Generally regarded as the preeminent work within the entire anime industry, Neon Genesis Evangelion carries the distinction of inaugurating the medium into complex areas of human thought and intrigue, such as: philosophy, psychology and theology. This groundbreaking approach detached itself from the prototypical formula used by many directors at the time, and imbued original ideas into a stagnating industry that had suffered from the economic difficulties of the early 1990's. While there is much controversy surrounding several facets of the show (I will analyze these discrepancies in due course), one cannot deny the significance it has played on its numerous successor’s.
Without further delay,
...
allow me to deconstruct (attempt, at least) the critical components of Neon Genesis Evangelion in a fashion that will shed light onto the remarkable and the mundane aspects of the show, elucidating its place on the hierarchy of all time greats.
Story: 5/10
Taking place in a not too distant future (writing this in 2018 would make it the past, but you know what I mean), unknown beings known as “Angels” wreck havoc on the citizens of the planet, causing unbridled fear and trepidation in response to impending doom. Despite advances in military equipment, guns and tanks are ineffective in combating the “Angels.” Fortunately, for the sake of humankind, the United Nations put together an organization named NERV to combat said “Angels” through the deployment of Evangelions (Mecha’s) to ward off these unfamiliar adversaries. Everything is easy enough at this point, what is not evident is the reason the pilots are required to be 14 years-old, or what allows them to achieve higher levels of synchronization — a vital component (as we are told) when entering battle. Unfortunately, these questions, among several others (I will not list them all, to avoid spoiling the show) are never addressed, leaving something to be desired from the viewer’s perspective.
I have no qualms with the structure of the story or the proliferation and differentiation of “Angels” that come to earth. In fact, the sophistication of the “Angels” to discover new ways of infiltrating NERV headquarters was rather unique and quite enjoyable. My main issue, however, is the constant immature behavior from the main characters, especially when we are led to believe that failure could result in total destruction of the human race. The various attempts at generic comedy — particularly in the first 15 episodes — draws the viewer’s attention away from the serious aspects of the show that ought to be prioritized to provide an engaging story.
Episode 16, on the other hand, is a refreshing breakthrough in the series that explores Shinji’s interpersonal monologue and his authentic feelings about social interactions, and by default, his resultant depression. This marks a dark moment laced with complex psychological implications for our main protagonist. Furthermore, it illuminates the visceral nature that we all are prone to succumb to under situations of extreme duress. Given the known depression of Hideaki Anno (the creator of Neon Genesis Evangelion) the depiction is a poignant display of the inner workings of someone who does not want to integrate themselves into society. The show does an excellent job of capturing the dormant frustrations one feels while in this frame of mind, and how they create ways to shield themselves from feeling rejected by others. The series continues this dark introspection by examining each character’s past events, giving substantive information into their motivations to act in their own distinct ways. This, in my estimation, is where the show begins to shine, as it strikes an emotional chord with viewer’s that most anime wouldn’t dream of touching. It shifts the viewer’s attention away from the escapist reality that we reside in when watching typical anime, and forces us to confront the mental pressures of ordinary life. It is jarring approach that is not for the faint of heart, but it is paramount in conveying a realistic scenario in which teenagers are faced with lamentable situations. This last statement is crucial, because we must remind ourselves, tacitly, that 14 year-olds are cognitively and emotionally tenuous, causing them to resort drastically to unfavorable circumstances.
Characters: 5.5/10
Time and time again, to the detriment of the series, the main character’s exhibit certain behaviors (dare I say, cartoonish) that seem unbecoming given the potential consequences of inadvertent failure. Perhaps we could chalk this up to puerile adolescence, but the behavior is so over the top that it becomes laughably dull and banal. One prime example occurs during episode 10 when Asuka first encounters her new D-type equipment and literally has a meltdown (pun intended). And let’s not neglect the several awkward “accidents” that occur when female characters are placed in promiscuous situations through contrived “happenstances.” Perhaps we could call these situations unnecessary fan service, and in most cases we would be correct, but herein lies the rub. There is considerable controversy surrounding Hideaki Anno’s intent regarding the characters of the show and how he designed them to be received by the general public. A cohort of fans argue, perhaps rightfully so (although, perhaps not), that the characters are ironic depictions of the wants/desires of Otaku culture. By creating characters that resemble their main interests — highly sexualized, valiant, and resolute — it provides an opportunity to dress them down in a way that will overtly expose their numerous flaws. It humanizes them to the extent of making the viewer uncomfortable with their own insecurities, eliminating the escapist reality that some have fabricated to evade certain aspects of the real world. Whether or not these notions have any validity, is a matter for speculative discussion — but it is interesting to ponder, nonetheless.
