Review of Neon Genesis Evangelion
Note: I have tried to be cautious when approaching revelations in the work, but I have not been able to completely avoid some to ensure proper understanding. Although the revelations here are minimal and shouldn't impact people who haven't watched it too much, it's important to mention their presence to avoid any unwanted surprises. Sound The opening, ending and combat songs are good, but lose prominence due to the lower quality of the rest of the sound work. The soundtrack throughout the episodes oscillates between sounds that are unoriginal and inappropriately applied to the situations, with moments of silence or the exaggerated sound of cicadas. Cicadas arepresent everywhere, all the time, and sometimes even the characters' voices become inaudible due to excessive noise. Although it doesn't make much difference, since the dialogues are in Japanese, it is still disturbing due to the excesses.
Art
Certainly, the darker atmosphere of the anime suits the narrative well, but the frequent use of dark scenes seems to be an attempt to hide problems in the settings, when they are present, as we are often faced with just a black background. This results in visual discomfort, especially when the scenes are not very detailed, such as the rustic features on the buildings.
There are also some error problems in the scenarios, such as a specific scene in which the characters go down an escalator that moves slowly, while the staircase next to it goes up quickly. Although these are details, when added to other problems, they become significant.
There are numerous completely static scenes or scenes with minimal movement, where only the characters' mouths move or only one object or element of the scenery shows movement. Although this is not necessarily a defect if it is not disturbing, one cannot value an anime that abuses these scenes to the detriment of those that invest in more detailed work. Drawing a parallel with "Akira", released in 1988, which features superior fluidity and scenery details, there is really no comparison, despite "Akira" being older by about seven years.
It's true that science fiction and futurism can become dated quickly, however, "Evangelion" feels particularly dated, and the settings conceptually are a significant nuisance. Even considering the limitations of the time, there are works from the same period that managed to transcend and reach a much higher level.
Anime often uses the technique of turning on lights to introduce a character into the scene. This can have its charm and, in certain situations, work well. However, by being widely used in so many episodes, this technique loses its visual impact. Furthermore, these scenes are static, as inserting a character into the environment in any other way would be more complex than simply turning on a light. Therefore, this contradicts the argument that anime is fluid. Again, the lack of movement in these scenes is not as terrible as in other animes, but it cannot be considered a virtue either.
Many scenes feature exaggerated visual effects, especially in the final episodes. Vibrant colors, flashing lights and excessive black screens give a rave feel. This approach in the final part of the anime is quite uncomfortable, especially because there is a mix with real scenes, when what is expected is an anime and not a live-action. Additionally, there is the use of storyboards and recycled scenes from previous episodes.
There are many frames with texts, which may suggest that the director had difficulty conveying the message and had to resort to writing. This is problematic, considering that "Evangelion" is an anime and not a light novel (Show, don't tell). It is possible that this choice was an attempt to mask the anime's defects by introducing cuts through these frames, but regardless of the reason, the viewer often does not have time to read these texts.
It's crucial to consider the visual representation of this universe when it comes to building the world of "Evangelion." The anime describes a catastrophe that resulted in the melting of Antarctica. This melting raised sea levels between 65 and 80 meters, mainly affecting coastal regions, where around 80% of the world's population lived. However, this elevation would be just one of the impacts, as there would also be the occurrence of huge tsunamis resulting from the rapid melting of glaciers, followed by significant climate changes. It is not plausible to believe in a world almost completely destroyed by catastrophes and, at the same time, have a technological megacity in a short space of time.
The anime creates an apocalyptic world, with a city that serves as a military base for the resistance, constantly attacked by monsters. However, everyday life in this world resembles the 90s. The existence of everyday settings seems inconsistent with the plot, raising questions about the consistency of the setting.
One part of the city is devastated, while another part remains intact, destroyed like in a Godzilla movie, and then everything returns to normal as if nothing had happened. While this may be poetic, it lacks logical sense, especially considering the 80s-style buried structure. If only it had been explained that the physics of this universe differ from ours, but that was not the case, making the architectural concept of the city absurdly inconsistent.
The wreckage and rubble of the city should be evident after each attack by the angels, demonstrating the widespread destruction. However, these details are often ignored to facilitate the angels' next attack in the next episode, following what is known as the "Power Rangers" style, where it is more convenient to reuse existing scenarios rather than create new ones.
Even when the scenarios change, there are mistakes between them and the script. Again, these are details, but the existence of a strong United States Navy is strange for the anime's proposal. It seems like a convenient forgetting of the devastation the impact should have caused to the world and the navy itself.
