close
Jump to content

The Beast (Neon Genesis Evangelion)

This is a good article. Click here for more information.
From Wikipedia, the free encyclopedia

"The Beast"
Neon Genesis Evangelion episode
BERJAYA
Shinji Ikari staring at the ceiling in Misato Katsuragi's apartment
Episode no.Episode 2
Directed byKazuya Tsurumaki
Written by
Story byGainax
Original air dateOctober 11, 1995 (1995-10-11)
Running time22 minutes
Episode chronology
← Previous
"Angel Attack"		 Next →
"A Transfer"
List of episodes

"The Beast", known by the Japanese title "Unfamiliar Ceilings",[a] is the second episode of the anime Neon Genesis Evangelion, created by Gainax. The episode was written by the series director Hideaki Anno and Yōji Enokido and directed by Kazuya Tsurumaki. It aired originally on TV Tokyo on October 11, 1995.

The series is set fifteen years after a worldwide cataclysm named Second Impact, particularly in the futuristic fortified city of Tokyo-3. The protagonist is Shinji Ikari, a teenage boy who is recruited by his father Gendo to the organization Nerv to pilot a giant biomechanical mecha named Evangelion into combat with beings called Angels. During the episode, Shinji faces the Angel Sachiel but freezes with fear and fails to defend his Eva-01, which is left damaged and inoperable. Shinji wakes up in a hospital the next day and is taken in by Nerv's Captain Misato Katsuragi, who becomes his new legal guardian.

Production of "The Beast" began in September 1994 and ended in May 1995. Staff used Christian religious symbolism in the episode, with the intent of differentiating the show from other mecha series. The title itself, "The Beast", references the beast from the Book of Revelation. The episode scored a 5.3% rating of audience share on Japanese TV and received critical and public acclaim focused on its visuals, direction, and sound.

Plot

[edit]

Pilot Shinji Ikari prepares to face an enemy named Sachiel, the third of a series of beings called Angels, in his mecha Evangelion 01. Shinji manages to move his Eva, making it try a successful first step. As he attempts to take a second step, the Eva trips, falls over, and lands face-first on the ground. Eva-01 is left helpless as Sachiel advances on it; Shinji is frozen with fear and fails to defend himself as the Angel proceeds to pick up the Eva by the face and then damages its left arm and right eye. The pilot's signal is lost, and the Eva powers down. Suddenly, a confused Shinji wakes up in a hospital room the next day; the dramatic battle having been resolved off-screen. Meanwhile, his father, Gendo Ikari, head of the special agency Nerv, meets with the organization's mysterious benefactors, the Human Instrumentality Committee. The Chairman of the Committee, Keel Lorenz, instructs him not to let the reappearance of the Angels allow a process named the Human Instrumentality Project to fall behind schedule. Shinji sees his fellow pilot Rei Ayanami at the hospital. He also has a brief encounter with his father, but the two of them don't talk. Nerv's captain Misato Katsuragi shows up to check on Shinji in the aftermath of the battle. When she learns that Shinji is going to live alone, she decides to take him in to live with her instead.

Shinji arrives at Misato's apartment. Later that evening, he lies alone in his new bedroom. As he does so, sounds from the battle are heard and images of nerve cells as viewed through a microscope flash across the screen. In a flashback, Shinji remembers that Eva-01 was rendered inoperative by Sachiel's attack, with Nerv losing control of the Eva. Eva-01 reactivates and begins to act on its own. It launches a vicious attack upon the Angel, succeeding in damaging its face. A second attack by the Eva is blocked by a barrier named A.T. Field, but the Eva erodes it with another A.T. Field. Once the barrier is down, Eva-01 soundly defeats Sachiel by shattering the downed Angel's core. Sachiel wraps itself around the Eva and self-destructs; Eva-01 emerges from the explosion with little apparent damage. As Nerv regains control of the Evangelion, Shinji comes to in the cockpit. The damaged helmet sloughs off, and Shinji can glimpse the Eva's face reflected in the windows of a building. As he looks on, the Eva's eye regenerates and focuses straight at him. Shinji begins to scream, and the flashback ends. He slowly curls up in bed after recalling the battle; Misato comes to his door and praises him for piloting the Eva and saving the city.

Production

[edit]

I wonder if a person over the age of twenty who likes robot anime and bishōjo anime is really happy. If this person doesn't know that greater happiness exists even until he died, he is probably happy. Regrettably, I have my doubts about his happiness. As I was making this work I wanted to try to consider what in the world could the 'happiness' of such a person be?

