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#shinji ikari – @qmisato on Tumblr
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@qmisato / qmisato.tumblr.com

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qmisato

Sexually-fueled sketches of Misato and Asuka buried in the background of these EoE stills: Misato reading a newspaper, Misato after a shower, Asuka lying down, a topless Misato bending forward, an upskirt Asuka shot – all from Shinji’s perspective.

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qmisato

New EoE storyboards of these voyeuristic shots:

#shinji ikari#misato katsuragi#asuka langley#analysis
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ngedaily

this review by akihiro_koyama is slightly long but very good, i highly recommend reading if you already know about the rebuild spoilers and want to see a japanese person’s opinion.

if you don’t want to manually translate it, i’ve included the english version here:

https://pastebin.com/raw/K6t45GTG

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qmisato

“I only make work for myself, not for the audience. However, making works is still the only way I can relate to other people. This relationship is like a masturbation show, because other people are watching me act to please myself. They decide by themselves how they react to it. I do not directly “pleasure” others. It requires some narcissism to be an author. Someone entirely lacking self-confidence wouldn’t “expose” themselves like I do.”

- Hideaki Anno, June interview 1996-08-22.

+ Anno on the origins of Mari’s name in the 2.22 CRC (Part IV).

#3+1 spoilers#shinji ikari#mari makinami illustrious#evangelion#meta
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power-chords
Anonymous asked:

can you please explain the human instrumentality project like i'm 5? i've watched eva/EoE/death&rebuild so many times but am still like ????¿¿¿¿¿

power-chords answered:

LOL it’s no problem dude I’ve watched the series multiple times and any concrete understanding of the Human Instrumentality Project still eludes me. But it breaks down as follows:

  • The Human Instrumentality Project is SEELE’s plan to bring Third Impact under its control and usher in a new stage of human evolution: the consolidation of all souls into a single, immortal, incorporeal, and godlike being.
  • Third Impact is effected by the union of an Adam-derived being (i.e., one of the Angels) with Lilith. Lilith’s Black Moon, the “Fruit of Knowledge,” is not meant to exist on the same planet as Adam’s White Moon, the “Fruit of Life.” I guess the First Ancestral Race fucked up when they tried to seed earth with one of their Moon spaceships, because the black one crashed and embedded itself beneath Tokyo-3. Since you can’t have both life- and knowledge-based life forms occupying the same planet, the FAR added two Spears with the Moons. These Spears are meant to inactivate one of the seeds in the event of a screw up. However, Lilith’s Spear was destroyed in the Black Moon’s crash landing, and so Adam is impaled in suspended animation while Lilith’s progeny — humans — populate the earth. (Hence the term “Lilin” that Kaworu uses for humans.)
  • Adam’s children, the Angels, seem very pissed off about this whole screw-up and are thus clawing desperately to get at the crucified Lilith deep inside NERV headquarters. Earth was meant for THEM, damn it!
  • Think of Third Impact as a massive hard drive wipe and reboot sequence for planet earth, and the Dead Sea Scrolls as the extraterrestrial instruction manual and programming code required to initiate that sequence (and to make use of the Spears and Moons in general). Basically, SEELE wants to implement and also rewrite some of the code to suit their own wackjob agenda. They all probably took too many drugs and listened to too much Terence McKenna, because they seem to think dissolving into a puddle of unified primordial ooze is an ideal scenario.
  • Gendo Ikari doesn’t give a fraction of a shit about what SEELE wants — or what anybody else wants, for that matter — and is looking to rewrite even MORE of that program code in order to reunite with Yui inside Unit 01 (which contains her soul after the freaky deaky contact experiment). In order to do this, he intends to use the Adam embryo — fused into his hand — and Rei, who is a clone of Yui with the soul of Lilith. 

In essence, all the assholes of the series want to use the reboot sequence for their own ends, while our heroes are conveniently kept in the dark and convinced they are doing their job to defend the earth from HUGE AND ANGRY AND OCCASIONALLY GEOMETRIC SPACE ALIENS.

I prefer not to mire myself in the convoluted mechanics of Human Instrumentality, and instead conceive of it in a more abstract manner. The Project is a symbol for the misguided attempts at the elimination of anxiety and fear — fear of abandonment, loss, death, and oblivion — that is caused by individual consciousness; of being a comprehending (and thus, godlike) soul trapped in a rotting, ephemeral case (the human body). The antagonistic parties within the series just have slightly different and destructive ways of eliminating that fear because they are all huge babies.

