Eric Brodie

Neon Genesis Evangelion: An Analysis of the Relationship Between Creators and

Fandom in Multimedia Franchises

Released in 1995, Neon Genesis Evangelion is a Japanese animated television

series. Taking place in a post-apocalyptic Earth, the 26-episode series related a tale that

took the popular mecha genre, which portrayed the battles of giant robots piloted by

humans, in a direction never before witnessed. Its popularity sparked a massive

multimedia franchise that continues to remain relevant, nearly two decades after its

premiere. Because of its popularity, Evangelion presents a fascinating case study

regarding the interaction between creators, fans, and fictional properties. Due to the

nature of the hardcore fandom, new material has been created for and as a direct reaction

to the fan base’s desires. In this way, Evangelion represents the impact of fans on

transmedia properties.

I) Anime, Genre, and Critique

Fans of anime can easily recognize the tradition of the mecha genre present in

Evangelion. An incredibly popular genre in the medium, mecha dates back to the first

animated television series in Japan, particularly Osamu Tezuka’s Astro Boy. First aired in

1963, Astro Boy was the first in a long line of shows that incorporated robots in futuristic

settings. Since then, numerous popular franchises, such as Mobile Suit Gundam and

Macross, established and expanded upon themes and tropes common to the genre.

Noteworthy commonalities involve the analysis of the relationship between humans and

technology, the increasing danger of warfare in the face of advanced technology, and,

typically, the coming-of-age of a young protagonist who is thrust into the brink of war.

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Such shows often interspersed a political drama that took place in a near-future setting,

which escalated into a final climactic battle.

As with many anime genres, mecha often employs a cast of teenagers to portray

the themes at hand. As Susan Napier states, “While the imagery in mecha anime is

strongly technological and is often specifically focused on the machinery of the armored

body, the narratives themselves often focus to a surprising extent on the human inside the

machinery. It is this contrast between the vulnerable, emotionally complex and often

youthful human being inside the ominously faceless body armor or power suit and the

awesome power he/she wields vicariously that makes for the most important tension in

many mecha dramas” (Napier 87). The use of children often exemplifies the themes

regarding the horrors of war by portraying the ethics of the battlefield through the eyes of

a child.

Studio Gainax, the animation studio behind Evangelion, was no stranger to the

mecha genre prior to the creation of their titular work. While the studio was not officially

founded until 1984, the founding members created a number of live-action and animated

films while still enrolled at the Osaka University of Arts (Art of Studio Gainax 7-9).

While working on he and his friends’ projects after graduation, Hideaki Anno, the

eventual director for Evangelion, did contract work for Nausicaa of the Valley of the

Wind, the first major film by Hayao Miyazaki’s fledgling studio (Birth of Studio Ghibli).

Set in a post-apocalyptic world, Nausicaa follows a young princess who must fight an

invading army that seeks to awaken and control the dormant metal giants that destroyed

civilization centuries in the past. Anno's depiction of the awakened God Warrior, a

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melting, biomechanical monstrosity, is one of the most gruesome scenes in the film, and

foreshadows the bleak vision of mecha he and Gainax eventually depicted in Evangelion.

After their first film, Royal Space Force: The Wings of Honneamise, Gainax made

their first official foray into mecha with the original video animation (OVA), Gunbuster.

Released in 1988, the straight to VHS series is considered one of the most influential

OVAs in the developing home video market of the late 80’s, as well as Gainax’s first

success (Art of Studio Gainax 26). In his directing debut, Anno combined the popular

high school comedy with space-faring mecha and created something wildly unique.

While focusing on the, often comedic, trials and tribulations of the students of a military

academy, the story has a dramatic subtext that analyzes the protagonist’s “psychological

turmoil amidst dysfunctional romances, torturous rivalries, and other angst-ridden

relationships” (27). As early as their second work, Gainax portrayed their desire to not

only depict psychoanalytic narratives that studied the complex psyches of characters, but

also to subvert the popular genres of anime, challenge the expectations of their audience,

and critique the medium, as a whole. Seven years after the first volume of Gunbuster

shipped to stores, their next step was revealed.