— Hideaki Anno during the production of the first two episodes[1][2]

Production for "The Beast" began in September 1994, simultaneously with "Angel Attack",[3][4] and ended in May 1995.[5][6] Yōji Enokido and Hideaki Anno wrote the script,[7][8] while Kazuya Tsurumaki served as director for the episode.[9][10] Unlike the previous installment, Gainax produced "The Beast" with a non-linear narrative,[11][12] interspersed with continuous flashbacks and scene changes;[13][14] Anno remained dissatisfied with "Angel Attack" during the post-recording and described it as "a failure", since it couldn't beat the first episode of the original Mobile Suit Gundam series. He was disappointed by the script and the structure, judging it "three minutes too long", so he completely reworked "The Beast" in the middle.[15] Continuing their work from "Angel Attack", Anno and assistant director Masayuki composed the storyboards.[16][17] For the combat between Eva-01 and Sachiel, Takeshi Honda,[18] chief animator for the episode,[19][20] and Yō Yoshinari handled the key animation.[21] Shinya Hasegawa handled the key animation around the scene where Misato is drinking beer in her apartment and suggests Shinji take a bath, while Yoshitō Asari and Seiji Kio served as assistant character designers.[22][23]

The Japanese title "Unfamiliar Ceilings" was decided on in 1993,[24] when Gainax wrote a presentation document of Neon Genesis Evangelion titled New Century Evangelion (tentative name) Proposal (新世紀エヴァンゲリオン (仮) 企画書, Shinseiki Evangelion (kari) kikakusho).[25][26] The beginning of a battle between an Angel named Raziel and berserk Unit 01 was planned for "Angel Attack" in the Proposal, but it was moved to "The Beast" and the Angel changed to Sachiel.[27] For the battle between Eva-01 and Sachiel Gainax created integration between the backdrops and the moving objects on several levels.[28] The fight was initially close to a tokusatsu battle in the style of Ultraman, but, according to Yūichirō Oguro, Honda apparently decided to give the scene a more anime style.[9] Oguro noted that Honda draws characters in a more sophisticated style, unlike the animation director of the first episode Shunji Suzuki, who tries to be more faithful to Sadamoto's character design instead.[9] He also noted that people are depicted at the edge of the screen in "The Beast", a style he attributes to Masayuki.[9]

To represent Sachiel's AT Field, the main staff used special lighting effects, which appear and disappear for short frames.[29] Yoshinari took care of the battle scene,[30] trying to draw the shoulders and face of the Eva-01 using rulers.[31] The staff also made extensive use of close-ups during the episode.[32] During the battle, before Eva-01's berserk mode, the crew zoomed in on Shinji's face in close-up, giving the idea of wide-angle lens, and deforming it with CG.[33] Writer Giuseppe Gatti described Shinji's face cut as "psychedelic".[34] Shinji was originally supposed to reach a 400% synchro rate with Eva-01 in the clash, but the idea was later presented in the last part of the series instead.[35] For the image of the Eva-01 destroying the AT Field, Hideaki Anno took inspiration from the image of tearing clothes, considering them as the most elementary form of protection for human beings;[36] the concept was included in "The Beast" with no philosophical implications, and Anno thought about its meaning as the "walls of the heart" during the production of the latter part of the series.[37] He also added the term Human Instrumentality Project, one of the most important concepts for the plot, by improvising and without having clear ideas about it. He stated that he had no idea about what Instrumentality was going to "complement" at the time, so the whole scene "is just a verbal bluff".[38]

The green parts of Eva-01's armor were supposed to light up and stand out against the dark sky during the battle against Sachiel; although technically possible, the staff avoided doing so because it would have been costly and labor-intensive.[39] Animation scholar José Andrés Santiago Iglesias noted how during the episode there is a visual juxtaposition between two frames from Shinji's point of view, depicting the ceiling of a hospital and his new room, which consist of a series of still images followed "by a high-speed sequence of different still images played at a rate of one image per frame";[40] Iglesias cited this directorial device as an example of Evangelion's extensive use of limited animation for artistic purposes.[40] In the hospital scene, where Shinji stands alone in an empty corridor, contrasts of light and shadow were used, keeping the scene monochromatic, to represent Shinji's inner emptiness.[41][42] Yūko Miyamura, Katsumi Suzuki, Megumi Hayashibara, and Takashi Nagasako voiced unidentified characters in "The Beast", while Nagasako, Suzumi, Motomu Kiyokawa, and Koyasu Takehito voiced the men of the Instrumentality Committee.[43] Besides the original soundtrack, composed by Shirō Sagisu, Gainax also used You are the only one by Kotono Mitsuishi, Misato's voice actress,[44] first released in her image album Lilia ~from Ys~ (1992).[45][46] British singer Claire Littley sang a cover of "Fly Me to the Moon" named "Normal Version" which was later used as the episode's closing theme song,[47] replaced in late home video editions by a "String Version" sung by the same singer.[48][49]

Cultural references

[edit]