That all being said, let’s discuss each character in further detail to provide better insight as to why their faults are necessary plot devices to tell a larger story (i.e. the central story).
Shinji — The reserved, self-loathing protagonist, Shinji Ikari, epitomizes the introvert personality by concealing his true identity a-la the hedgehog’s dilemma (first introduced by philosopher Arthur Schopenhauer). Just a brief reminder for anyone who hasn’t watched the show for quite some time, as this concept is fundamental in understanding our main character, the premise of this theory goes as follows: forging intimate relationships, despite our best intentions, causes shared emotional pain; therefore, provoking guarded behavior and overall weaker relationships due to the lack of intimacy. This explains Shinji’s maladroit encounters with female characters in the show, and his reluctancy to solidify lasting relationships. He has become content to live in the imaginary shell that is his happy place, believing that expressing his true self will cause unintended harm to others and himself. Hideaki Anno, to his credit, overlaid his permeating depression into a fourteen year-old character, that, for the most part, comes through as feeling authentic. This is not your prototypical action hero who possesses an indomitable will to overcome any, and all challenges; rather, Shinji, on countless occasions, shows signs of regression, a trait that is synonymous with the human condition. He turns his back on the world when he cannot handle its enormous weight, and clings to his walkman to alleviate his anxieties. This feeling of despondency leads Shinji into a self-reflective period (episodes 25 and 26), which, at times, feels redundant, but emphasizes the narrative goal Anno was trying to convey throughout the series.
Asuka — Over-the-top, cliched, arrogant, and dearth of any real personality (despite glaring arrogance), are only a handful of reasons I despised this character. Then, to my astonishment, a dramatic shift occurred during episode 22, when we discover, poignantly, the insecurities that lurk beneath Asuka’s tough exterior. The alpha (fe)male facade, as we learn, serves as a protective barrier to prevent others from unearthing the psychologically damaged soul that is Asuka Langley. A soul that we soon discover is, in several ways, similar to one, Shinji Ikari. And much like her male counterpart, when her shortcomings come to the fore, she withers under the pressure, revealing her frail resolve. This character had all the potential of being great, but my initial impression of her cannot be burned from my mind, nor can her constant immature, stereotypical, ignominious antics that were displayed throughout the series. She could have (i.e. should have) been handled with a bit of nuance, rather than exemplifying an unrealistic extreme to offset Shinji’s passivity.
Rei — Representing a detached, apathetic personality, Rei Ayanami, is the antithesis of Asuka, but like her fellow copilot, shares a commonality with one, Shinji Ikari. A valid criticism can be made that Rei (along with several characters in the series) serve as “conveniences” for Shinji to move his character along. And this is no more evident towards the end of the series when she plays the role of Shinji’s therapist, by asking pointed questions about his inward feelings. Because she harbor’s the soul of Lilith (the progenitor of the human species) she represents a mother-like figure that comforts Shinji in ways his father never could. Allowing him to take a step forward through adolescence into young adulthood.
Misato — An interesting juxtaposition exists with Misato’s work demeanor and personal life. At her place of employment, NERV headquarters, she is a concentrated, energized individual with an unquestioned focus on her task of defeating “Angels” by any means necessary. Her civilian life, however, includes frequent beer-guzzling stints, unrestrained (i.e goofy) behavior, and an overall indolent lifestyle. It is the latter persona, one which was annoyingly prevalent in the initial parts of the series, that curbed any attempts at conveying solemnity. Even though it is later revealed that her behavior is the result of her upbringing, it doesn’t negate the classic tropes that she exhibits; in fact, to prove my point, rewatch the first episode. After the explosion of the N2 mine (the most powerful weapon in human existence), Misato and Shinji, casually, flip her car over and resume driving down the road. Misato, then, grieves over the damage to her car (I suppose NERV doesn’t have the funds to provide transportation to high ranking officials) and how her dress was ruined by the explosion. Now, let me be clear, if a character within the show is more concerned about her appearance than an indestructible “Angel,” then why should I show any sympathy towards their cause? Answer: I should’t. Keep in mind, this occurs in the first episode, setting an awful tone for the story and the character(s) moving forward.