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#meta#shinji ikari#yui ikari#gendo ikari#rei ayanami
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"I wanted to erase Evangelion" - About Yuko Miyamura's infamous relationship with the Evangelion franchise and it's creator Hideaki Anno

Despite the praise and love the creator and director of the classic “Neon Genesis Evangelion” Hideaki Anno and his creation may receive from many fans. The same adoration cannot be said for the voice actress of the ever iconic Asuka Langley Soryu, Yuko Miyamura.

Keep reading

[the op’s deleted so the rest of the article is gone but someone reposted it on reddit]

Although Hideaki Anno has always been known for being a tough director, not much can compare to Yuko Miyamura’s experience doing her voice for Asuka Langley Soryu. Most specifically during her time working on the final instalment of the series “The End of Evangelion”.

Once all of the lines for the film were recorded, Anno was dissatisfied with her performance and summoned Miyamura to the studio to revise her final line. Seeing as the scene was between both Asuka and Shinji, Megumi Ogata was brought to the studio as well (despite it was only Miyamura’s line Anno had problems with).

In the original script Asuka’s finale line was “Anta nankani korosareru nowa mappira yo!” which can be translated to “I’d hate to be killed by a bastard like you!” But no matter what Miyamura tried, Anno remained unsatisfied with her, leaving both Miyamura and Ogata at a complete loss as to what needed to be done.

Anno then had Ogata straddle and choke Miyamura just as Shinji did to Asuka during the final scene in the film. It was so rough that Miyamura had difficulty speaking for the rest of the day. In Miyamura’s 2005 Anime Yawa interview she told the story of what Anno said to her after the choking idea failed.

“‘At last Anno asked me ‘Miyamura, just imagine you are sleeping in your bed and a stranger sneaks into your room. He can rape you anytime as you are asleep but he doesn’t. Instead, he masturbates looking at you, when you wake up and know what he did to you. What do you think you would say?’ I had been thinking he was a strange* man, but at that moment I felt disgusting. So I told him that I thought ‘Disgusting.’ And then he sighed and said, ‘I thought as much.’”

*It is worth noting that when she describes Anno as “strange”, the translation is a bit off and can also be interpreted as “odd”, “freaky” or “creepy”.

The conversation between the two is what lead Anno to change the final line in the film to the iconic “kimochi warui”.

After finishing her work on Evangelion, between the stress of her sex scandal, having a stalker because of her voicing Asuka and many scary incidents with fans Miyamura moved to Australia. She’s then proceeding to do most of her voice work from studios there.

Prior to the Rebuild films release and with no Asuka in the first film “Rebuild of Evangelion: 1.0 You Are (Not) Alone” there were many fan speculations all across the web and betting pools as to what new voice actress would take over as Asuka as no one expected Miyamura to return.

In Miyamura’s 2010 SMASH interview when asked about her experiences voice acting and if she ever regretted anything, she admitted “At one point in time, I thought to myself that I would never act as Asuka again” and “For a very long time I wanted to erase Evangelion”. When asked if the series was truly that hard to work on, she very clearly expressed that “it was very hard”.

sources interviews referenced: “ http://animaniajapan.livedoor.biz/archives/17687653.html

http://www.animenewsnetwork.com/interview/2011-04-06/with-yuko-miyamura-smash-2010

http://www.imdb.com/title/tt0169858/ (though I don’t see an interview here, it might have just been general information) “

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akiyama-san

Two years ago she was a guest at Saboten Con in Phoenix Arizona, and in a panel with some other guests they were all asked something to the effect of what was the lowest point in your career, and she went to explain in detail this scene and the situation with Anno being a slave driver, and being genuinely afraid of what vulgar and abhorrent things were happening to her, and the situation she, and potentially the rest of the cast was in if they were to proceed with, I’ll be generous and call it “method-acting”. The entire ballroom fell completely silent no one could say a word, and honestly what could you possibly say to bring up the spirits of a crowd in that instance. People were walking on eggshells around her the entire rest of the convention being as polite and respectful as humanly possible, and there was a heavy drop-off in Eva related questions as a result of that.

