Thoughts on EVA:
One of the most prominent features of EVA is that the process of interpretation of its text is similar to that of traditional serious literary and dramatic works, and is reflected in the way each individual watching it receives it.
This unique experience of reading paper works and appreciating drama works is something I have never experienced on any anime before. The sense of substitution in the drama is to let the audience immerse themselves in the work consciously or unconsciously under the condition of clearing their own self-awareness. The emotions and thoughts of novels and poems overflow from the words, so as to drown the readers and catch them drowningly. Live with each individual with whom it resonates. The feeling that EVA brings to me is roughly similar to the two but mixed with a little philosophical thinking.
- Shinji.
What happened to Shinji is to supplement himself without love, affirmation and attention. Anno's reconstruction of childhood is retrospective in the form of stream of consciousness. Many of the most beautiful pictures and shots in EVA are based on this premise. built.
How to face a past that is almost necessarily missing and an environment full of hostility and exploitation everywhere, the escape and bravery of a cunning, cowardly and timid teenager is so attractive. Those immature thinking and all the subtle ideas are presented in the plot of EVA in an adult way like a naked blood vessel.
I think this is the "reason" why many people can't accept or hate the role of Shinji - we are used to Balzac's Las Digne-style youth being beaten in the face of complex reality, but we often can't accept that the man who is always in the mecha Teenagers who have never really grown up (heart) have to accept tests and challenges in various senses, not to mention that these challenges often make us have to look directly at the indifference and desires of this world.
In this sense, I think EVA is just a work that the audience must accept in a way of growing up. Every individual who faces EVA and Shinji who faces the first machine have the same view from this perspective. situation.
- Asuka.
The image of mother has changed many identities in EVA, and it runs through each episode. And what Asuka has intercepted is exactly that part of the Oedipus-like plot, and accordingly, the ending of Miss Ritsuko is very cyclical fate. If we can't get the attention and love we want from our mother, then should we go along with her expectations, or fill the present heart and emotion by treating the past as a regret that can never be filled.
This is not a novel proposition and thinking, but Anno still made a sufficiently complex and contagious answer in EVA with the rigorous structure and the foreshadowing of a large number of narratives. Among them, the creative attempt to use stream of consciousness and psychoanalysis to broaden the ability and means of animation performance can still inject ceiling-level emotions and content even today.
It is also arrogant, but the perfection of Asuka's character far exceeds that of many later female characters who use arrogance as a selling point, which may also be the charm of EVA.
- Ayanbury.
What is God? Is God the perfect human self imagined by man?
The person created by Lilith's soul and Yui's genes is Ayanami Rei. Keli's growth is marked by the first tears, the first smile, and the first sacrifice for the person she likes. A corresponding structure is that humans, who are also creatures, have been trying to spy on the characteristics of God, steal the power of Lilith and Adam, and create a mecha named Eve (EVA).
A question that has troubled and triggered countless thoughts is whether the real human being is a human who has been "sublimated" who has abandoned human reason and emotion, or is a small human being who has evolved (degenerated) from God into a fragile impulse.
EVA's answer is obviously inclined to the latter, and in the process of making this answer, all the mirroring, composition and color matching, character building, plot polishing and emotional mobilization burst out, forming what EVA can call a god. The general skeleton of the work.
Such an answer, on the one hand, starts from the overall level of the "Human Completion Plan", which unfolds the questioning of people and the exploration of the relationship between people; on the other hand, it is presented by the growth and experience of the protagonists The personal consciousness and mind, the budding and mutation, placement and dislocation, are extremely delicate and complex (Japanese animation ceiling level).
- The final scene.
The theatrical version is really for you, when Shinji chose to face loneliness and misunderstanding, and used hope to dissolve the misunderstanding and pain of getting along between people, he returned to the destroyed world. But Anno arranged for Shinji to stretch out his hands and grab Asuka's throat.
It is fate-like fusion and separation that cannot change the estrangement between people's hearts and the misunderstanding that will eventually form, or the human beings who awakened their self-consciousness from their mothers and came to the real world with hope still hate each other.
Is this kind of hatred and disgust a projection of self-knowledge, that is, hatred of the self who has been forced to separate into reality, and hatred of the self who is constantly struggling with hope.
The collective and individual consciousness of modern human beings may be able to reflect on current desires and mistakes, and even choose to embrace hope and move forward very clearly, but it still cannot alleviate the loneliness in the real world and the feeling of facing others. pain.
Japan in the 1990s was experiencing a real and cruel development of modernity in this era. Anno thought about the times and personal experiences in his animation works, and the final conclusion was also fixed in the picture of loneliness and pain that still hates and hates the real world. .
Perhaps it can also be seen arbitrarily as the collective consciousness of human beings can no longer place a proper place for individual emotions and expectations in the creation of the spiritual realm.
The predicament and confusion faced by Shinji in EVA still appear in the growth of each individual in a fateful way today, and the charm of EVA is precisely that it gives us hope in the process of accepting EVA animation. And the courage of the "Evangelion" looking forward. In this way, Shinji's reactions and expectations of reality and others are echoed with our reactions and expectations of the world and others. Even if there is no new "fourth collision" in history and times, we still have some changes.
View more about Neon Genesis Evangelion: The End of Evangelion reviews
