train and bullet
The reason why the title of this article is "Leaving, Coming" is because there are too many plots and images related to it. I think there are two intertextual images in the film, representing the escaped high-speed train; there are also firearms used to respond to the enemy, the most representative of which is the yang electron cannon that debuted at the end.
There should be hints in the "Preface", but from the memory of Ikari Gendo in "The End", we can know that the scene where Gentang abandoned Shinji happened at the station, so Shinji should associate the moving train with the feeling of pain. . In the film, once Shinji enters a state of extreme distress, he imagines a moving carriage with young Shinji (himself) and childhood Shinji (the victim of injury). At the same time, the father's behavior of abandoning Shinji at the station has also become a kind of teaching to Shinji: if it is too painful, then it is okay to escape, after all, Gendo is to escape the pain by escaping (Shinji also really tried to escape by train. , although failed).
Run with all your strength to escape the pain in this way, but you can also choose to run towards the pain and face the pain itself. "Can't escape, can't escape, can't escape..." This is what Shinji said to himself when facing pain, and it is also where he is strong. In a way, it's his way of fighting the nightmare, the nightmare of being abandoned by the people closest to him at the station. When Ayanami Rei was in bed, but Ikari Gendo asked her to fight, Shinji used an EVA to fight his cold-blooded father. When the power supply was insufficient and the day angel was imminent, how did Miri's escape sentence hurt his heart, and he began to meditate "can't escape" again, screaming and rushing down the hillside, enduring the pain of being pierced through his body, The dagger pierced deep into the core of the apostle.
Speeding trains and bullets, how similar things are. It's just that one is to keep away, taking you to a safe destination, away from everything around you; the other is to destroy distant targets and protect you and those around you. The last battle, aiming at the target, pulling the trigger - no longer as mechanical as in practice, but poured into all my prayers, the power of all Japan gathered in one place, and shot at the thunder angels in the distance, the indifference , The fortress-like Thunder Angel was smashed by the beam, and the screaming screams seemed to be violent friction between the wheels of the lost train and the rails. Then, the painful train collapsed.
"Don't say that you have nothing more than that, and don't say sad words like 'goodbye' when you part." The boy who was abandoned back then did not become the father who abandoned him, but instead he took the place of his father and welcomed him. Here comes victory.
porcupine coat
What distance should two porcupines use to transmit warmth to each other without hurting each other?
Shinji, Ayanami Rei, Asuka, they all had their own nude scenes in the early days of their debut. Maybe it's a little trick to bring the character closer to the audience, showing the character's state in different situations. As a character, this may also be their way of trying to get close to others, except that the porcupine's thorns are on the heart, not on the body. When Shinji first arrived at Misato's house, Misato deliberately let loose in order to get close to Shinji. Perhaps Shinji mistakenly thought this was a way of expressing intimacy. As a result, Shinji "opened up more", which made Misato reflect on whether he was acting too much. . At this time, the two of them are full of distance temptation. Although they are physically close, they are still psychologically defensive.
Ayanami Rei and Shinji too, the distance between the three did not disappear until the battle against Thunder Angel. Misato takes Shinji in the elevator to the final dogma, making up for her regret before her death in EOE (this is also an interesting point of the EVA series, the creator will jump out of the plot and create in chronological order between works), she Telling Shinji everything about Lilith was also at this time Shinji decided to join the battle and protect others with his life.
three-stage structure
In fact, "Preface" is a very high degree of completion of the film. Its structure is a classic three-stage film structure, the cause, the process, and the result, and the three apostles represent the three paragraphs of the film. At first, Shinji Ikari arrived in an unfamiliar city as an outsider, and gradually became familiar with the surrounding environment. The classmates who were initially hostile and indifferent also became friends, and the timid and cowardly teenager finally became the hero of the city.
When he had just arrived at the third Shin-Tokyo City, when he encountered the water angel, Shinji entered the cockpit in a hurry and did not have a battle suit.
After officially becoming a pilot, Shinji was fully prepared for an ambush when the Angel of the Day came. At this time, he had a battle suit, and he was no longer alone. He had classmates in the cockpit that he needed to protect. However, the attitude towards Shinji was still not optimistic. The ambush failed, and there were two burdens around him. Misato's suggestion to Shinji was to retreat. The way to finish the battle in the end is a combination of semi-rational (no runaway, all the movements of the first machine come from Shinji's control) and semi-emotional (Shinji ignores the advice of others and rushes down the mountain to fight the apostles head-to-head).
After that, everyone's emotions broke out, the team temporarily disbanded, and Shinji left, but in the end everyone understood and reconciled. When facing the final boss Thunder Angel, the headquarters drafted a "House Road Operation Plan" that was not available in the previous battles. The first machine also had the Yang electron gun, and the zero machine was used as support, and Shinji also accepted himself. The mission of protecting others as a third qualified person. The completion of the battle is also driven by reason. The first machine has to snipe the Thunder Angel from a distance, and the zero machine has to sacrifice himself when necessary. After the battle, Shinji did not have the same negative emotions as the previous battle, but opened his heart and let the indifferent Rei Ayanami also learn to smile.
The progressive structure in "Preface" is also used in "Broken" and "Q". "Broken" turns this structure upside down. In "Broken", Shinji's first battle is a meticulous team fight; the second is half-rational, half-forced, controlled remotely by the headquarters; and the final battle is The NERV headquarters was destroyed, and Shinji finally won the battle by going berserk; from the battle sequence of "Preface" and "Broken", we can also see how the creator balanced the combat power and the battle situation. "Q" replaced the protagonist of the battle with Asuka. In "Q", Asuka's first battle took place in outer space, wearing a battle suit full of tape (although this was Asuka's intention), and the second battle was It is to support Wonder, and the last battle is to join forces with Makibo to stop NERV, and at the end imitate the end of "Preface", to insert the bolt and rescue Shinji.
The touching part of EVA is also the reunion and separation between characters. Every encounter almost heralds the next separation, but the protagonists have always faced all this with sincerity and beautiful emotions, and warmed each other carefully. Leave, come, meet each other. You are (not) alone.
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