From its premise, Neon Genesis Evangelion is a prototypical mecha television

show. Set 20 years (from the original air date) in the future, 2015, the world has been

affected by a cataclysmic event known as the Second Impact, which killed most of the

Earth’s population and drastically altered the environment, causing a year-round summer

across the planet. The story opens with Shinji Ikari, a quiet, unassuming 14 year-old boy,

arriving to the city of Tokyo-3. Summoned by his father, Gendo Ikari, from whom he has

been estranged for three years, Shinji finds himself in the middle of a state of emergency,

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as a monstrous creature suddenly attacks the city. After narrowly escaping, due to the

timely appearance of his soon-to-be guardian/roommate/commanding officer, Misato

Katsuragi, Shinji is taken to the technologically advanced military command center of

NERV, a clandestine organization funded by the United Nations and operated by another,

Seele. There, he encounters both his father and the mecha he has been summoned to pilot,

known as an Evangelion (abbreviated as “Eva”). After an initial refusal, Shinji reluctantly

enters the robot and fights the destructive creature, referred to as an Angel. As a novice,

Shinji and Evangelion Unit-01 stumble into battle and are nearly destroyed in a

gruesome, bloody display, before the mecha takes control of its own movements and

destroys the Angel in a similarly gruesome fashion. Before it shuts down, both Shinji and

the audience see the face under the armor of the Evangelion, revealing a manic, organic

eye staring back at its pilot.

As stated, many of the genre staples are present: a post-apocalyptic world, a boy

who is one of the few who can save the world, the beginnings of a political drama, and a

mecha that must be used to fight other technologically advanced beings. However, the

first two episodes present major departures from the expectations of the genre. Unlike the

brave heroes often portrayed in other shows, Shinji not only shows reluctance towards the

idea of piloting the mecha, but displays outright fear upon seeing it. His reluctance is

apparent in his first meeting with his father, as they speak to each other from a distance,

with the Evangelion separating them:

Shinji: “Why did you send for me?”

Gendo: “You know why I sent for you.”

Shinji: “So you’re asking me to take this thing and go out there and fight?”

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Gendo: “Correct.”

Shinji: “How could you do this to me? I thought you didn’t want me. Why? Why

did you have to call me now, father?”

Gendo: “Because I have a use for you.”

…

Shinji: “No, I can’t.” (Evangelion Episode 1)

Not only does he loathe the idea of fighting in the mecha, but the young pilot also

confronts his father, who retains a cold, expressionless face, despite his son’s

understandable confusion and rejections. Instantly, it becomes apparent that Shinji’s

relationship with his father is a major theme of the series, which will be stressed further

as the narrative progresses and Gendo’s antagonistic intentions are brought to light.

Shinji retains his dissatisfaction with both his father and his fear of the Evangelion until

another pilot, Rei Ayanami, is dragged out on a stretcher in order to take his place. Only

by witnessing that his father and his subordinates will utilize even an injured young girl

to fight the Angel does Shinji finally decide to enter the Evangelion. In this moment,

Shinji does not display chivalry as much as common sense, as he believes himself to be

thrust into an incredibly bizarre situation run by a madman who would send a recently

hospitalized 14-year-old girl into battle. Instead of a positive organization that rests on

the side of good, NERV is quickly portrayed in a dark light, with something amiss.

Despite their intentions of saving the world by defeating the Angels, NERV’s eventual

transgressions from good are foreshadowed as early as Shinji’s introduction to them.

The first battle, itself, is a departure from the typical flair of mecha battle scenes.

Upon reaching the city, above ground, the Evangelion stumbles, falls, and is instantly at

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the whims of the unspeaking monster. Limbs are unceremoniously shattered, causing

both pain and panic in the pilot, whose nerves are linked directly to the machine. Blood

spews from the mecha onto the buildings of the city it was meant to protect. Mecha battle

sequences regularly portray the destruction of a city as collateral damage from the larger-

than-life duel. By laying waste to the city around them, the mechas represent the next

stage in technological advancement, as they easily dispose of the architecture of the past.

Instead, the audience bears witness to bodily fluids, a sign of organic life, plaster the

buildings that that would have otherwise been destroyed had they been in another show.

