this, I was talking with my wife, and I asked her what she thought of the whole thing and how she felt.
O : …, I think. And then I heard my friend Yamaga is president of Gainax, Huh? Sawamura and Mr. Three months after I left, many other people left as well: Mahiro Maeda, Mr. Kanda, Mr. In those days, many talented and powerful people left Gainax. It used to be that we worked together, we talked together, we never got enough sleep - it was very hard, but we were like a family.
That was Gainax. It was no ordinary company, and no bankers would finance such a company. But things have changed. In my day, one year we would make so much money, and - ha, ha, ha - next year, very poor. But now, things are under control. At first, Hideaki Anno and Takami Akai were the only two people on its main staff—Anno drew the mecha and the special effects, and Akai drew the characters and most of the motion.
Of course, those people on the MACROSS staff, who would later become very important people in the industry, were quite angry with them. But, as Anno and Yamaga explained to Ishiguro and Shoji Kawamori, they had to go back to Osaka so they could make amateur films again. So we quit, and decided to make the five-minute, 8mm film that became the Daicon IV Opening Animation. But when that was done, it was quite natural that Yamaga and I began to talk about the original plan, with the idea of making that film in a professional way.
O : I wrote the base story, then I gave it to Yamaga and told him to write the screenplay. Then he asked me what I would like. And I told him that I like space best as the setting for everything. Then he went back to Niigata, and about a week later he sent me his screenplay—and when I read it, I was laughing all over the place. That screenplay is stupid! O : Yes, but Anno changed everything! But to Yamaga, it was a stupid robot-action girl film.
This is a real mecha anime! That way! This way! Nothing but a theme: science-fiction-stupid-girl-action-robot-mecha! O : Part Six was the very first idea I had for the film—and it would be at the very end, I told Yamaga. At that point, every fan is sobbing—Yamaga was so ashamed of himself! O : Yes. But that was all ten years ago. O : Yeah. Sometimes I think just like a Tanaka, and sometimes just like a Kubo. And some episodes were directed in Korea—why, no one knows exactly. Screenplays and storyboards got changed when people went home, and the next morning, if no one could find the original, I authorized them to go ahead with the changes.
No one can be a real director or a real scriptwriter in such a chaos situation. We never met them. No control. But we had never before used a Korean director or animation director. It was real chaos, just like hell. Okada : Japanese movie critics only review live-action movies.
It is a very simple film. When I said the screenplay was weak, I was referring to such things. The film needed a stronger structure.
A little more. I can understand everything! He would still be a human being. That was his only story. The story of the anime is explaining why we are making anime in the first place. It has almost gone away. But there is still the real thing, the film we made, that tells our story. And Yamaga says it was he. They never realize that at Daicon Film, or Gainax, there is no director, and no producer, and no animators, and no accountants Everyone did those jobs, in the good old days of Gainax.
But WINGS you can see again and again, and notice more details - not just in the artwork, but in the political, the social, the economic - you find more and more layers. One man does all the storyboard, the screenplay, directs the animation - he maintains control over everything. On a Gainax anime project, everyone has to be a director. O : Yes, but we came up with that after the new anime. What is Honneamise? It would be that world, a hundred years later.
A spaceship from the world of WINGS then journeys to our present-day Earth, from their homeworld, four light-years from us. A : Wow! O : Well, no one asked me. On Earth, it would be either the present day, or the near-future. O : No, not really. I almost forget myself, because we saw the film two or three hundred times, and had so many different ideas about it. So you forget. It was something that I lightly made. I made it that way because I thought the people who watched it were like the people in the live-action portion—not the people who made it.
Basically what I wanted to do was set the stage for because that was when everything was changing; I wanted to show people what it was like during that period back in , how we lived, basically, what our life was as otaku. Do you feel more strongly now about the way things have to be processed, and managed, and shoved out the door—you see all around you the selling of creativity?