The scene where Misato talks about air conditioning in a truck with Ritsuko is a reference to Nadia: The Secret of Blue Water, Gainax's previous work,[45] while the sequence in which Eva-01 is bleeding from the skull is similar to a scene from the Getter Robo manga, of which Anno is a fan.[21] After Sachiel's defeat, Misato watches the battle report on television and remarks how Nerv hides the truth from the general public with a B-22 protocol;[50][51] Anime Feminist website writer Jeremy Tauber and scholar Laura Montero Plata interpreted this as a reference to the Japanese government's reaction to the Kobe earthquake and the Aum Shinrikyō Tokyo subway sarin attack.[52][53] Moreover, in the scene where Misato dines with Shinji in the apartment, the staff used the "Gainax bounce", a fan service that made the breasts of the female characters bounce,[45] which Gainax invented and first used in the Daicon III and IV Opening Animations (1981-1983) short films.[54] The city of Tokyo-3 is mentioned in "The Beast" for the first time. Its name is a tribute to the spaceship Tokyo III from the movie Sayonara Jupiter (1984).[55][56] The scientific concept of phase space[57] is also mentioned in relation to Sachiel's AT Field during Eva-01's battle.[58][59] Furthermore, the main staff used real brands in "The Beast" scenes to depict a realistic fictional world,[60] including a Mitsubishi Fuso truck,[61][62][63] a Sony Digital Audio Tape[64][65] and Yebisu beer[66][67] with its logo depicting Ebisu, one of Seven Lucky Gods.[68] The inclusion of the real-existing Yebisu brand caused troubles during the first airing,[69] so staff changed the name as Yebichu in the on-air version while maintaining Yebisu in the home-video release.[45]

Writer Virginie Nebbia compared Eva-01's jump during its fight against Sachiel with one of the attacks of Ultraman Jack.[70] Writer Alexandre Marine[71] and Japanese reviewer Akio Nagatomi described the outcome of Eva-01's first battle as "very typical Hideaki Anno", noting how the director used "the exact same flashback/exposition technique" in Gunbuster, when Noriko Takaya in a bath recounts her meeting with Coach Ōta with some differences.[72] Dennis Redmond interpreted the last image of the flashback of the battle against Sachiel, in which a close-up of Shinji's eye is visible while the boy screams in terror, as a quotation of "one of the first great video tropes", the close shots of Sally's quivering eye in The Texas Chain Saw Massacre (1974).[73] Virginie Nebbia noted how the image of Eva-01's eye resembles female genitalia, and this detail indicates that Evas are organic and linked with femininity. Nebbia also compared the Signal Termination Plug, which stops an Eva unit, with the Ultra Cross, a cross-shaped weapon from The Return of Ultraman.[74] Alexandre Marine similarly compared Eva-01's close-up to Alfred Hitchcock's directorial style; according to Marine, Eva-01's eye resemblance to human female genitalia emphasizes the theme of motherhood, one of the main ones in the series.[75]

"The Beast" uses religious symbolism, including the Christian cross,[76] for the Misato pendant and the Eva-00 cockpit.[77] Angel Sachiel also explodes in the final scenes of the episode, forming a cross-shaped explosion.[78][79] An official pamphlet states that the cross has the meaning as a symbol of death and self-sacrifice, although it's not clear which meaning the series follows.[80] For scholars Satoshi Tsukamoto and Adam Barkman the Christian cross symbolism exemplifies Neon Genesis Evangelion's use of "biblical ethos as a dark inspiration for the story".[81][82] The director of "The Beast", Kazuya Tsurumaki, said in an interview that Christian graphic symbols were used for artistic reasons by the main staff,[83][84] because they were considered "cool" for the Japanese audience,[85][86] and they were intended to differentiate Neon Genesis Evangelion from other mecha anime[87] and give it an exotic appeal.[88][89] Director Anno made similar statements, saying that he wanted to add complicated terms for "pedantry".[90] According to the official booklets and materials, the title "The Beast" can refer to the Angel Sachiel, the berserk Eva-01,[91][92] or Shinji's hidden destructive impulses.[22] The official encyclopedia Evangelion Chronicle states that the title also references the beast from the Book of Revelation.[93][94] Virginie Nebbia especially compared Sachiel's cruciform explosion to a scene in Seimei no Ki, the third installment of Daijirō Morohoshi's Yokai Hunter saga, in which Zezu, a "Christ-savior", takes the stricken souls from Hell to Heaven as a giant cross hovers in the sky.[95]

Themes

[edit]

The episode, which connects directly to the first, has a very different structure from the previous one.[13] According to writer Philip Brophy, the first battle of the series is interrupted before it can truly begin.[96] As noted by scholar Giuseppe Gatti, the battle of Eva-01 in berserk mode is told through Shinji's flashback instead.[97] According to Gatti, the image of Shinji waking up in a hospital bed, a recurring motif in the series and presented for the first time during the episode, could be interpreted as a metaphor for the viewer, who must piece together the pieces and go back and forth to understand the story.[98] "The Beast" follows the main character's stream of consciousness, rather than the linearity of the battle.[13] Shinji deals with her new life with Misato, presented in scenes with humour tones,[99] and his distant relationship with Gendo, who accidentally mets at Tokyo-3 hospital[100][101] while he is visiting Rei.[102] The episode's focus is primarily on the psychological analysis of the characters, particularly Misato, and on the dialogues between the main characters.[13] Academic scholar Satoshi Tsukamoto noted in particular how the darkness of the battles is interspersed with moments of comedy, which contribute to making the series more familiar and reassuring for the viewer.[103] Writer Zachary Vereb made a similar observation; according to him, viewers immediately begin to understand how the series features many moments of psychological introspection, and how philosophical reflections are juxtaposed and contrasted with furious mecha battles.[104]