Not only can the robots in Evangelion lose to the enemy (as opposed to the first enemy

being easily disposed of, to portray the machine’s power), but it is revealed that they also

have an organic component. The mecha presented in this show is not just metal and

machinery, but a living being, and in this instance, dying in its first battle. Finally, after

the Eva shuts down, seemingly defeated, it reawakens and defeats the Angel without

Shinji’s intervention. Triumphant, Shinji catches a glimpse of the Evangelion in an

adjacent skyscraper. With part of its armor over its face destroyed, he sees a human-like

eye staring back at him. The finale of the battle portrays that not only are the Evas

organic, but beast-like and possibly uncontrollable. This foreshadows the eventual

revelations regarding the secrets behind the Evas, which utilize a technology most in

NERV hardly understand. It cleverly utilizes the theme of the dangers of using

technology beyond human understanding, while simultaneously combining it with a

monstrous organic being. By doing so, Evangelion tackles the relationship between

biology and technology in a way anime had not before.

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The prologue and first battle take place over the first two episodes of the series.

Within the first two episodes, audiences familiar with the mecha genre are notified that

Evangelion does not present the expected. With the subversion of one of the oldest genres

in the medium, Evangelion portrayed a critique and evolution of the very reasons fans

watched the shows they did. And the fans were instantly hooked.

II) Evangelion in the Marketplace

The relationship between audience and fictional works has shifted drastically, as

the Internet has grown in influence. The concept of ownership over a franchise has

become a tenuous pendulum between producers and consumers, as creators in the West

have begun to embrace the idea of fan-created content. From wikis to fan fiction, rabid

audiences have more power than any time before to interact with and share opinions on

their favorite franchises. While the growth of transmedia franchises in the West is a

relatively new concept, multimedia properties that encourage fan interaction have been

prevalent in Japan since the early days of anime.

In 1982, The Super Dimension Fortress Macross (“Macross,” for short) aired on

Japanese televisions and is seen as a seminal work in Japanese transmedia properties

(Rose 32). A highly popular mecha series, Macross released around the time that

Japanese fans were starting to shift the way they interacted with fictional universes.

Hardcore fans, known as “otaku” began spending more time watching their favorite

anime series, reading the manga tie-ins, and buying the licensed merchandise connected

to it. As stated by Frank Rose, regarding the birth of Japan’s interest in transmedia

properties, “The elaborately designed mecha fed a strong demand for action figures,

which were supplied by Bandai and other companies. Big West Advertising, a Tokyo ad

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agency, became both the owner of the franchise and its main commercial sponsor. And

while the original television series lasted for just a single season, the Macross saga has

since played out in all sorts of media, including anime films and videos, manga, and

video games” (Rose 33). Macross started the trend of manga and anime being utilized to

spawn multimedia franchises with multitudes of merchandise and products to purchase.

From Gundam, to Dragon Ball, to Sailor Moon, to Pokemon, to Neon Genesis

Evangelion, the most popular anime series are typically the foundation of a much larger

multimedia franchise. Even today, anime is largely seen by many as merely a vehicle to

sell merchandise. Anno sought to breathe life into the anime industry, which he found

stale and filled with clichéd premises and genres that relied too heavily on genre tropes.

Ironically, within two years of the series premiere, the franchise that he created sold

upwards $400 million worth of merchandise (Wong). To this day, over nearly 20 years

after its initial release, Evangelion merchandise can be found in nearly any store that

caters to the anime fandom.

Along with the interest in merchandise and multiple forms of media, the anime

community has displayed interest in working creatively within their favorite franchises.

Frank Rose refers to the relationship between production companies and fans as an

“unspoken agreement” in which publishers and creators have “learned to look the other

way, because they know that the fervor these fan-created manga [doujinshi] generate can

only lead to increased sales for everyone” (Rose 35). The otaku practice of doujinshi is a

reflection of anime fandom’s interest in delving into franchises and changing them to fit

their visions. The act of fan-generated adaptations is a form of customization, creating a

new world within the ever-growing property. Many doujinshi become popular enough

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that some novelists and manga creators can gain enough of a following to make a living

off of their fan fiction sold at conventions and, today, online. The acceptance of doujinshi

by both publishers and fandom reflects the personal connection hardcore fans have with

their favorite franchises.

Because of the tradition of fan interaction with Japanese franchises, and the deep

relationship otaku have with their favorite properties, Evangelion presents an interesting

case study in the relationship between media, its creators, and its fans.