It's true that this anime has its plot conveniences, but it's not alone in this issue. Conveniences are common in all anime ever produced. The problem is not improbability, but rather the contradiction with the rules established by the universe itself, or when they appear out of nowhere, especially in a recurring and lazy way, as is done in Evangelion.
In relation to art, they could have explored the scenes of this world more, but the focus almost always remains on the city. Although it is not a mistake, it is a shame to miss an opportunity to enrich the work, as it is a global threat. This certainly doesn't contribute to the world-building, but it was more convenient as it would require less effort.
History
What exactly makes sense in this story? A quality narrative is not limited to a mere collection of elements such as social criticism, scientific knowledge, philosophical approaches, moral reflections, cultural diversity and religious references. Although it is crucial to include these aspects and value them, they alone do not guarantee the excellence of a plot. The true merit of a story lies in its coherence, cohesion and clarity, avoiding gaps and inconsistencies. An engaging narrative, even if complex, manages to close itself within itself, providing clear explanations for those who are paying attention. On the other hand, a story that leaves many points open, that does not offer objective content, praised more for the viewers' subjective interpretations than for the text itself, cannot be considered of quality. Furthermore, although some may claim to find depth in this work, the reality is that it presents itself as a psychological mess.
Starting with Kabbalistic mysticism and elements of Christian theology. Yes, the anime makes use of this, which is good and bold for the time, making it a landmark. However, he is not the pioneer of these elements in anime. Kabbalah has some of its principles incorporated, but the Jewish and Christian religion is just a cover, with no depth beyond the symbolism used to justify the existence of "robots" fighting giant monsters.
The anime presents many mysteries, stimulating thought, but at some point the answers need to emerge, otherwise the work is incomplete. A narrative full of loose ends is a deficient narrative. Throughout the series, Evangelion simply leaves several questions unanswered. Why exactly do the Angels need to be destroyed? Why do the scrolls give that specific number of Angels? What happened to the characters in the end? What exactly happened in the first and second impacts? What is the organization's objective? What is Shinji's father's goal? Who are the people in the organization? Where did Adam and Lilith come from? Why can only those born after the second impact fly an EVA? Why doesn't Shinji's father like him? How did the "accident" with Shinji's mother happen? Why did Shinji's mother "kill herself"? What is the origin of the liquid after the impact? And many others.
The loose ends in "Evangelion" are a matter of debate among fans. One could cite the film as an attempt to clarify some issues, but its inclusion was more of a fortuitous consequence than an integral part of the original plan. If the anime had not been successful, we would have been left without answers to many of the enigmas presented. While it's comforting to have the film provide some clarification, it's important to note that it offers few answers and creates additional questions. Furthermore, it is essential to understand that the film does not represent the end of the story; episodes 25 and 26 are the true conclusion, while the film brings the events before these episodes. Therefore, we should not see it as a continuation that promises future clarifications, but rather as an explicit attempt to cover some flaws and gaps in the narrative.
When observing closely, it is possible to glimpse some answers in the anime itself. However, this extremely accentuated search for clarification is a narrative flaw, given the difficulty of effective communication in anime, which is often mistakenly praised by fanatics, thus deviating from the primary purpose of entertaining. Furthermore, the answers obtained are generally vague and not very enlightening. For example, when we question the origin of the Angels, the answer provided by the anime is "from Adam". But does this really answer the question? How and why did they arise from this source? Such answers, in fact, only serve to generate more questions, expanding the spectrum of questions without definitive answers in the series.
Regarding the origin of angels, the film mentions that they are derived from Lilith and that humans are a species of angels, but this does not provide a complete or satisfactory explanation. It is an answer that raises more questions than it actually answers, contributing to the ambiguity of the narrative.
Fan responses to unanswered questions are often simplistic and evasive, such as "you don't need to know." Does this attitude deserve applause? Another common answer is "where everything indicates", although there are no indications in the series. What matters is where the anime presents this information, and there is no point in justifying the "show, don't tell" technique, as these issues are not shown at any point in the series. So where do these alleged fan responses come from? They are based on derived material, statements from the creators and theories circulating on the internet. This is clear proof of the series' narrative flaws.