Scholar Susan J. Napier argued that Neon Genesis Evangelion looks like a classic mecha in "its basic plot outlines"[105] but subverts the genre since its first two episodes,[106] which are constructed around "all the conventions of the classic 'saving the world' narrative, only to undermine them".[107] Shinji displays feelings far removed from the stereotypical concept of a hero in "The Beast", showing reluctance and vulnerability in his first battle with an Angel instead.[108] Furthermore, the battle introduces the Evangelions' neural interface system, as Shinji immediately feels the Evangelion's pain as if it were his own body.[109] Gatti argued that this paradox of a mind receiving real sensory signals from a fake body that doesn't belong to it is a common cyberpunk genre narrative trope.[110] According to Claudio Cordella, following the trauma of the battle, Shinji develops a repulsion for the Evangelions; this traumatic experience introduces and anticipates other episodes in the series, which portray the Evangelion units as organic monsters[111] rather than simple robotic machines.[112] Furthermore, the episode, like other episodes in the series, has two different titles; according to scholar Bounthavy Suvilay, the goal is to create an overload of information to trigger a counter-circuit in obsessive anime fans, known as otaku in Japanese, who are known for examining animated sequences frame by frame.[113]

Misato feels guilty for treating Shinji as a mere tool in the episode.[114][115] For Anime Feminist writers Vrai Dee and Lizzie Isaac, she experiences ambivalent feelings about using him.[116] In an attempt to convey a sense of family warmth to Shinji, she appears forcibly cheerful, constantly talking and drinking beer all the time;[117] according to writers Álvaro Arbonés and Claudio Cordella, she immediately presents herself as a mother figure to Shinji.[109][118] Scholar Ida Kirkegaard noted Misato drinks a beer and laughs in one scene, which is later used in the series to "build a sense of familiarty" in order to "set a mood that is, at least on the surface, one of sitcom-like light-heartedness and warmth".[119] Furthermore, throughout the episode, she reflects on herself and expresses her fears that she has revealed too much, that is, that she has revealed the reasons behind her ostentatious exuberance.[68] This has led Newtype magazine to suggest that Misato is wearing several social masks.[120][121] Animage compared her with a "big sister" figure instead.[122] Furthermore, Shinji observes the rift between Misato's professional demeanor and her slovenly personal habits,[123][124] since she lives in a chaotic house full of beer cans.[125] AnimeFeminist Jeremy Tauber argued that Misato's apartment shows how the Evangelion world, even "with all of its technological fantasia", is a lost "barren, impoverished landscape".[52] According to Arbonés, it is immediately clear that Misato, beneath her apparent cheerfulness, has a drinking problem.[118] Arbonés also noted how the sequence in which Misato ruffles Shinji's hair during dinner resembles the scene in which the Angel Sachiel grabs Eva-01 by the head.[126] It's left to the viewer to decide whether Shinji has truly discovered Misato's façade, given that in the following scene, while taking a hot bath, Shinji claims that Misato is ultimately a good person.[68][127] Kazuya Tsurumaki also noticed that Misato talks to Shinji but doesn't enter his room at the end of the episode.[128] He then described Evangelion as a "story of communication" with a message directed to anime fans, which director Anno judged too closed and introverted.[128]

Reception

[edit]

"The Beast" aired on 11 October 1995 and scored a 5.3% rating of audience share on Japanese TV.[129] It also screened with "Angel Attack" in front of two hundred people at the second Gainax festival[130] on 22 and 23 July 1995 in Itako, Ibaraki,[131] a few months before the airing.[132][133] According to Gainax co-founder Yasuhiro Takeda, the work received a positive reception.[134] At the 2006 Tokyo International Anime Fair, anime fans voted the first two Evangelion episodes as the anime they would most like to see again.[135] Critics, including Yahoo! Entertainment,[136] Anime News Network,[137][138] and Newtype magazine,[139] received Neon Genesis Evangelion's first two episodes positively. Protoculture Addicts magazine lauded the animation, soundtrack, and plot.[140] Film School Rejects' Max Covill praised "The Beast"[141] as did animator Yūichirō Oguro, writing for Newtype magazine, who praised its animation.[142] Multiversity Comics' Matthew Garcia similarly lauded the confidence in the filmmaking and the animation of "Angel Attack" and "The Beast", eulogizing the "assurance and tenacity" of Anno and Gainax.[143]

Anime News Network's Kyle Pope said, "The purpose of this episode was to establish the character of Misato which can be summed up in two words: alcoholic slut".[144] The Animé Café's Japanese reviewer Akio Nagatomi criticized "The Beast" mood as "emotionally manipulative", since the viewer is supposed to be sorry for Shinji, but "subtlety seems to be beyond the grasp of the writers".[72] Jane Nagatomi similarly described the story as "fairly weak", criticizing the idea behind the Umbilical Cable but also praising the humour of the scenes involving Pen-Pen.[72] Jack Cameron of Screen Rant regarded Shinji's battle against Sachiel as one of the best Neon Genesis Evangelion fights.[145] Comic Book Resources' editor Ajay Aravind similarly ranked it third among the best battles in the show.[146] SyFy Wire's Daniel Dockery listed it as one of the "most awesome non-depressing" moments in the series, since "there's just something awe-inspiring and terrifying and uncomfortable about watching an uncontrollable Eva unit".[147] Reuben Baron of Comic Book Resources also eulogized the battle, describing it as an example of the "warped brutality of Hideaki Anno's vision".[148] Academic Susan J. Napier noticed the unconventionality of the fight, since Shinji shows reluctance and feelings "that seems less than conventionally heroic",[108] and praised the fight sequence as it ends up "in a fascinatingly low-tech manner",[149] while Ex magazine's Charles McCarter lauded the animation as "nice and clean", the soundtrack and the pace of the first two episodes.[150] Japanese writer Taro Igarashi also praised the scene in which Misato and Shinji see Tokyo-3 skyscrapers emerging from underground as it "impressively introduces" the main setting of the series.[151]