III) Fan Reactions and the Professional Response

“Evangelion is like a puzzle, you know. Any person can see it and give his or her

own answer…imagine his/her own world. We will never offer the answers…As

for many Evangelion viewers, they may expect us to provide the ‘all-about Eva’

manuals, but there is no such thing…Don’t expect to be catered to all the time.

We all have to find our own answers.” Hideaki Anno (Anime Intersections 70)

On July 19, 1997, Studio Gainax’s second Evangelion feature film released in

theaters. The aptly titled, The End of Evangelion, was the last step in the official rewrite

of the final act of the well-beloved show. After a year of outcries and debate, fans were

granted the conclusion they expected. It also brought to an end a fascinating example of

the power of audience over the fictional stories they enjoy.

Before Evangelion’s rise to prominence, Studio Gainax had difficulty staying

afloat, living from project to project. In fact, despite their growing reputation for creating

cult classic after cult classic, most of their revenue came from PC game sales that they

developed as a side business (Art of Evangelion 10). Their financial issues continued into

the production of Evangelion, and by the time that they reached the 24th of the slated 26

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episodes, Anno and his coworkers found themselves severely over budget. The direction

they took with the narrative in response to their monetary issues created a unique,

thought-provoking, albeit controversial, finale to the already unorthodox series, which

perfectly encapsulated Anno’s vision for the mecha genre.

Because of the constraints in Gainax’s coffers, ending the series in a grand

spectacle of a final battle, the way so many mecha stories end, was not technically

feasible. Evangelion instead shifts the conflict inwards. After defeating the final Angel,

nothing is left for the competing powers of NERV and Seele to do but enact the Human

Instrumentality Project, which fuses all of mankind into a single entity, from which a

new, evolved form of human will arise. The entire process takes place within an

unspecified mind, portrayed between screens of text over black backgrounds and cuts to

images from the show and consistently devolving animation. Discussion between a

disembodied Rei and the characters delve into philosophical dilemmas and

psychoanalysis, ranging from the definition of identity to discerning the meaning of life.

Eventually, after Misato, Asuka, and Rei each reach a conclusion regarding their lives,

Shinji creates a new world. It becomes apparent that Shinji has the ability to craft a world

to fit his desires. Once he realizes this, he awakens to an alternate universe where the

Second Impact never occurred, Asuka is a longtime childhood friend, both of his parents

are alive, and Rei is a klutzy airhead. The humorous aside transfers Evangelion into a

high school comedy, which emphasizes Anno’s statement regarding genre. By placing

the characters into an entirely separate genre, the narrative continues the show’s critique

on the entire anime medium, by stating that genre in anime at the time is only made of

character archetypes and narrative tropes. The scene, which lasts less than 10 minutes,

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has sprung numerous spin-offs, including two manga series and a video game. In this

regard, the assertion made was successful, as the foundation of a new series was founded

within mere minutes, simply by utilizing accepted conventions.

Recognizing the parallels of this world and his, Shinji realizes that individuality

and identity are byproducts of recognizing oneself relative to others. Since relativity is

impossible without other beings, Shinji resolves to live with others and create his identity

via his own personal actions, much as he can create entire worlds. Upon reaching this

revelation, Shinji opens his eyes and is surrounded by his friends and family, each of

which wishing him congratulations on his discovery. The entire sequence resembles

Anno’s message regarding the storytelling standards of anime. Neon Genesis Evangelion

stands as its own, unique work among the multitude of influential, and less influential,

shows of its genre. Relative to others in the mecha genre, it stands apart, largely because

of its relation to shows such as Gundam, Macross, and even Gunbuster. The final two

episodes work as a compelling conclusion to the analysis of film that it is, and yet, as is

the case of many complex narratives, was missed by much of the fan base.

Many were disillusioned by the departure from the expected action-heavy climax

that others in the genre typically promise. While the psychological narrative already

enamored some Evangelion fans, others were left confused by the avant-garde ending

that left the many loose ends in the complicated plot open to interpretation.