In episode 24, an "angel" expresses a desire to die, quoting the famous phrase from "Hamlet": "To be or not to be, that is the question." This quote refers to the idea of existing or not existing, of living or dying. However, the use of this quote does not seem to be adequately framed in the narrative. It seems more like a superficial appeal to a catchphrase to reference Shakespeare's work, without properly exploring the philosophical dilemma underlying the theme of life and death. Instead of delving deeper into the dilemma, the scene goes on for almost three minutes, with the screen static and Beethoven's music in the background, leaving viewers confused about the purpose of the scene. The question remains whether the intention was to inspire contemplation or generate anxiety about the character's fate. This approach seems overly pretentious and lacking in genuine meaning, contributing to a sense of false intellectual depth.
The anime makes some references, but they only appear pedantry. Because, although references can add depth to the plot, if they are not well crafted, they end up being superficial. Even considering the financial limitations, this does not justify the lack of narrative quality.
During most of the episodes, the narrative is limited to battles, without deeply exploring any significant theme, just focusing on the confrontation against the monsters that the giant robot will face in the next episode. Therefore, it is evident that the supposed philosophies that are said to be present in the work do not guide it in this part of the story. Even in the final third, where one would expect a deeper discussion, we only find psychological nonsense, absurd dialogue and pseudo-Freudian elements. The only notable philosophical insertion is a quote from the hedgehog's dilemma, which does not permeate the work most of the time, being neglected and superficially explored.
Regarding the AT Fields, there is an inconsistency in the itinerary. These fields are essentially soul fields (or soul light), which implies that, because the fields come into contact when they get too close, only an EVA should be able to break the field and harm an angel. A huge variety of weapons are used, such as bombs and other devices, against these monsters, but nothing has any effect. However, at certain times, conventional rifles are able to harm monsters. This is clearly a mistake, as it goes against the idea that conventional weapons should not work against these beings.
In the first episode, Shinji was in the middle of a city close to the monster that was destroying everything. Then comes a bomb called N2 with nuclear aspects, destroying everything including the car where the protagonist was. This scene presents three problems: first, the monster did not kill Shinji; second, they are instantly able to get very far away from the monster; and third, come out of it all unscathed. Later, the protagonist, without training and still being a child, pilots a giant "robot", delivers a few blows and defeats the monster. This sequence raises questions about its plausibility and coherence.
Furthermore, there is the issue of clichés, which to a certain extent could even be tolerable if there were an evolution, but simply copying others is not positive. The conflict style is incredibly predictable, with an established sequence of events: a monster destroys the city, the 'robot' defeats it and then comes another episode with another monster, repeating the cycle. It's noteworthy that the subsequent monster ends up attacking the same city that should be in ruins but surprisingly isn't. The designs of the monsters and scenery, as well as the choreography and concepts used, also follow very old-fashioned formulas. These standards are not a new thing established in 1995, but date back to the 70s, becoming overly saturated.
Dialogues often turn into a tangle of psychological questions and answers. If someone asks if a circle is round, the first reaction is to ignore it. If that person insists on the same question (even if it is non-literal), the reaction is one of astonishment and attention, and if this persists, people begin to question themselves and theorize. Add to this a scene of intense lights and vibrant colors on a dark background, creating a kind of hypnosis. Then someone offers an answer: "the sun is a ball," which leads to more theorizing about the question and the answer. This cycle repeats itself, accompanied by flashbacks, scene cuts and screens with lyrics that quickly appear and disappear. What is that? Nothing, yet a certain public will speculate to try to justify something that seems like a meaningless question. And at this point, even those reading this may have forgotten what the original question was, but the answer remains the same: yes, the circle is round. The rest are just psychological ramblings with no substance.
Despite being a narrative resource exhaustively explored in the anime, it is wrong to say that these forms of dialogue have no merit. The main problem does not lie in the form itself, but in the questions and answers in the dialogues, which often leave a lot to be desired. Although some scenes can be visually impressive, what is often observed is a superficial pseudo-Freudianism. Furthermore, questions that could really contribute to the development of the plot are systematically ignored. The most worrying thing is that there are those who see these elements as something spectacular and profound, when, in fact, they lack substance.
The initial dialogue between Shinji's father and Shinji himself, despite bringing an irreverence that causes surprise, ends up complicating the plot. It's hard not to realize how much it doesn't make sense for a father to treat his son so badly at a crucial moment like that. After all, what would be the logic behind this behavior, especially considering that the fate of the world depends on the son? Even if there was a certain antipathy between them, acting so disrespectfully towards the boy would only make him even more unstable in an already tense situation. Although the scene is remarkable, it ends up being a weak point in the script.