The first scene with Seele inspired a similar scene from the manga Jujutsu Kaisen 0, in which the lead Yuta Okkotsu is questioned by people seeking to control a Curse following him; writer Gege Akutami declared himself a fan of Anno's works.[152] British rock band Fightstar named the song "Unfamiliar Ceilings", contained in the album One Day Son, This Will All Be Yours, after Neon Genesis Evangelion.[153] Sachiel's design inspired Jordan Vogt-Roberts for Kong: Skull Island's Skullcrawler.[154] The scene of Eva-01 going berserk is also referenced in an episode of the US cartoon Invader Zim.[155] Official merchandise based on the episode has also been released,[156][157] including lighters,[158] T-shirts[159][160] and reproductions of the battle against Sachiel.[161][162]

References

[edit]
  1. ↑ Japanese: 見知らぬ、天井, Hepburn: Mishiranu, Tenjō
  1. ↑ "エヴァ制作開始インタビュー". Newtype Magazine. Kadokawa Shoten: 4. April 1995. Archived from the original on December 15, 2000. Retrieved July 23, 2020.
  2. ↑ Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. p. 7.
  3. ↑ "History". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  4. ↑ Neon Genesis Evangelion Theatralical VHS Box Booklet (in Japanese). King Amusement Creative. 1997.
  5. ↑ Marine 2021, p. 85.
  6. ↑ Arbonés 2021, Cap. 2: I.
  7. ↑ Porori, Syunsou (2009). The Essential Evangelion Chronicle: Side A (in French). Glénat Editions. p. 50. ISBN 978-2-7234-7120-6.
  8. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 17.
  9. 1 2 3 4 Oguro, Yūichirō. "第35回 エヴァ雑記「第弐話 見知らぬ、天井」" (in Japanese). Archived from the original on January 8, 2021. Retrieved July 23, 2020.
  10. ↑ "Staff". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  11. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 66.
  12. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 32.
  13. 1 2 3 4 Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 1. Dynamic Italia. p. 25.
  14. ↑ Morikawa 1997, pp. 45–47.
  15. ↑ あんた、バカぁと、言われてみたい。（庵野秀明、宮村優子）. Animage (in Japanese). Tokuma Shoten. July 1996.
  16. ↑ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 178. ISBN 4-04-852700-2.
  17. ↑ Poggio, Alessandra (2008). Neon Genesis Evangelion Encyclopedia (in Italian). Dynit. p. 9.
  18. ↑ Nebbia (2023), Chap. 1: Bientôt la diffusion
  19. ↑ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 20.
  20. ↑ Groundwork of Evangelion (PDF) (in Japanese). Vol. 1. Gainax. 2000. p. 217. ISBN 4903713008. Archived from the original (PDF) on 26 October 2023.
  21. 1 2 Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. pp. 27–28.
  22. 1 2 Neon Genesis Evangelion Platinum Edition Booklet. Vol. 1. ADV. 2004.
  23. ↑ Eva Tomo no Kai (in Japanese). Vol. 1. Gainax. 1996.
  24. ↑ Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. p. 26.
  25. ↑ Evangelion Chronicle (in Japanese). Vol. 18. Sony Magazines. p. 25.
  26. ↑ Gainax (February 1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 87. ISBN 4-04-852700-2.
  27. ↑ Evangelion Chronicle (in Japanese). Vol. 17. Sony Magazines. pp. 27–28.
  28. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 44.
  29. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 64.
  30. ↑ Nebbia (2023), Chap. 1: Lancement du Project Eva
  31. ↑ "Yoh Yoshinari Interview (Animestyle, 03/2013) Part 1/3". Wave Motion Cannon. December 19, 2016. Archived from the original on January 12, 2021. Retrieved January 9, 2021.
  32. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 19.
  33. ↑ "Episode:2 The Beast". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  34. ↑ Gatti 2021, p. 71.
  35. ↑ Iso 2023, p. 137.
  36. ↑ Arbonés 2021, Cap. 3: V.
  37. ↑ 新世紀エヴァンゲリオン残酷な天使のように (in Japanese). Magazine Magazine. 1997. pp. 30–31. ISBN 4-906011-25-X.
  38. ↑ Shinichiro Inoue (June 1996). "Interview with Hideaki Anno". Newtype (in Japanese). Kadokawa Shoten. pp. 162–177. Archived from the original on 14 July 2018. Retrieved 31 January 2021.
  39. ↑ Khara (2008), 鶴巻 和哉 interview: デジタル撮影で画を攻めていける
  40. 1 2 Anime Studies 2021, p. 23.
  41. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 21.