I didnt need this to hate Anno and Evangelion, i had plenty of reasons already, but if this is the that puts it over the edge for you, thats more than enough for me. This man does not deserve any of the hype, or respect, or admiration that he gets for his own self-admitted grandest failure.

#hideaki anno#meta#shinji ikari#asuka langley
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recurring visual imagery: conviction crawl evangelion: 1.11 you are (not) alone, dir. hideaki anno (2007) evangelion: 3.33 you can (not) redo, dir. hideaki anno (2012)

#shinji ikari#rvi series
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khalayak

music, trauma and time

so much has been written about evangelion’s visual motif, but barely enough about its soundscape. i mean, sure, we know about the silence in that elevator scene and the irreverent use of classical music (will you ever hear Handel’s Messiah the same again?), and still there’s so much more to talk about.

consider this a tasting platter:

  • the series lies on a bed of keening cicadas (insect buffs, eva likes minminzemis and kumazemi). repetition in music psychology is shorthand for anxiety, tension, monotony. it’s linked to the freudian death drive, the loss of ego and is also a nod to the lacanian real (meaning, the world divorced from distorting perception and symbolism, the reality that won’t change according to how we wish things to be). this is played straight: cicadas scream through mundane scenes and the dull wait between battles, signaling the here and now. in ep1, the cicadas stop just before shinji sees a vision of rei to underline his departure from the real. the next time we hear them is in ep2, when shinji waits at the hospital hallway as rei is wheeled past. this time they continue to shriek, because it’s real. cicadas are altogether absent in shinji’s utopia in ep26.
  • misato, who can live wherever the fuck she wants in tokyo-3, picks a near-abandoned apartment building right by a noisy train crossing that sounds much like a siren. this underscores her need to be constantly on alert, on survival mode. this is how trauma works, the second impact has reconfigured her way of existing, where survival has become her one and only reason to live to the detriment of any other way of being
  • overhead announcements form the architecture of shinji and misato’s early relationship, where shinji expects to be instructed and misato expects to be obeyed even as both yearn for a deeper connection. the intercom chatters through nearly all of their first scenes together, even replacing the conversation when misato picks him up from the hospital in ep2. remember, shinji runs away the first time when misato demands him to want what she wants, a breach of this unspoken pact (insert hedgehog dilemma). in ep4, misato’s world is rendered near silent (save the above siren) while shinji is hounded by blaring train announcements, salesmen, screams from the cinema. misato must face her solitude while shinji struggles with a deluge of directives. once reunited, they both adopt an intercom-like speech before misato snaps, again crossing the line. shinji runs away again. the final piece is so obvious. at the end of ep4, listen.
  • in ep15, shinji performs bach’s g major prelude, which also happens to be the most overplayed cello piece ever. it’s a simple piece yet, true to bach, carries this theme of creation ➝ fall ➝ redemption. it starts by setting the key, then introduces the tension that drags the piece to explore other keys, releases to the improvisation part, then returns to g major all glorious, made better for its journey. it’s not hard to see how this also functions as a metaphor for growth, i.e. childhood ➝ adolescence ➝ adulthood. that shinji plays only a fraction of it, and only the part that sets the key, is most likely due to time constraints (y’all wanna watch an anime, not a cello solo) but there’s something poetic in seeing this as a symbol for the many “failures to launch” in the ep, from shinji vis a vis gendo/yui to asuka’s stubborn obsession with kaji to misato, who says it herself: “i joined NERV to put all that behind me but there was also where my father worked.” each of them makes their failed bids to break free of old patterns only to return to their habitual ways of being, just like shinji with his made-up ending to bach’s actually awesome piece
  • in death, asuka’s violin solo is the gavotte en rondeau from bach’s partita 3 in e major. this is interesting cause the gavotte is a musical form that starts in the middle of the bar (say, the tempo’s 4/4, meaning there are four beats in each bar, the song starts on the 3rd instead of the 1st, like so). this is meant to create an upbeat tone and also true to asuka’s in medias res entrance. as with shinji, she doesn’t complete this piece
  • anno didn’t come up with komm susser tod. that was bach using a text by (now) anonymous author. while the eva’s version has become the theme song of our “life sucks just lemme die” gen, the original is more about a longing for heaven’s reward after life’s toils. it’s since been set to many variations. here’s my fave version as set by knut nystedt, true to the idea that music is the most temporal of the arts, as someone once said to me: “a chord is a glimpse into eternity”
  • there’s little point juxtaposing the lyrics of ode to joy to evangelion when it’s the context that matters. the finale to beethoven’s symphony 9 is a holiday song inextricable from war, which 10,000-strong japanese choirs sing to mark the new year’s by memorizing how the lyrics sound and not necessarily its meaning. it was the anthem of japanese nationalism in ww2 as its technical difficulty signaled their superiority over the rest of asia and their alignment with axis germany. it’s since been co-opted as a message of unity and brotherhood, but it can never shed its wartime burden. no doubt many japanese would still see in it a great deal of nationalistic pride (anno himself included)
  • trivia: technically most of the “classical” music in evangelion isn’t even classical but baroque (bach, pachelbel, handel). fittingly complex and polyphonic