As for the main theme of the anime, individuality versus collectivity. The approach to individuality, represented by loneliness, is treated in a predominantly psychological way in the four main characters, but in a confusing, superficial and often negative way. Furthermore, the theme is obscured throughout the narrative, mixing with other elements in such a way that it does not guide the work most of the time. As a result, many people reach almost the last episode without understanding what the anime is about. The author may have his reasons for doing it this way, but it is to be expected that in a good work the theme is established from the beginning, in an evident way, receiving a clear narrative focus, allowing comprehensible development and bringing to light the central aspects of ideas.
In the final outcome, the most peculiar thing about the work is how individuality (loneliness), which was constantly fought and frowned upon throughout the anime, ends up being presented as the savior, or not, depending solely on the point of view. Although this twist could be intriguing, once again the anime leaves one question open, among many others, and with so many it only ends up generating more confusion.
Characters
Starting with Shinji's father, Gendo Ikari, he was initially introduced as a character with great potential. His presence was enigmatic, suggesting depth and importance to the plot. However, throughout the narrative, his participation on screen was limited, not allowing his character and motivations to be fully explored. This is especially disappointing considering the expectations that were generated around him and his relationship with the protagonist. Thus, despite having a good start, Gendo Ikari's potential ended up being underutilized, leaving a gap in the development of the plot.
Shinji's colleagues, initially presented with the potential to influence the plot and interact in a meaningful way with the protagonist, ended up being developed for nothing. In the first few episodes, we briefly observed their personalities and relationships with Shinji, which promised an interesting dynamic. However, as the story progresses, these characters are progressively sidelined, becoming mere extras who rarely have an impact on the main narrative.
Asuka became extremely popular and ended up becoming the reference for all tsundere-type characters. While there are arguments that she doesn't exactly fit this archetype, it's undeniable that she set the standard for it. Furthermore, her character development has some layers, but they are not exceptionally deep and do not reach the level expected for such a prominent figure in the plot.
Rei is another character from this anime who became an archetype, in this case, of the so-called Kuuderes. Compared to Asuka, who also became an archetype, Rei has a little more depth. However, throughout the anime, she is portrayed as someone devoid of ego, obeying orders without question, reflecting a lack of self-awareness and individuality. Therefore, these characteristics demonstrate a lack of layers. Only in the film does it begin to gain more complexity.
The clones play an intriguing role in the plot, acting as stand-ins for a specific important character, so they deserve to be mentioned. Their function is that of extras, used as a resource to grant almost immortality to this character in question. Furthermore, we can see an effort by the narrative to hide their existence, with the intention of revealing them later as a twist, although their existence is easily deducible. However, the real merit of this revelation lies in the fact that the clones are the plugs. Another important moment involving the clones is the scene of their destruction, which undoubtedly adds depth to the plot.
Misato is a major in this apocalyptic world, but it is strange that she is always wearing sexy clothes in all places and times. Furthermore, her dialogues and behaviors reflect childishness, such as her gesture of showing her tongue. She is also seen in almost every scene flirting or getting drunk. Her main activity is to be a kind of nanny responsible for the protagonist. This raises huge questions about the coherence of her representation, given her behavior, military position and the situation in the world. Furthermore, it is questionable whether it was intentionally designed in this way to please a certain audience.
Misato's most appealing fanservice scene is surprising for its boldness in presenting it in such a detailed way. Perhaps it was this courage in portraying it in such an explicit way that had such an impact, even though the scene was censored and limited to audio only.
Even if all the characters in Evangelion were good, they wouldn't make up for Shinji, who is a terrible character. Not that anyone wanted or expected them to change out of nowhere, but in 26 episodes there was at least some evolution, and if they wanted it, it was possible to make a big evolution. However, what happens in the anime is more like a devolution.
Shinji, the anticlimactic, passive, weak and perverted protagonist, manages to become even more unpleasant in the final stretch of the anime. He is simply the worst anime protagonist. It's true that the reason people usually watch Evangelion is not this character, but if they don't have a reason, it will just be to hope that he dies.
Working with a character like Shinji is really challenging and daring. It often detracts from the work and is unpleasant. However, in rare cases, this type of character can become interesting. The problem in Evangelion is that Shinji's personality doesn't seem to contribute significantly to the plot, which is essential to make characters like that minimally interesting. This becomes evident when we consider that a more charismatic personality could easily be adopted without changing the story, making Shinji just a detestable element. Being lonely and depressed does not necessarily imply being cowardly and perverted.