  42. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 48.
  43. ↑ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 62.
  44. ↑ Neon Genesis Evangelion Laserdisc Encyclopedia (in Japanese). Vol. 1. 1996.
  45. 1 2 3 4 Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 1. Dynamic Italia. p. 41.
  46. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 52.
  47. ↑ Eva Tomo no Kai (in Japanese). Vol. 6. Gainax. 1996.
  48. ↑ Evangelion Chronicle (in Japanese). Vol. 26. Sony Magazines. p. 26.
  49. ↑ "Fly Me to the Moon". Neon Genesis Evangelion: Platinum Edition Booklet. Vol. 4. ADV.
  50. ↑ Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 1. Dynamic Italia. p. 27.
  51. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 27.
  52. 1 2 Tauber, Jeremy (15 May 2024). "Evangelion, alienation, and Japan's 1990s economic crisis". animefeminist.com. Anime Feminist. Archived from the original on 15 May 2024. Retrieved 4 December 2024.
  53. ↑ Montero Plata, Laura (2014). "The Crisis of the Self in Neon Genesis Evangelion". academia.edu. Academia. Archived from the original on 7 December 2024. Retrieved 17 June 2025.
  54. ↑ Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 3. Dynamic Italia. pp. 33–34.
  55. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 54.
  56. ↑ Glossary 1998, p. 119.
  57. ↑ Glossary 1998, p. 15.
  58. ↑ Evangelion Chronicle (in Japanese). Vol. 2. Sony Magazines. pp. 24–25.
  59. ↑ Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 1. Dynamic Italia. p. 33.
  60. ↑ Evangelion Chronicle (in Japanese). Vol. 48. Sony Magazines. p. 20.
  61. ↑ Poitras, Gilles (2005). The Anime Companion: More What's Japanese in Japanese Animation?. Vol. 2. Stone Bridge Press. p. 57. ISBN 1-880656-96-5.
  62. ↑ Sanenari, Oizumi (1997). Anno Hideaki Schizo Evangerion (in Japanese). Ōta Shuppan. pp. 158–159. ISBN 4-87233-315-2.
  63. ↑ Glossary 1998, p. 141.
  64. ↑ Evangelion Chronicle (in Japanese). Vol. 14. Sony Magazines. pp. 9–10.
  65. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 26.
  66. ↑ House, Michael (November 28, 2011). "Interviewing translator Michael House". Archived from the original on August 24, 2020. Retrieved July 23, 2020.
  67. ↑ Glossary 1998, p. 31.
  68. 1 2 3 Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 1. Dynamic Italia. p. 30.
  69. ↑ Marine 2021, p. 104.
  70. ↑ Nebbia (2023), Chap. 2: Ultraman en pagaille
  71. ↑ Marine 2021, p. 81.
  72. 1 2 3 "Shinseiki Evangelion Review Pages - Episode 2". Abcb.com. The Animé Café. Archived from the original on 2 August 2018. Retrieved 9 May 2021.
  73. ↑ Redmond, Dennis (2004). The World is Watching: Video as Multinational Aesthetics, 1968-1995. Southern Illinois University Press. p. 133. ISBN 0-8093-2535-7.
  74. ↑ Nebbia (2023), Chap. 2: Les Anges
  75. ↑ Marine 2021, p. 83.
  76. ↑ Sellés de Lucas & Hernández-Pérez 2024, p. 228.
  77. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. pp. 60–61.
  78. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 31.
  79. ↑ Brophy 2024, p. 518.
  80. ↑ "用語集". Death & Rebirth Program Book (in Japanese) (Special ed.). Gainax. 1997.
  81. ↑ Barkman, Adam (2010). "Anime, Manga, and Christianity: A Comprehensive Analysis". Journal for the Study of Religions and Ideologies. 9 (27): 25–45.
  82. ↑ Tsukamoto 2022, p. 38.
  83. ↑ "Interview mit Tsurumaki Kazuya (Studio GAINAX)". Anime No Tomodachi. Retrieved September 8, 2013.{{cite web}}: CS1 maint: deprecated archival service (link)
  84. ↑ Sellés de Lucas & Hernández-Pérez 2024, p. 232.
  85. ↑ Sellés de Lucas & Hernández-Pérez 2024, p. 234.
  86. ↑ McDowell, Gavin (2026). "Canon and Apocrypha in Neon Genesis Evangelion". Journal of Religion and Popular Culture. University of California Press: 2.
  87. ↑ Ruh, Brian (Spring–Summer 2013). "Producing Transnational Cult Media- Neon Genesis Evangelion and Ghost in the Shell in Circulation" (PDF). Intensities (5): 10. Archived (PDF) from the original on 2025-05-07. Retrieved 2013-07-30.
  88. ↑ Thomas, Owen. "Amusing Himself to Death: Kazuya Tsurumaki speaks about the logic and illogic that went into creating FLCL". Archived from the original on January 10, 2002. Retrieved December 13, 2020.