Maybe we can be more major, or a bigger group, or maybe we can make our own theme parks! I am very surprised, and very glad. If there were more opportunity, time, or availability, he would have wanted to use cuts in it. So Mr. Miyazaki is also one of the people starting to use computer graphics, too. And, also, Mr.
And Mr. And that studio has a big system for computer-graphics images. Anno wants to make a masterful scene of a battle amongst the snow. We were wondering if it really is, and if Gainax was into other forms of Western occultism, like Masonry, or the Knights of Malta. Anyway, what it was, is that, their idea—that vision was so strong in their minds that they presented that story. Do you believe that liminality is necessary for creativity? Do you feel it is easier for social outcasts to be creative, to invent original ideas? Basically, creativity will not come out of happy lives, but from people who become outcasts.
There is no reason for you to become purposely unhappy. Very happy! So, I told Mr. So, they come to our Earth, and make contact with Earth. So, it is a continuity of that story. But it is very difficult to make. Not a warp drive, but an acceleration ship. It would take 30 or 40 years. I would be really enthusiastic were I able to make a war between the two planets. In those days, in or , he asked of everything to Mr. So—just a moment, I must go to Mr. So, he works very hard, and gets a very large budget for our film from the president of Bandai.
But just now, Mr. Oshii is sometimes wrong. Tatsunoko almost rules, when it comes to control. So, I think, the responsibility was not with Gainax. Control over schedule is the responsibility of the producer. But Tatsunoko and T. He said he does not blame Mr. Anno, but he blames other people at Gainax, who might be telling Anno about his schedule, and—. I think producers always say that. But I talked with Mr. It was just Mr. Anno about his new plans, so maybe you want to—? And the spaceship crew will sometimes fall in love in some way on the planet, or something will happen— maybe some robots fight [LAUGHS].
He wants to make that film, because Mr. Anno thinks it will be a very good experience for the Japanese animation world. And in the 2. If the genga had remained, even if the key animation director decided to redo them, episode eight would probably have remained [in the film] in its entirety. The anime part of Gainax, I think, is Mr. Anno and Mr. Suzuki, and one other person. So, the animation department is very, very small. When they make anime, they must join forces with another studio. Sadamoto, and not something they can expect as normal.
And so the computer game department gets larger and larger, and the animation department gets smaller and smaller. The biggest difference would have been in the style of planning the last episode. But—the last scenes were never fixed. When I talked to Mr. But Mr. He wants to put it together episode-by-episode. They just think of building up on past episodes.
I talked with Mr. Yamaga and Mr. Anno that question, and every time his answer changes. Maybe you know that back in January, or February, he shaved his head Tokyo, or the sponsor. He felt a very strong responsibility about his stuff. This summer, he hates anime fans. This reminds me of Takeshi Honda is a Japanese animator, designer, and animation director. Right now, many anime fans in Japan are fighting each other over whether that ending was good or bad.
Your question has come up in these debates. If I make it into an anime, maybe it can be better than it was. I heard that Mr. Miyazaki thinks the same way. In , in Japan, the world Expo was held in Osaka. The theme was human progress. I was only an eleven year-old boy back then, and I thought, science can do everything, and make everything better. Everything can happen, and everyone will be happy. And I thought the United States could do anything; everyone there is happy. We Japanese will follow them.
So we believed then. Trust the United States! This issue also has that hilarious Planet Anime ad with the faces of Asuka,Shinji,and Rei superimposed on real life models. Let us study in detail one by one and try to piece together the personal relationships these frightened adults and children are fated to fence each other into. Let us also study how these small, ordinary relationships grow to be the power that changes the world.
The situation with them has changed so they can express their feelings and, so to speak, become as close as childhood friends. Shinji appears to be henpecked by Asuka. Before the split between Asuka and Shinji, when their friendship was turning into passion, possibilities for Shinji seemed good. Touji, Hikari, and Kensuke; from here on we will not be able to take our eyes off of them. Rather, we can observe more cases where unrelated companions form family-like ties. Shinji appears to be afraid of contact with others, and Misato can identify with this, since she continues to be troubled by the loss of her father in the Second Impact.