Because of the relationship between Japanese franchises and their fan bases, or

possibly due to Anno’s desire to satisfy his fans, Evangelion received numerous works

that reimagine of its final two episodes. Originally intending to release an OVA, of which

Gainax was well versed in doing, the studio was given enough money for not one, but

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two full-length features (Anime Intersections 54). The two films, Neon Genesis

Evangelion: Death & Rebirth, and its sequel, Neon Genesis Evangelion: The End of

Evangelion, released in Japanese theaters in 1997, only four months apart from each

other.

Consisting of two parts, Death & Rebirth is a retelling of the first 24 episodes of

the original series, followed by 27 minutes of new footage. The first segment, titled

“Death,” is presented as a clip show, commonly used in anime and not unlike an episode

of the series. The section serves two purposes: to reacquaint the audience with the story,

as well as present the elements of the narrative in a new light. Instead of relating the key

moments of the plot in linear succession, “Death” presents them in relation to the

characters involved and the themes attached to each of them. The resulting film feels

fresh, as important scenes that represent the show’s integral messages are presented

together, which allows the audience to form parallels between them more easily. In this

way, Anno is able to focus the complicated subtext into a more discernable product.

Much of “Death’s” presentation makes it feel like an appeal to the fans of the series.

Indeed, while it revisits and clarifies much of the complicated conspiracy-laden plot, it

does not provide much in explanation of who the characters are and why their stories are

important. For the Evangelion novice, “Death” may be just as cryptic as the purposefully

mysterious series, but for the members of the audience who are well versed with the lore,

it presents another way to view the series, which foreshadows the next act to come.

Contrary to its predecessor, “Rebirth,” presents entirely new material. Beginning

immediately after the events of episode 24, it depicts Seele’s attack on NERV

headquarters, in order to begin the Human Instrumentality Project. Outside of the

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minimal lull in action at its start, it presents an action-heavy scenario that pits humans

against humans, with the mecha only appearing at the end. The battle has all of the set-up

for a climactic final battle, when it suddenly ends at a dramatic cliffhanger.

Released in the summer of 1997, four months after Death & Rebirth, The End of

Evangelion starts at the moment its predecessor ends, in a way. Utilizing the “Rebirth”

section of Death & Rebirth, the first 27 minutes of the film is literally the final 27

minutes of the previous film. Moving on from the “Rebirth” material and building tension

at a meteoric pace, The End of Evangelion finally grants viewers the grandiose climax

most shows promise. Making full use of its budget, the final movie displays the best

animation seen in the franchise up to that point. Amidst the explosions and fighting, key

plot points come to a close, while still retaining emphasis on the psyche of the characters,

as is the way of Evangelion. Humans wage war against humans, emphasizing the concept

that mankind is its worst enemy. Technology wages war against humanity, as Asuka

battles Seele’s unmanned, AI controlled Evangelion units. Shinji bears witness to the

sacrifices that must be made to truly protect whatever it is he wants to protect, as Misato

forces him to Asuka’s side on the battlefield, before sacrificing herself. Ironically, despite

depicting it in a much more grandiose fashion, the film ends in very similar fashion to the

series. Shinji and Rei exist in an indescribable plane of existence and discuss the very

issues regarding identity that were presented in the series. After reaching a similar

conclusion to the one he did in episode 26, Shinji awakens to a new world, far bleaker

than the one of his friends and family offering their congratulations, with only Asuka by

his side.

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The ending, while not as avant-garde, concludes with a scene just as open to

interpretation as the series. As he has stated in interviews since, while the final movie

grants the audience more events to interpret, the true meaning of the tale is for the viewer

to decide. For a franchise that has fans that feel a sense of ownership to such a capacity

that additional stories are told specifically to appease their wishes, such an ending is

appropriate.

IV) Exploring the Source Material

While Studio Gainax only worked on the television series and two film

amendments, the franchise of Neon Genesis Evangelion expands much further. While

each subsequent narrative portrays the characters in varying levels of distance from the

original material’s setting, each hits upon many of the major plot points and themes in an

interesting way. By retelling and expanding upon stories told in the plot of the original

series, the manga that derives from it allow fans to experience the universe from new,

refreshing perspectives.