  89. ↑ Nebbia (2023), Chap. 2: Une fin du monde en approche
  90. ↑ Nebbia (2023), Chap. 2: Une carrefour d'influences
  91. ↑ Evangelion Chronicle (in Japanese). Vol. 41. Sony Magazines. p. 23.
  92. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 55.
  93. ↑ Evangelion Chronicle (in Japanese). Vol. 27. Sony Magazines. p. 22.
  94. ↑ Glossary 1998, p. 61.
  95. ↑ Nebbia (2023), Chap. 2: Daijirô Morohoshi
  96. ↑ Brophy 2024, p. 517.
  97. ↑ Gatti 2021, p. 76.
  98. ↑ Gatti 2021, p. 67.
  99. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 56.
  100. ↑ Animage (in Japanese). Tokuma Shoten. January 1996. p. 44.
  101. ↑ "EVA新生!!". Animedia (in Japanese). Gakken: 88. March 1997.
  102. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 50.
  103. ↑ Tsukamoto 2022, p. 42.
  104. ↑ Evangelion and Philosophy 2022, Living Questions or Dead Ends?.
  105. ↑ Napier 2005, p. 96.
  106. ↑ Napier 2005, p. 97.
  107. ↑ Napier 2002, p. 424.
  108. 1 2 Napier 2002, p. 425.
  109. 1 2 Cordella, Claudio (2016). "Dagli anni '90 di Evangelion a oggi". Anime Robotiche (in Italian). Delos Digital. ISBN 9788865309254.
  110. ↑ Gatti 2021, p. 70.
  111. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 65.
  112. ↑ Cordella, Claudio (2018). "Oggetti antropomorfi". Mulini a vento e robot giganti. Il significato degli oggetti negli anime e manga (in Italian). Delos Digital. ISBN 9788825407679.
  113. ↑ Suvilay, Bounthavy (2017). "Neon Genesis Evangelion ou la déconstruction du robot anime". ReS Futurae (in French) (9). Università Gustave Eiffel. doi:10.4000/resf.954. Archived from the original on 15 November 2023. Retrieved 15 November 2023.
  114. ↑ Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 1. Dynamic Italia. p. 32.
  115. ↑ Evangelion and Philosophy 2022, Delicate Deception.
  116. ↑ Dee, Vrai; Isaac, Lizzie (15 September 2026). "Chatty AF 98: Neon Genesis Evangelion Watchalong – Episodes 1-6 (with transcript)". animefeminist.com. Anime Feminist. Archived from the original on 29 May 2024. Retrieved 21 June 2026.
  117. ↑ Cordella, Claudio (2018). "Conclusioni". Mulini a vento e robot giganti. Il significato degli oggetti negli anime e manga (in Italian). Delos Digital. ISBN 9788825407679.
  118. 1 2 Arbonés 2021, Cap. 3: VI.
  119. ↑ Anime Studies 2021, p. 67.
  120. ↑ Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. pp. 26–27.
  121. ↑ "気になる、彼女 新世紀エヴァンゲリオン 「エヴァ」を彩るヒロインたちに肉迫/ Ladies' Generation". Newtype (in Japanese). Kadokawa Shoten: 8–9. December 1995.
  122. ↑ Animage (in Japanese). Tokuma Shoten. January 1996. pp. 40–41.
  123. ↑ "Neon Genesis Evangelion". Animerica. Vol. 4, no. 12. Viz Media. 1996. p. 8.
  124. ↑ "Spotlight: Evangelion". Protoculture Addicts (39). Protoculture Inc.: 28 March 1996.
  125. ↑ "男を翻弄する。超能力強化にタジタジ". Animedia (in Japanese). Gakken: 164. December 1995.
  126. ↑ Arbonés 2021, Cap. 3: VII.
  127. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 1. Kadokawa Shoten. p. 59.
  128. 1 2 Gainax, ed. (1997). "Kazuya Tsurumaki Interview". Neon Genesis Evangelion: The End of Evangelion Pamphlet (in Japanese).
  129. ↑ "Anime Land". Newtype (in Japanese). Kadokawa Shoten. January 1996. p. 74.
  130. ↑ Marine 2021, p. 95.
  131. ↑ Brian Stremick (4 March 2026). "Absolute Borderline: The Early Days of Evangelion Fandom, Part One". animenewsnetwork.com. Anime News Network. Retrieved 20 June 2026.
  132. ↑ Oguro, Yūichirō. "第34回 エヴァ雑記「第壱話 使徒、襲来」" (in Japanese). Archived from the original on December 25, 2019. Retrieved July 23, 2020.
  133. ↑ Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. p. 11.
  134. ↑ Takeda, Yasuhiro (2002). The Notenki memoirs: studio Gainax and the men who created Evangelion. ADV Manga. p. 162. ISBN 1-4139-0234-0.
  135. ↑ Watanabe, Kei; Nakagawa, Daichi; Uno, Tsunehiro (May 18, 2006). "Evangelion Special: From phenomenon to legacy". Mainichi Times. Archived from the original on September 27, 2013. Retrieved September 8, 2013.