notice any other examples? let me know. and please, actual musicologists out there, enlighten us.

#meta#misato katsuragi#shinji ikari#asuka langley
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I love this shard of foreshadowing in 2.22. Kensuke’s yammering about who’s going to be the mystery pilot of Unit-03 while Toji checks to see if he won the popsicle giveaway contest — he didn’t (get chosen to pilot Unit-03)!

#toji suzuhara#aida kensuke#shinji ikari#analysis
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This post addresses sensitive topics. Please be warned.

This scene is a silent indictment of Gendo’s character.

The implication here is easy: Shinji finds Gendo’s glasses on Rei’s nightstand. He puts them on (the metaphorical act of seeing the world through Gendo’s gaze) only to immediately fall sight of Rei, nude. Rei tries to wrestle the glasses back. Shinji falls on top of her and grabs her boob. 

Those who try and say this metaphor isn’t sexually charged (worse: random, accidental, meaningless, or innocent) are deluding themselves. The argument is spineless and self-defeating: the implication is there, but it doesn’t mean anything and we’re not supposed to assume anything out of it. So why the implication?

Eva persists with more chilling glimpses into Rei’s horrific life with Gendo - the many times Gendo is depicted silently gazing at Rei’s naked body alone, plus that time Ritsuko, his jealous lover, is shown glaring daggers into his back as he stares, Gendo groping Rei’s breast (like his son accidentally did in Episode 5), but also venturing lower to penetrate his entire fist through her womb vagina as Rei is depicted cringing in agony.

People will say, “But the pilots have to be naked so NERV can conduct tests on them!” The only time the pilots are depicted naked is in Episode 13, where Ritsuko asks that Shinji, Asuka, and Rei submit to a harmonics test before Ireul unexpectedly attacks. But notice how the pilots are sequestered behind privacy panels. Notice how Ritsuko apologizes and reassures them that the visual feed will be turned off, preserving their dignities despite how uncomfortable they may feel. There are protocols in place, even if the pilots have to be naked by some odd prescription of authority. Gendo doesn’t care for any of those formalities to make Rei feel more comfortable - he’s depicted many times with a naked Rei without these protocols. Outside of them. Because it’s not about conducting tests or making her feel comfortable - Rei is, after all, the underage replica of his wife, and Gendo wanted it that way.

#gendo ikari#rei ayanami#shinji ikari#analysis
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Shinji Ikari is the exact opposite of what the conventional impression of him is. He is not cowardly and indecisive - he is obstinate and doesn’t pay any mind to other people.

Tsurumaki Kazuya, Neon Genesis Evangelion (assistant director); Rebuild of Evangelion (director)

A reminder. Too little attention is paid to Shinji’s Gendo-like traits (his stubbornness, self-centeredness, and single-minded pursuit of anything that maintains and protects his worldview from criticism or danger.)

#shinji ikari#gendo ikari#meta
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The origins of WILLE, the Marine Research Organization, and Rebuild’s Red Sea

This is an English translation of Minno no Eva Fan’s analysis. Minna no Eva Fan is the premiere Japanese fansite for Evangelion news and meta. Some topics covered here:

  • What’s going on with the “Marine Ecosystem Preservation Research Organization” in 2.22
  • WILLE’s likely origins
  • WILLE’s blue armbands
  • Why Kaji is missing from 3.33
  • And more!

Thanks, @scenikeight​, for translating!

#ryoji kaji#shinji ikari#mari makinami illustrious#meta#analysis
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