The first adaptation of the Evangelion universe started a year before the series

premiere of the actual show. Released in 1994, the Neon Genesis Evangelion manga was

published in Shounen Ace and written by Yoshiyuki Sadamoto, a Gainax employee and

character designer for the series. Anime series and films are typically based on a popular

preexisting story, be it a manga, novel series, or visual novel. Because television accounts

for such a small portion of a franchise’s revenue, investors need to justify a potential

series’ popularity, meaning that only the largest, most reputable studios and filmmakers

are granted the ability to create their own franchises. Despite already having the series

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green lit, Gainax deemed it important to release a manga adaptation, in order to garner

interest in the eventual televised version.

Following the same story, the Evangelion manga ran intermittently from 1994 to

its final chapter, not released until 2013. Despite most of its chapters being written well

after the end of the series, the manga follows the same plot, with few deviations.

Characterization is slightly different. For example, Shinji comes across as a bit more

brash than in the series (or any other adaptation). Much of this change comes from the

greater ability of the written medium to cater to inner monologue and dialogue over

portraying emotions through action. Shinji’s more confident, brash personality is

portrayed the first time he enters the Evangelion:

“My father never needed me…But now he’s built a robot that needs me? Some

joke. Right. It doesn’t make any sense. But so what? I’m not afraid to die! And I

will not let father call me a coward.” (Sadamoto 78)

The greater insight into Shinji’s actual feelings shifts his character from uncertain about

the world and his place in it to a more fatalistic depiction. Shinji often concentrates on his

lack of concern for the future and what becomes of him. This shift in perspective is

apparent his climactic revelation during the manga’s version of Instrumentality. In the

initial series, Shinji struggles with a Descartes-like dilemma regarding identity,

eventually discovering that identity, and by connection, happiness, derives from

individual perception. Instead of the revelation that directs his answer inward, the manga

directs Shinji outward, toward others. Shinji realizes a world without anyone is

undesirable, as happiness is achieved through relationships with others. He eventually

comes to the realization that complex relationships with others are the route to happiness

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for him. Shinji seeks life fulfillment, rather than only focusing on introspection. The

ending, which sees Shinji arriving to Tokyo for the first time, now in high school,

resembles the major shift in character between the two versions of the young protagonist.

In this world, he places himself in an uncomfortable situation, as he is now in a new city,

with none of his old friends, and he must forge relationships with them all over again.

The overall message is no longer focused on being comfortable with oneself, but

preaching personal growth. Far more fitting to the complex introspection that the inner

monologues of manga afford the story, the new ending is an interesting take on the same

story.

While the main manga dealt with retelling the story told in the television series

and subsequent films, two manga series, Neon Genesis Evangelion: Angelic Days and

Neon Genesis Evangelion: The Shinji Ikari Raising Project (SIRP), delve into a universe

radically different from the source material. Taking place within the alternate reality

portrayed in episode 26, both series shift the tale from the mecha genre into a high school

comedy.

Both Angelic Days and SIRP leave the concerns of the main cast to be more along

the lines of typical middle school students. Set up as a high school romantic comedy, the

two series are rife with teenagers navigating the quandaries of young love, growing

independence, and fear/optimism for the future. Most of the characters from the source

series are present in each of the tales, with minor to major variations, so they can fit the

standard archetypes of the new genre into which they were transplanted. Asuka, for

example, fills the role of Shinji’s childhood friend. She is able to maintain her strong

personality, as she complements Shinji’s quiet nature. Tomboyish, Asuka often places

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herself in the role of her longtime friend’s guardian, looking out for Shinji’s well being,

despite her own insecurities regarding the growing romantic feelings that puberty brings.

Rei, on the other hand, is far more talkative than her television counterpart. In Angelic

Days, she is a direct transplant from the version she is portrayed as in the episode 26

vision. In this way, she fills the school comedy archetype of the feminine, mature girl,

with a slight air of mystery as the new transfer student.

In each version of the school romance reality, the bleak danger of the Angels and

the fearsome realities of the Evangelions lie in the background or are not even present.

While the stories diverge from each other, as one does still retain elements of the original

mecha story and the battles with the Angels, their relationship with the original is

intriguing. Each takes inspiration from elements of the original story, while intelligently

placing them within a narrative of an entirely separate genre. The Shinji Ikari Raising

Project, for example, places the setting within a universe not unlike the original tale, pre-

Second Impact. It takes the optimism that Yui, Shinji’s mother, maintained during the

creation of the Eva units, as only references to a brighter future are referred to in the

reason for the Eva research. The shift in genre is an extension of Anno’s original

assessment that genres in anime are so reliant on clichés that entire tales can be told

simply by selecting a generic setting and adding the tropes that are consistent with it.