Therefore, she blames herself for not giving his feelings enough support at this important stage. Having just come through such a path herself, Misato is capable of throwing Shinji off without hesitation when his heart is in torment. Misato is shown in this story to be the one with the greatest understanding of Shinji, the one who wants to be his guiding hand.
Also, Shinji is the one who truly understands her pain. The uproar over 25, " Do You Love Me? No sooner did EVA have its controversial TV ending that Gainax announced it would produce two more endings by the spring and summer of for the video and LD release, it would entirely remake the last two episodes, releasing them as a fourteenth two - episode volume after the first thirteen as well as remake for the ongoing video release selected scenes in the latter part of the series it was dissatisfied with.
In addition to this, there will be an EVA theatrical movie with an entirely original plot and a third ending. Anno indicated at the Expo that these " additional " two endings would in fact really be the same ending as the final TV episode, but from different viewpoints. I think we are a lonely generation who can do nothing but get others to recognize [our? Those guys were making great movies! The hair style sans odango , especially the front, is almost an exact duplication of Usagi. The part about Misato being inspired by Usagi was mentioned by Sadamoto in the bonus disc of the Renewal as well but only in the regards of her hairs; in that interview he also said that he was inspired by Fujiko Mine from Lupin, he liked the fact that at the same time she seems to be in her 20s and in her 30s.
In the notes accompanying LD , it was stated that during the storyboard stage of episode 4, a staff asked Anno what Misato is like, and Anno replied that Misato is just like Tsukino Misato. Anno is a Sailor Moon fans, and he had participated in drawing some cells in episode The unique look and feel of Tokyo was strongly influenced by the fact that in GAiNAX relocated their office to the city of Mitaka 3 Eagles which gave them a new environment to visualized the world of Evangelion.
Precisely what is Rei doing in that tank in central dogma? Maybe there was an interview in before Tai wrote in May and I am unduly pessimistic about how old his information is? It gives you an opportunity to work and an influential voice. Besides that, escape from the ghost of Evangelion as fast as possible. The evil spirit has already gone. Luna :. Ebj :. BTW, Studio Ghibli did the drawings for episode 12 of Eva…you can see that they did draw episode 12 looking at the hairstyle of the speaker of the propaganda-van for candidate Nozoku Takahashi the name is derived by Nozomu Takahashi, producer of Studio Ghibli.
In October , Anno saw an advertisement in the magazine Animage. The anime film of Nausicaa was falling behind schedule, and animators were needed. Afterwards I realised how much guts it must have taken to walk right in and hand Miyazaki samples of his work. If you use three colors, I kill you! Anno wanted to die when he saw the final result. TV program included on the DVD release. The series [NGE] featured attractive SF settings, dynamic battle scenes, a pedantic flavor from incorporating Christian motifs and psychoanalytical jargon into a dramatic work, and a super-intensive amount of information.
The series enjoyed the enthusiastic support of numerous fans, and also spawned discussions on various topics. The TV series ended in a manner that could be considered incomplete. The voice of the fans grew stronger and stronger as they demanded a proper ending to the drama, explanations of the mysteries, or even a new story.
Evangelion will conclude by showing this Part 1 together with Part 2 of the Cinema Edition which is scheduled for release this summer. There Fuyutsuki meets Dr. Gendo, who is accompanying her, explains that she is the child of an acquaintance. MAGI is completed through the efforts of Dr. Naoko Akagi. In a rage of passion, she strangles Rei and then throws herself from the Command Center and dies. In contrast to Shinji and Rei, she is a bright and active young girl. She hates to lose, and is full of pride. As the battles against the Angels continue, she gradually loses her self-confidence as a pilot, becoming both mentally and physically exhausted.
He understands Shinji and Misato, and occasionally offers them advice. During strategic operations she is a bold and daring commander, but normally she is a cheerful optimist who looks after Shinji and the other pilots in the capacity of an older sister. However, she also carries about a past of losing her father due to an Angel, and thus joined NERV to take her revenge on the Angels.