  136. ↑ "Every 'Neon Genesis Evangelion' Episode, Ranked from Best to Worst". Yahoo! Entertainment. 7 February 2025. Archived from the original on 1 March 2025. Retrieved 28 February 2025.
  137. ↑ Crandol, Mike (August 4, 2004). "Neon Genesis Evangelion DVD 1 - Review". Anime News Network. Archived from the original on November 3, 2020. Retrieved December 30, 2020.
  138. ↑ Jong, Matt. "Neon Genesis Evangelion DVD 1 - Review". Archived from the original on October 23, 2020. Retrieved December 30, 2020.
  139. ↑ Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. pp. 14–15.
  140. ↑ "Anime Review: PA's Picks". Protoculture Addicts (43). Protoculture Inc.: 50 November 1996.
  141. ↑ Covill, Max (June 17, 2019). "Every Episode of 'Neon Genesis Evangelion' Ranked". Film School Rejects. Archived from the original on January 8, 2021. Retrieved December 30, 2020.
  142. ↑ Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. pp. 20–21.
  143. ↑ Matthew Garcia (13 June 2021). "Five Thoughts on Neon Genesis Evangelion's "Angel Attack" and "Unfamiliar Ceilings"". Multiversity Comics. Archived from the original on 14 June 2021. Retrieved 16 January 2022.
  144. ↑ Pope, Kyle (February 26, 2003). "The Edit List - Evangelion - ep. 2: Unfamiliar Ceiling". Anime News Network. Archived from the original on November 15, 2020. Retrieved December 30, 2020.
  145. ↑ Cameron, Jack (July 7, 2019). "Every Battle in Neon Genesis Evangelion Ranked". Screen Rant. Archived from the original on November 17, 2020. Retrieved December 30, 2020.
  146. ↑ Aravind, Ajay (December 29, 2020). "Neon Genesis Evangelion: 10 Best Fights In The Anime, Ranked". Archived from the original on January 29, 2021. Retrieved December 30, 2020.
  147. ↑ Dockery, Daniel (June 23, 2019). "The 10 most awesome (non-depressing) moments In Neon Genesis Evangelion". Syfy.com. Archived from the original on January 8, 2021. Retrieved July 23, 2020.
  148. ↑ Baron, Reuben (December 2, 2018). "10 Reasons Everyone Must Watch Evangelion (And 10 Aspects That Don't Quite Hold Up)". Comic Book Resources. Archived from the original on November 12, 2020. Retrieved December 30, 2020.
  149. ↑ Napier 2005, p. 98.
  150. ↑ Charles McCarter. "Genesis 0:1". Ex.org. Ex magazine. Archived from the original on 24 October 2007.
  151. ↑ Morikawa 1997, p. 88.
  152. ↑ Akutami, Gege (2021a). 呪術廻戦 公式ファンブック [Jujutsu Kaisen Official Fanbook] (in Japanese). Shueisha. p. 178. ISBN 978-4-08-882636-3.
  153. ↑ Haigh, Dan (23 October 2019). "Thinking about reoccurring influences while finishing this @GUNSHIPMUSIC song. I think EVANGELION is right up there. I've lost count of the number of songs I've titled after that series e.g. Nerv/Seele, Unfamiliar Ceilings, Shinji Ikari, H.I.P. (Enough) @EvaGeeks @evangelion_copic.twitter.com/BMjq6iJveg". @Dan_Haigh. Archived from the original on 23 October 2019. Retrieved 23 October 2019.
  154. ↑ "『キングコング』登場モンスターのモチーフは『エヴァ』の使徒・サキエルとカオナシ" (in Japanese). 7 February 2017. Archived from the original on 12 June 2018. Retrieved 9 July 2017.
  155. ↑ From the official commentary of the 9B episode, Harmstergeddon.
  156. ↑ Porori, Syunsou (2010). The Essential Evangelion Chronicle: Side B (in French). Glénat Editions. p. 125. ISBN 978-2-7234-7121-3.
  157. ↑ E-Mono (in Japanese). Gainax. 1997. p. 111. ISBN 4-04-852868-8.
  158. ↑ "新世紀エヴァンゲリオン EPISODE TITLE ZIPPO 第弐話「見知らぬ、天井」" (in Japanese). Evangelion Store. Archived from the original on 22 January 2022. Retrieved 22 January 2022.
  159. ↑ Evangelion Chronicle (in Japanese). Vol. 10. Sony Magazines. p. 28.
  160. ↑ "新世紀エヴァンゲリオン 全話Tシャツ 「第弐話 見知らぬ、天井」" (in Japanese). Evangelion Store. Archived from the original on 22 January 2022. Retrieved 22 January 2022.
  161. ↑ "【新商品：『新世紀エヴァンゲリオン』のサブタイトルビッグTシャツの登場です！】(2020.05.18更新)" (in Japanese). Evangelion Store. Archived from the original on November 26, 2021. Retrieved January 22, 2022.
  162. ↑ "新世紀エヴァンゲリオン サブタイトルビッグTシャツ/ 「第壱話 使徒、襲来」/2XL" (in Japanese). Evangelion Store. Archived from the original on January 22, 2022. Retrieved January 22, 2022.

Bibliography

[edit]
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Beast_(Neon_Genesis_Evangelion)&oldid=1361668743"