Later, I came into contact with some anime magazines and heard more or less of EVA's name, but once again I saw the manga version written by Sadamoto Yoshiyuki. To be honest, this manga is full of gloomy tone, and the " There is a fundamental difference between "Dragon Ball" and "Doraemon". Perhaps it’s the peculiar silly X of Xiaophai that made me advocate this work to my friends so as to gain some superiority in "taste", but In the final analysis, I think this work still had a great influence on me, although at that time I still liked EVA with a bit of "vanity" element.
Of course, the original animation was slowly finished later. It really made me think that EVA is indeed a very unusual work. It should also be attributed to the earth-shattering theatrical version of Chapter 26 "True For You", which is why The reason I put this article in this entry.
Many people's interpretations of EVA are focused on the setting of the world view and the progress of the plot. In fact, I have been stuck on this for a long time, but after reviewing EVA from start to finish these days, I have an idea: why Are you going to interpret these? I think EVA is a work full of stream of consciousness and magical realism, so those so-called interpretations are not necessary. When you like EVA, you should understand that this is a story animation, not an academic thing. I want to know The question is why Anno Hideaki made EVA and what his purpose is.
People living in this world will have painful things to some extent, and they may have different appearances according to differences in age and experience, but certain despair, depression, helplessness and fear that go deep into the heart must still be connected. The keynote of EVA’s entire work is to reveal the dark side of these human natures, whether it is Shinji, Asuka, Misato, Ritsuko or even Ikura Gento, this dark side may be reflected in the relationship between parents and children. , It may also be reflected in the relationship between men and women or the relationship between individuals and society, and what Anye does is to expand the dark side of the main character infinitely through the magical script and lens language, which is what animation is good at. Exaggeration, deformation, abstraction and other methods show it incisively and vividly. In fact, the content expressed by EVA is also from the individual to the collective, from individual troubles to questioning the human social form and survival form. From this point of view, EVA is in the animation It is indeed special in history. Animation is not just a product for children’s entertainment. It can also carry a humanistic and critical spirit. Although I cannot say that there was no such animation before EVA, the emergence of EVA means that animation is once again As it matures, it further shortens the distance from its predecessors in literature and film.
Anye successfully expressed some negative emotions tabooed by ordinary people in EVA. This expression bears a distinctive Yamato-style brand. I believe that no one except Yamato can make such works, and it is this kind of nation. Sexual traits and Anno’s courage to pioneer the expressiveness of animation have created EVA’s surprising popularity and commercial success. Before making "New Theatrical Edition: Prologue", Anno said that no animation in the industry has been newer than EVA in the past 12 years, which is not the case. Nonsense. Of course, these achievements and history are clichés. The significance of EVA is obvious to all. Even people who don't like EVA can't ignore its huge impact on the history of animation in the industry. And how did Anye solve the problems that people have after raising them?
Through Shinji's actions, we can see "escape" as a solution to the problem, but how is it in fact? After giving up driving the EVA several times and sitting in the driver's seat several times, where can you escape in the face of the cruel reality? Unless you are really dead, Shinji is a coward who is afraid of death. Although verbally hard, he actually tries to survive every crisis. Although it looks funny, it is a real reflection of human nature. There is nothing wrong with it. Under this situation of being unable to accept and escape from reality, Anye found a compromise method: to solve the problem from the perspective of changing the problem itself, if everyone is "integrated" as one, there is no choice of accepting or escaping. This problem was solved in disguise. In the late stage of EVA, especially the 26 episodes of the theater version, it was basically developed around this method. And this is the advantage of magical realism. It does not need to be explained too much. It just allows him to happen according to the author’s intentions. As an audience, just accept it. If the EVA finally ends with a human completion plan, it must be another. A kind of relief, but Anye took another path full of sinister thorns.
The abstract stream of consciousness expression in the original TV episodes 25 and 26 and the theater version 26 "True For You" takes up a lot of space. I think the time when the original version 25 and 26 occur in "True For You", also It is the continuous abstract stream of consciousness after the launch of the Human Compensation Project, which represents the process of the main characters' psychological integration and interaction. In this process, there is a segment of the original version of the 26th chapter of the campus youth drama that is very interesting, we know According to the setting of the plot, this plot can be said to be fictitious, or a state of life in Shinji's ideals, so why does Anno do this? Obviously it is alluding to the OTAKU problem, alluding to those who are addicted to anime games. In "For You", there is such a dialogue that can be regarded as a classic:
— "I don't know where the happiness is..."
— "Only in I found happiness in my dream..."
— "So this is not reality, but a world where no one exists."
...
— "Where is my reality?"
— "The end of the dream."
Anno is a senior OTAKU, and even his own GAINAX can be counted as a company established by OTAKU (have done a similar OATKU documentary "OTAKU's Videotape"), so the universal interpersonal relationship problem that EVA targeted from the beginning has been derived to watch The audience of the animation itself has problems, but we also know that Anye did not let the youth school drama continue, because he has understood that it only represents a beautiful yearning that everyone has, and it is unrealistic after all.
Anye once said that EVA is a story in which the protagonist continues to stand up after being frustrated. Through several evasion and return to reality, EVA almost tells the answer: life is a process of falling and rising, and it is as beautiful as a human being. The end of the plan is still in the end of destruction. In this process, it is meaningless whether you choose to escape or accept in itself, because they are already included in your life, and in the so-called life, you are destined to be always affected. Dilemma. When Shinji walked out of the dark red sea of LCL and grabbed Asuka's neck, do you think he really made a choice? If he chooses to evade completely in the general sense, then why end the replenishment plan? If he chooses to actively join the WTO, why bother to kill Asuka. Completing the plan is only a process for Shinji, not his end.
People are contradictory, and Anye is just a person with contradictory characteristics. He hides this contradiction in EVA and expresses the essence of contradiction by trying to solve the contradiction itself. In a sense, my essay It also exists in a contradiction.
When i find peace of mind, the new theatrical series will give EVA another possibility and another interpretation. The fate and fate of those familiar characters will be verified by time.
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