Animation: 8/10
Due to budget constraints, portions of the animation have the appearance of being underwhelming for intermittent moments. Scrutinizing unremarkable scenes, however, seems hardly fair, particularly when you consider the burden of diminutive resources. That being said, the battle scenes are choreographed with exquisite flare, portraying a natural flow that is pleasing to the eye. The weight of “Angels” crushing the Evangelion’s (and vice-versa) is portrayed in a palpable way, giving the viewer a shared emotional experience with the characters in the show. The dynamic color palette provides a rich depth of visual intrigue, yielding iconic imagery that persists in the viewer’s mind long after the initial observation. In addition, the design of the Evangelion’s, “Angels,” and much of the scenery in general, is highly original with great imaginative acuity. Definitely one of the best animated shows of the 1990’s, and would have easily earned a 10/10 if not for the limitations in capital.
Music: 9/10
Critically analyzing each song would be a bit cumbersome, not to mention, highly subjective. I will say this, though, the opening track, Zankoku na Tenshi no Tēze, was extremely well done, providing an uplifting, yet, appropriately enough, cryptic start to each episode. The jazz ending, Fly Me To The Moon, is a rehash of a Bart Howard’s work, and has been released a myriad of times by countless artists, including Frank Sinatra. Interestingly enough, for anyone that cares, Frank Sinatra had his fair share of depression in his life, ranging from mild to severe. Perhaps the person(s) selecting this song for the ending knew about this factoid, and thought it would be a nice compliment to the show. That said, no disrespect to the great Frank Sinatra, but something about a female voice singing this song felt soothing, relaxing, and tranquil.
Enjoyment: 6/10
The first 15 episodes, regrettably, were too insouciant for a show that had ambitious intentions of tackling existential themes and intense psychological dilemmas. Asuka and Misato, in particular, were the main culprits of my initial dissatisfaction with the show, as they felt too cliched for my tastes. Anime that want to take themselves seriously, as was the intention with NGE, need to shy away from the common pitfalls that consume much of the industry. Also, the religious imagery used throughout much of the series, while eye-pleasing, served no other purpose than reminding the viewer of the heavy-handed re-imagining of the story of Adam and Eve. It is the sort of flourish that sounds nice in preconception, but is as unnecessary as a piece of parsley on a steak dinner. By this point, if you are a hardcore fan of the show, which a multitude of people are, you may vehemently disagree with my assessment and analyzation thus far, and conclude that I am simply a “hater.” But that could not be further from the truth. I yearn for anime to be more introspective, exploring different afflictions that affect large segments of the population; rather than focusing on a goofy protagonist who only wants to kill and be the best (e.g. Goku, Lelouch, Gon, and Naruto). That being said, it should be handled with subtle precision, instead of coarse dichotomies.
The End of Evangelion: 8.6/10
From the material that I have read, Anno does not provide a clear answer as to which ending is the “true” conclusion to NGE. And for all intensive purposes, it doesn’t really matter. Shinji, more or less, confronts the same psychological questions as the original ending, making The End of Evangelion, a stylistic alternative. Be that as it may, the improvement in animation, alone, provides some of the most iconic images from the entire series.
**SPOILER ALERT**
In particular, the scene where the “Angels” eat Asuka’s Evangelion is absolutely bone-chilling. Tiffany Grant (the english voice actor for Asuka) does an excellent job of exhibiting the distress of someone who is about to perish. The visceral scene concludes with Shinji seeing the indescribable horror that is the remnants of Eva-unit 2 — an image that will be etched into my memory forever. Also, the ending scene, the one in which Shinji is choking Asuka on the beach, is as iconic as it is perplexing. While numerous interpretations exist behind the significance of this scene, it should be understood that Asuka, for all intensive purposes, represents Shinji (albeit, an aggressive female version of Shinji). Therefore, because we acknowledge Shinji’s dissatisfaction with himself, we must, indubitably, recognize his resentment for Asuka as an act of self-hatred. Their souls, essentially, are one in the same, making the final scene a vicious act of psychological suicide — at least, that is how I interpreted it (to each their own).
**SPOILER OVER**
Overall: 6.7/10 (NGE) | 8.6/10 (EOE) |7.01/10 (NGE plus EoE)
Overall, the series is an amalgamation of bad, so-so, good, and great moments. This is why, I suspect, the vast majority of people either love or hate the series. It is easy to grasp onto the parts that support your particular position, and use it as justification to deem the anime as complete garbage, or unquestioned brilliance. I subscribe to the notion that the truth lies somewhere in the middle — good, but flawed, nonetheless. It is the type of anime, given the controversy surrounding it, that necessitates at least one viewing in your lifetime. It may contribute valuable information applicable to your own life-experiences, or to someone you may know.
That is the conclusion of my review. Thanks for reading and congratulations.
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