The End of Evangelion

Back in theaters this week, Hideaki Anno’s feature film finale breaks hearts, bodies and the fourth wall.

TAlthough the finality of its title is becoming a misnomer, due to the new “Rebuild of Evangelion” trilogy of films, The End of Evangelion is a powerful conclusion. Designed to replace the last two controversial episodes of Neon Genesis Evangelion, The End of Evangelion expands the series finale’s contemplation on emotional crutches and human connection on an apocalyptic scale.

A combination of scheduling and budget issues along with Anno’s indecision around the ending led to the infamous series finale, a pair of episodes that dismissed the central conflict, opting for a shoot instead. of metaphysical group therapy taking place in the mind of his character, made with simplified drawings and various other raw materials. It was weird and abstract – almost a photo-collage – and sparked a lot of anger for this weirdness. While its production context is too complicated to be summed up in brief here, the feature film The End of Evangelion was subsequently made as a new ending for the series.

The show itself centers on Shinji Ikari, a teenage boy recruited by his absent father Gendo to pilot a skyscraper-sized robot called Evangelion (colloquially called “Eva”) and fight off angels, alien monsters. Eldtrich who attack the city of Tokyo-3. Traumatized after being forced to kill a friend, Shinji is shot dead.

It’s a finale that cuts his potential hero down to his lowest point in the first few minutes, and only goes down from there as his defeatist attitude ultimately ruins things beyond full redress; it’s the hardest the show has ever been on its protagonist, a sort of self-loathing present in Anno’s review of otaku-dom as an emotional crutch.

The End Of Evangelion - Light Home News

The End of Evangelion is renowned as a depressing and fatalistic film – but that’s far from it. His emotional breakthrough takes on a vivid and exciting form, told with more optimism than is often believed, even as the imagery becomes more and more hellish and macabre. It’s also simply amazing to watch, with bold splashes of color in every frame, with nuanced movements of humans and humanoid robots, with weight and detail in both its action and its quieter dramatic moments.

That being said, it’s still an action-packed movie and one of the best Anno has ever made. Especially impressive is the final position of Asuka, Shinji’s fellow pilot of Eva – for all that writer about Evangelion’s psychological trauma, it’s still about a movie in which a giant red robot kicks it. foot to a helicopter.

Yet some of the film’s most astonishing moments come from Anno revealing the artist’s hand behind the imagery, with use of animatics and rough sketches mixed in in his editing assault. It even breaks the line between film and audience when it jumps into live action, mirroring a movie audience to its viewer. The End of Evangelion draws attention to its own construction, “destroying itself” to reveal the emotional truths of its cast.

This extends to every element of functionality. Yoshiyuki Sadamoto’s character design and Ikuto Yamashita’s mechanical design both focus on human fragility; the mechs bleed and suffer alongside their pilots. This annihilation of the body in the first half of the film eventually shifts to the annihilation of the ego in the second, and then to the aforementioned limits of the animation itself.

Various montage assaults gradually break down each respective barrier in the film, until only the one between the world Anno resides in and the world her characters reside in remains – and then that shatters too, dramatically. It is the product of a marriage between Anno’s previous work in animation and his various genre influences, as well as the experimental sensibilities he would further develop with his live-action work, finding particular angles. through its use of a digital handheld.

Yet even with its faster pace, there’s no traditional third act pitch or big reveal; just a boy who learns to believe he might have a chance to be happy. Even though the Evangelion franchise continued in remakes, the core of it has always been what is pretty poetically stated at its conclusion: turning you into someone better. The End of Evangelion might just be a vague hope, a lot has been lost yet, maybe definitely. But its characters have themselves changed, and progress is progress.

Reference of the Article-post – lwlies