V) Allowing the Audience to Explore Further

Neon Genesis Evangelion: Campus Apocalypse is one of the biggest departures

from the original series, while still maintaining numerous elements and characters from

its source material. Set in an unnamed city, Campus Apocalypse places Shinji in the

middle of a supernatural war between Angels and the Eva-wielding students of NERV

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Academy. The action-heavy manga places the Evangelion characters in a universe not

unlike popular supernatural action franchises like Bleach and D-Gray Man. The tone and

premise are reminiscent of the widely popular and large umbrella of shounen titles,

referring to stories that cater to predominantly teenage males. Such shows incorporate

heavy action and fights between seemingly equal opponents, portraying the concept of

overcoming adversity by creating a parallel between fisticuffs and the viewer’s own life

challenges. The Angels in this world take the human-like forms and the main characters

(the four Eva pilots from the series: Shinji, Asuka, Rei, and Kaworu) summon “Evas”

that take the form of weapons. Like Bleach, the characters use their weapons, which are a

physical representation of their personality, to quell demons, the Angels, and protect the

living world.

One of the more common tropes in shounen stories is a protagonist who starts out

with an average life, meant to resemble the lives of its audience, and is placed in a

situation beyond his control. Campus Apocalypse follows this example, and Shinji

regularly makes mention of it. More than any of the Evangelion adaptations, Campus

Apocalypse leaves the decision to fight up to Shinji. While the conflict is of dire

consequence, the various characters challenge Shinji to determine the purpose behind his

decision to fight alongside them. While the television series touched upon the same

subject, the story made it apparent that he really had no choice in the matter. The grand

scale of the conflict, coupled with circumstance that left him as the only viable pilot in

nearly every situation he tried to flee, always led him back to the Evangelion unit. Placed

in a supernatural context, Campus Apocalypse places a layer of complexity regarding fate

in the lives of humans. Scrapping the goal of Human Instrumentality for the protection of

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the “World Tree,” which dictates the paths of all life, Campus Apocalypse concerns itself

with the concept of challenging one’s destiny. The end result is not unlike the message of

the show and manga’s versions of Instrumentality, which reach their conclusions after

Shinji discovers self-worth through personal choice.

VI) Bringing Evangelion to a New Generation

In 2007, Hideaki Anno’s new studio, khara, released the first new Evangelion

film in a decade, Evangelion: 1.0 You Are (Not) Alone. The first part in an announced

tetralogy, dubbed the “Rebuild of Evangelion” project, the film set in motion the next

major storyline for the Evangelion franchise by revisiting its past. Written by Anno, the

new films are meant to be a recounting of the events of the original series. 1.0 and its

sequels, Evangelion: 2.0 You Can (Not) Advance, Evangelion: 3.0 You Can (Not) Redo,

and the currently unnamed finale concurrently provide an alternate story for the franchise

while introducing Evangelion to an entirely new audience.

Much like the effect of the remastering of the original Star Wars trilogy, the

Rebuild films have bred new interest into the nearly 20-year-old franchise, while

allowing the original creator to revisit his story. The Rebuild series has presented the

original tale in a way that the limitations of budget and animation technology of the time

of the original series would have never allowed. The first of the Rebuild films is an

extremely accurate retelling of the first six episodes of the series. Due to the time

constraints of feature films, 1.0 speeds the deliberate pacing of the original series while

maintaining the story arc’s role as exposition for the ensuing plot. Numerous scenes are

redone shot-for-shot, which, for fans who recognize them, portrays the project’s

extensive budget and the advancements in animation since the original series’ production.

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The final battle with the Angel that serves as the climax for the film, as well as the

animation of the Angel, itself, puts all of the computer-generated flair now at Anno’s

fingertips to good use. Like Lucas and the remastered Star Wars trilogy, there is an

overwhelming feeling that the Rebuild films are a chance for Anno to tell the story in a

way he always envisioned it.