It is also important to recognize that, at no point, even for those who do not appreciate Shinji, can it be denied that the character has a complex construction and well-elaborated layers. However, it is crucial to understand that being well-built does not necessarily qualify you as a good character. This also goes beyond charisma and is related to the role his characteristics play in the plot.
Some may argue that Shinji is good because he has become a reference, however, this does not necessarily mean something positive, as can be seen in the cases of Yuki from Mirai Nikki and Haruyuki from Accel World, who were inspired by Shinji. In fact, Shinji served as a reference for a variety of animes with fearful, weak, despicable and unpopular protagonists.
Enjoying Evangelion with Shinji as the protagonist is extremely shameful. Shinji is a coward who doesn't seem to care about anyone and it's disturbing to see his actions. He's the crazy guy who goes so far as to have a romantic interest in his own mother's clone. He's the bastard who leaves his teammates in critical situations. So weak that he even gets beaten up by a girl. He is so vulnerable that he allows himself to be groomed by a boy. Furthermore, he goes into crisis over trivial issues and almost kills a friend by hanging, showing his lack of control and compassion. The psychopath is so incompetent that not even evil can complete it. Worst of all, it starts badly and ends terribly. How is it possible for anyone to care or get involved with the depressive crisis of such a character? It's not just about not appreciating his personality, but mainly about the way situations are approached in the narrative. Many of his actions seem to be included just to shock the audience, which is akin to a kind of macabre psychological ecchi. There is no problem with fan service when it is properly and meaningfully integrated into the story.
Regarding Shinji's sexuality, he cannot be labeled as gay, otherwise he would not show interest in girls. The anime also does not suggest that he is bisexual, as the interest in the boy does not come from him. What the anime really portrays is his extreme fragility, which makes him so vulnerable that he can be easily manipulated or seduced even by a boy.
It's quite common to argue that Shinji is a good character because he's "human". However, when asked which of his characteristics are admirable, inspiring or worthy of mirroring, opinions differ. While people like Shinji are not extraordinarily rare, they are also not representative enough to be considered a standard of humanity. It's as if they were changing the norm by accepting characters with such negative characteristics as the new normal. Someone like Jack the Ripper is a human being, but why should we admire and desire to see characters with such negative characteristics as protagonists of a story?
Why did Shinji need to be chosen to pilot an EVA? The criterion presented in the anime as justification for this selection was being under 14 years old, but why not any other young person who was willing, capable and in training? Are there only three post-second impact children in this universe? If only he could, why didn't they train him beforehand? After all, they had so many years to prepare for the arrival of the angels. Wouldn't it just be a forced convenience of the script for this to happen right away with the boss's son? Despite the supposed "justifications" surrounding Shinji's mother that appeared later in derivatives, which in itself is already a flaw, there are still some holes that do not answer all the questions. Furthermore, it's ironic that some people criticize convenient scripts and at the same time put Neon Genesis Evangelion at the top of their lists.
Pleasure
The emotions transmitted by the anime manage to generate a certain stimulus in some episodes, but this excitement is fleeting. Throughout most of the series, the presence of a climax is lacking, which makes the ending tedious in itself and, as it turns out, even more difficult to watch. It is not an anime that provokes tears or laughter; the only strong feeling you want when watching it is for it to end soon.
The reasons for watching a long anime may vary, but generally, when you enjoy it, time seems to pass quickly and finishing becomes easy. However, this does not apply to Evangelion, which is almost impossible to watch in one sitting. This does not meet the expectations of a good anime; a quality anime should captivate and leave people looking forward to the next episode.
Many episodes simply cause drowsiness, making it a real struggle to stay awake. However, it is important to note that this point does not apply to all episodes; there are some that are more interesting than others.
In general
Although it is often recommended as an excellent work, as a cult work and a reference for several other animes, the truth is that Neon Genesis Evangelion can be a great disappointment for many viewers. If you're not a fan of the Power Rangers episodic style, you might feel agony over 15 episodes of similar, saturated content. Furthermore, the rest of the plot is filled with empty dialogues that lead nowhere. The worst thing is that some people don't seem to notice these flaws and invent meanings where they don't exist. The ending ends up becoming a confusion of psychological elements, indicating that they had not thought of an ending. This outcome also includes scenes taken from previous episodes, strongly suggesting a lack of good direction in resource management on the part of the creator. This shows a lack of respect for the public, with the impression that they finished the work somewhat reluctantly, throwing anything at them just to fulfill the contract.
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The fans' final claim is that the work is wonderful because the author is depressed and he wanted to show his depression in the anime. Really, he managed to make me depressed with something so bad like that.