Matt Cooper Anime, Films

Evangelion 1.0 You Are (Not) Alone (2007) by Hideaki Anno

The earth is under attack from giant extra-terrestrial beings known as Angels. The only hope for humanity is the secretive organisation NERV who have created huge robots known as Evas to counter these assailants. The robots require a pilot and so Shinji Ikari (Megumi Ogata), son of NERV commander Gendo Ikari (Fumihiko Tachiki), is conscripted to command the second of the Evas (the prototype being piloted by a mysterious girl named Rei Ayanami (Megumi Hayashibara)). Shinji is soon thrown into a battle that he does not want to fight, aided by Colonel Misato Katsuragi (Kotono Mitsuishi), and urged on by his school friends, Toji (Tomokazu Seki) and Kensuke (Tetsuya Iwanaga).

This feature film brings together the story of the opening episodes of the popular and influential 90’s anime television series “Neon Genesis Evangelion”, being the beginning of a “Rebuild of Evangelion” project. The film includes new scenes and improved visuals, utilising computer aided artwork to create beautifully detailed animation. The scale of the Evas is emphasised as they rise up from the underground base to stand alongside skyscrapers, or dwarf forests and powerlines. One scene shows the empty shell casings crushing cars as they fall from hundreds of feet. The film features a fresh soundtrack by Shiro Sagisu, who also worked on the series, that moves with the shifting tones of the drama; classical piano pieces, comedic sitcom-esque tunes for the scenes at Katsuragi’s apartment, and triumphant battle music when Shinji is fighting to save the world. The story benefits from being brought together in this way, making it easier to follow the numerous plot threads and see ideas develop without being divided into smaller episodes. Director Hideaki Anno has said that this is an attempt to present the story as he intended it to be. Although there is a lot going on, not only the vast city-sized duels between the Angels and Evas, but also complex interpersonal struggles, the film does a good job of keeping everything moving. “Evangelion 1.0” manages to create an absolutely believable world and introduce us to several concepts (Angels, Evas, LCL fluid, New Tokyo-3) naturally through the dialogue. We are brought into the story in media res and though there are numerous things that are inexplicable at first, it helps to establish a sense that these characters and events are real, that we are simply along for the ride. Only occasionally the film will slip into exposition, but largely the audience is credited with being able to keep up with what is happening. Things move from frenetic action during the battle scenes to more sombre moments as characters come to terms with what is happening in their lives.

The film is packed with mysteries that give it a forward momentum. No sooner have we got our heads around one concept, something else appears. This continues until the film’s final moment which comes completely out of the blue and provides a great hook for the future films in the series.

The strength of “Evangelion” is in its fantastic characters, who are relatable through their foibles. Shinji displays many anxieties and fears that are relatable, such as an unwillingness to put himself into danger and feelings of inadequacy. His relationship with his absentee father, who calls him back only because he needs him as a pilot is tough to watch, but creates a strong sense of empathy for him as we will him to find happiness. The character of Katsuragi, a hard-working and hard-drinking employee of NERV, is endlessly entertaining, both an incredible military commander, but also with a sense of fun. “Evangelion”, as the name perhaps implies, is a series that leans heavily on biblical allegory and references to Christian theology. The struggle of humanity against the angels can be seen as a struggle to liberate people from a dangerous ideology, or in a Nietzschean sense to exceed their current limitations. Characters not only face an external enemy, but an internal one and there is an argument that these may be one and the same. The appearance of Angel 4 at the time Shinji arrives on the scene suggests that the angel’s behaviour is in some way linked to that of the protagonists. “Evangelion” is a series that has so much to enjoy, whether it is the giant mech battles, the emotional and psychological complexity of the characters, or the philosophical ideas concerning the future of mankind. An absolute must-see for fans of thought-provoking science-fiction and beautifully scripted stories.

Matt Cooper Anime, Television

Neon Genesis Evangelion (1995-1996)

In the year 2015, a group of teenagers are called upon to save the world from a predicted apocalypse known as Third Impact. “Evangelion” throws us straight into the action with a decimated Tokyo under attack from a huge flying alien called an Angel. Shinji Ikari (Megumi Ogata) is picked up by Misato Katsuragi (Kotono Mitsuishi) and whisked away to NERV headquarters, where he meets his estranged father Gendo (Fumihiko Tachiki). Shinji his told that he must pilot a giant humanoid robot and fight the Angel to protect humanity. Along with two other pilots, the mysterious Rei Ayanami (Megumi Hayashibara) and the fiery Asuka Langley Soryu (Yuko Miyamura), Shinji is tasked with bringing down the Angels who continue to attack the NERV. The reason for these persistent attacks becomes apparent later as NERV and the shadowy Seele organisation begin discussing plans for the Human Instrumentality Project.