The second and third films delve into new territory while still keeping the major

concepts of the plot in tact. Shinji, Rei, Asuka, and Kaworu are each selected as Eva

pilots, Gendo still challenges Seele with his own plans for the Evas and Human

Instrumentality, and Rei still sacrifices herself in order to protect Shinji during battle,

only to be replaced by another clone of herself. However, the repercussions of each of

these, and other, similar events are a departure from the plotline of the original series.

While the new films provide an accessible entry point into the Evangelion franchise, the

Rebuild films feel as much of a gift to longtime fans as the series’ films, Death and

Rebirth and The End of Evangelion, do. In 2.0, for example, the script plays with the

expectations of the members of the audience who are well versed in Evangelion lore.

After Evangelion Unit-03 arrives in Japan, an unnamed pilot is selected by NERV to

conduct startup tests on it. In the original series, the pilot is the newly discovered Fourth

Child, Shinji’s classmate and friend, Touji Suzuhara. Since the film utilizes numerous

memorable shots from the original series, many of which foreshadow the eventual

tragedy that will fall upon Touji due to the Angel’s intervention with Unit-03, it asserts

that the scenario will happen in the same vein as the show. However, on the day of the

test, Asuka travels to the test site with Misato, rather than Touji, creating a major rift

between the two scenarios. Asuka, a fan favorite, is suddenly depicted in harm’s way, as

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fans of the series know the impending danger that Unit-03 presents. The tension of the

scenario is crafted brilliantly. Just as happens in the series, Unit-03 is infected by the

Angel, Bardiel, loses control, and saunters across the countryside towards Tokyo-3.

Within the context of the film, the slow pace of the scene builds dramatic tension, as

Shinji watches in horror and copes with the idea that another human is inside the

possessed Eva Unit, much less a friend. For fans of the anime, there is another sense of

tension that emerges due to the fact that the story from this scene forward is forever

changed, but the unknown of whether or not one of the franchise’s preeminent characters

will be killed in the same film that she was introduced.

By recognizing the fans’ relationship with the franchise, Anno was able to create a

novel experience, while giving a slight nod to the audience. The relationship between

creator and audience that has been prevalent throughout the history of the franchise still

goes strong, as the recent Rebuild films have been released.

VII) Conclusion

Over the past two decades, the Evangelion universe has expanded into a multitude

of works that fulfill the numerous interests of its fan base. From video games, to manga,

to new films, Neon Genesis Evangelion continues to redefine itself across various forms

of media, creating an ever-growing franchise for fans to explore. Each iteration provides

a unique approach to the original source material fans became enamored with. Through

either the desires of the creators or the desires of the fan base, the new works represent

the varying degrees to which a story can be adapted. Such a practice reflects both a

critique on genre in anime, as well as the influence fans can have on intellectual

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properties. Evangelion is a representation of the modern fan’s relationship with

transmedia properties, and can be used as a case study for others.

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Works Cited

All other works referenced are compiled on nervhq.wordpress.com.

"The Birth of Studio Ghibli - Part 1 of 3." YouTube. YouTube, 12 Feb. 2012. Web. 26

Feb. 2014.

Cavallaro, Dani. Anime Intersections: Tradition and Innovation in Theme and Technique.

Jefferson, NC: McFarland, 2007. Print.

Cavallaro, Dani. The Art of Studio Gainax: Experimentation, Style and Innovation at the

Leading Edge of Anime. Jefferson, NC: McFarland &, 2009. Print.

Napier, Susan J. Anime from Akira to Howl's Moving Castle: Experiencing

Contemporary Japanese Animation. New York: Palgrave Macmillan, 2005. Print.

Neon Genesis Evangelion. Dir. Hideaki Anno. Perf. Spike Spencer, Amanda Winn-Lee,

TiffanyGrant, Allison Keith. ADV, 2002. DVD.

Rose, Frank. The Art of Immersion: How the Digital Generation Is Remaking Hollywood,

Madison Avenue, and the Way We Tell Stories. New York: W.W. Norton &,

2011. Kindle.

Sadamoto, Yoshiyuki. Neon Genesis Evangelion 3-in-1 Edition, Volume 1. San

Francisco, CA: Viz Media, 2012. Print.

Wong, Amos. ""Interview with Hideaki Anno, Director of 'Neon Genesis Evangelion'"" Aerial

Magazine. N.p., 31 June 2007. Web. 1 Mar. 2014.

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