Writer and director Hideaki Anno will forever be remembered for this series, which changed the expectations for what anime could be. “Neon Genesis Evangelion” brings together incredible action with a story that is driven by its characters. While the impressive battles between Angels and Evas provide excitement and ramp up the tension, the real draw is the interpersonal relationships; Shinji must navigate a complex emotional environment, dealing with his father’s rejection, and the burden placed on him by Misato and others at NERV. As the show progresses the line between the external struggle against the Angels and Shinji’s internal angst becomes increasingly blurred. Shinji’s greatest enemy is his own sense of impotence and crushing anxiety, about being unable to live up to expectations and connect with others. The show alludes to Christian theology, but in a way that doesn’t require much foreknowledge of it. The supercomputers are named for the Magi, Balthazar, Caspar and Melchior; there are the Angels, mentions of the Dead Sea Scrolls, the Spear of Longinus, Adam as a progenitor of human life, and numerous shots of crucifixes. However, at heart the show is deeply rooted in mankind’s war to overcome the darker aspects of its own nature; to understand why we feel pain and help us accept our own mortality and inadequacy.

Every major character in “Evangelion” is given an interesting back story, full of mystery and tragedy, often interconnected to the others. A parental death, unrequited love, and themes of hurt stemming from human interaction are prominent themes. Most of the characters are suffering because of the actions of others, or their inability to deal with their own situation or accept it. Gendo Ikari is a prime example of the sort of grey character the show excels at. A terrible father, we later come to learn of his own tragedy, and his absolute belief in what he is doing to protect humanity and force its evolution to what he believes is a more perfect state. While he may not be likeable, by the end of the series we at least understand better why he behaves as he does. Misato Katsuragi is another fantastic example, perfectly encapsulating the idea that people wear masks depending on their situation; her heavy drinking, raucous, childlike persona at home is entirely absent when in the role of commander at NERV. Characters like Akagi (Yuriko Yamaguchi), whose backstory is only revealed late in the series, also offer an incredible depth to the drama, in creating a believable world full of well realised characters. “Evangelion” is heavily influenced by anime and films that have gone before, both kaiju and war films in particular, and features the knockabout comedy of sitcom style shows alongside the serious ‘command centre’ moments. In drawing on these elements the show appears on the surface to be only an incredibly well done animation, with all the elements (quirky characters, robot-alien battles, high-school heroes) that typify this genre. But the story it is trying to tell, one of universal and timeless significance is what sets it apart, taking in psychology, philosophy and theology in a bold narrative that tackles major questions about humanity’s future.

The ending of Evangelion received much criticism when it was first broadcast. The final two episodes seem to be a departure from what has gone before. They take place inside Shinji’s head as the Human Instrumentality Project is underway, and deal with a concept that is incredibly difficult to portray. However, if you have followed the essential themes of the show, these final two episodes are a powerful denouement as we see Shinji deal with the central dilemma he has been facing since the first episode. In short, the Human Instrumentality Project intends to merge all human conscience into a single entity. This is a concept that is hard to conceptualize and even harder to depict. While stories about the show running out of budget may be to blame for what we get in these final two episodes, they should not be shrugged off as a failure or in any way a poor end to the show. In fact, they offer something that very few anime ever attempt. If the show is about discovering what is in other people’s hearts, then this finale delivers exactly that for our protagonist. All boundaries are brought down, there is no shame, no fear, no anxiety, no prospect of suffering or war. It is a utopian vision… in a way. Shinji comes to realise that the only person he has control over is himself; and that he has the power to change his entire world by deciding how he engages with it.

Matt Cooper Anime, Films

Appleseed Saga: Ex Machina (2007) by Shinji Aramaki

Deunan Knute (Ai Kobayashi) and her partner Briareos (Koichi Yamadera) are assigned with ESWAT to an old cathedral to rescue EU officials taken hostage by cyborgs. On returning to Olympus Briareos is sent to recuperate while Deunan is assigned a new partner. Her new partner, Tereus (Yuki Kishi), seems strangely similar to Briareos old physical form, and Deunan learns that he has been cloned from her former partner’s DNA. Olympus is once again imperilled when they discover a mysterious signal being used to control both cyborgs and humans (who have taken to wearing a popular headset communication device). It is this signal that is prompting the increasing waves of terrorist activity. Meanwhile, Athena (Gara Takashima) is attempting to convince world leaders that they should join together a global satellite network that might prevent future terrorist attacks.

Shinji Aramaki directs this sequel to his 2004 “Appleseed” film. This time around we get more focus on the relationship between Deunan and Briareos and the introduction of what might be considered an atypical love triangle with the introduction of Tereus. The plot is focussed on an external threat to Olympus and therefore more familiar territory to action movies. Again the film provides us with a thinly veiled commentary on everything from terrorism, consumerism, surveillance, and communication technologies with a story that moves briskly between several incredible action sequences. The animation style is altered slightly from the first film, with less of a cell-shaded appearance to the characters. It is interesting to see the development and introduction of several new technologies, such as the bee-like flying transports early on and the Connexus devices that satirise people’s addiction to mobile communication tools. Tetsuya Takahashi again provides the music, this time alongside Haruomi Hosono. While the techo-beats and electro-rock are carried over there are also more of the softer moments and a heroic score to complement the narrative of our protagonists fighting against attempts to destroy Olympus.

“Appleseed: Ex Machina” raises interesting questions about the need for difference. Unity is something that many in society strive for, here exemplified by the idea of bringing together the world’s satellites into one system. However, when large numbers of cyborgs and people are following the commands of a single source we also see the dangers of unity (or perhaps more accurately “conformity”). We see the zombie-like citizen completely under the control of the mysterious force. It is good to see a film tackling such fundamental questions as what a Utopian society should or might look like while criticising what many consider to be an ideal.