Matt Cooper Anime, Films

Evangelion: 3.0 You Can (Not) Redo (2012) by Hideaki Anno

The third Evangelion film finds Shinji Ikari (Megumi Ogata) awakening from a fourteen-year coma following the cataclysmic events of the previous film. Shinji returns to earth to find Misato Katsuragi (Kotono Mitsuishi) in command of a large vessel attempting to protect the remnants of a largely extinct population. Asuka (Yuko Miyamura) returns, though she appears not to have aged (explained away as a side-effect of being an Eva pilot), as does Mari Makinami (Maya Sakamoto); one of Rei Ayanami’s (Megumi Hayashibara) doubles; and Kaworu Nagisa (Akira Ishida) (a character seen only briefly in previous films). The post-apocalyptic earth that Shinji returns to is almost unrecognizable. NERV headquarters are mostly destroyed, Katsuragi and Asuka are working for an organization called WILLE, whose goal is to destroy what is left of NERV. Meanwhile, Gendo Ikari (Fumihiko Tachiki), along with Rei and Kaworu are working on completing the mysterious Human Instrumentality Project.

We are now in uncharted waters, with the third film in the “Rebuild of Evangelion”, being an entirely new version of events from the anime and manga series’. This film is certainly a more difficult watch in many ways compared with the previous two movies. The plot immediately takes you out of your comfort zone with the premise that fourteen years have passed, and the characters we knew and loved have changed. We feel the isolation and neglect that Shinji feels as we are in a world that is very different to the one both the audience and the characters knew. There is less humour this time around with the sombre post-apocalyptic setting and weighty philosophical and existential concerns consuming the characters. The machinations of NERV and SEELE become a little clearer here, as we discover what they are plotting. The animation blends traditional and computer generated images, utilising rotoscoping and other techniques, but maintaining the hand-drawn/ traditionally animated look. This allows for some epic battle sequences, including an incredible opening sequence in space. There are a number of quiet moments too that succeed in offering a moment of respite and a chance to contemplate what is going on and the portentousness of what is happening to the world. Shiro Sagsu’s score continues to be excellent, with both classical and rock pieces, similar to previous films, with piano music playing a major part in the story, used expertly to acknowledge both the mood and theme of the film.

This film plays on the theme of abandonment and loneliness. We see Shinji at the beginning being told that he is no longer a necessary part of plans. That, along with everything having changed around him, leads both him and the viewer to feel a sort of anger and sadness, that the world seems to have left us behind, going so far as to create an uneasy tension between viewers expectations and what is happening. This feeling is poignantly reflected in the character of Rei too, who we learn is a clone of Yui Ikari, Shinji’s mother, and therefore an expendable part of NERV’s plans. Rei’s sense of self is shattered on learning that she is not the ‘real’ Rei. This film is much more focussed on the philosophy and grand themes of human evolution and deicide than the first two. However, there are some great moments between Shinji and Asuka and Shinji and Kaworu that capture that sense of real teenagers learning about themselves and the world. As before the spectacular set-piece battles are a highlight of the film. “Evangelion 3.0” is quite different from the previous films, building on certain themes and relationships while taking things in a whole new narrative direction. The film ends with a note that it is to be continued, and it will be interesting to see where the story goes from here.

Matt Cooper Anime, Films

Evangelion 2.0 You Can (Not) Advance (2009) by Hideaki Anno

In this instalment of the “Rebuild of Evangelion” series we are introduced to a new Eva pilot, the feisty, confident Asuka Langley Shikinami (Yuko Miyamura), who joins Shinji (Megumi Ogata) and Rei (Megumi Hayashibara) in battling the Angels. There are a number of other subplots introduced here, with the return of Ryoji Kaji (Koichi Yamadera), a former friend of Katsuragi (Kotono Mitsuishi) who appears to be involved in some sort of plot with the head of NERV. We also see more of the shadowy SEELE organization, and two more Eva pilots, Kaworu Nagisa (Akira Ishida) and Mari Makinami (Maya Sakamoto).

This time round there is much more going on in the story, with the film asking you to keep track of several plot threads. The film manages to fill its run-time with great character interaction, extreme action scenes with clashing Angels and Evas, and numerous mysteries to keep things interesting. Asuka is a great addition as she adds not only more firepower to NERV, but also another stumbling block for the socially awkward Shinji to tackle. We learn more about Katsuragi in this film, and even something about Gendo Ikari (Fumihiko Tachiki) that goes some way towards explaining his cool demeanour. The film sees a step up in the level of violence, underscored with a rock inflected soundtrack from Shiro Sagisu as we see the Evas literally tearing Angels apart, and cities awash with blood. As in the first the animation is incredible in evoking a sense of scale. The film’s mix of mechs and metaphysics comes to a head in the final head-spinning moments when the fate of the earth and humanity are brought to a thrilling (almost) conclusion. This second film builds on everything the first did so well, the intriguing interpersonal struggles, the awe-inspiring action, while adding several more layers to everything to create a film that rewards re-watches for details that perhaps only become clearer with greater context from subsequent films.

“Evangelion 2.0” deals a lot more with the themes of family, friendship and belonging, as we see the children enjoying themselves, and even a tender scene between Shinji and his father. Asuka represents everything Shinji is not, confident and fiery, but both share a sense of selfishness and repressed fear of rejection. The film sets up various conflicts, between Shinji and Asuka, Shinji and his father, SEELE and Gendo, NERV and the Angels. It is a world in which there is no clear sense of right or wrong. Shinji is again forced to work out what he stands for. The film ends with an awesome, tantalising, bewildering cliff-hanger, that upends everything that has gone before and leaves you desperate to find out what will happen to the characters. An incredible sequel that brings together adrenaline-pumping action in a battle of truly Biblical proportions.

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

Mardock Scramble (2010-2012) by Susumu Kudo

When Rune Balot (Megumi Hayashibara) is killed by gangster Shell (Kazuya Nakai) her biggest challenge is only just beginning. She is brought back from the dead as an android by Dr. Easter (Hiroki Tochi), who along with his partner Oeuf Coque (Norito Yashima), a shapeshifting entity, pleads with her to take the stand in court against her killer. Their intention is to get to the bottom of his criminal enterprise. “Mardock Scramble” is based on a novel by Tow Ubukata and the story is split into three films. “The First Compression” follows Balot as she is given a new life under the Mardock Scramble O9 Protocol. “The Second Compaction” leads her to a casino where she must gamble for the memories of women Shell has killed. “The Third Exhaust” brings the story to a thrilling conclusion as she takes on her killer.

“Mardock Scramble” follows in the footsteps of other classic cyberpunk, with its transhuman protagonist being another great role in the mould of Motoko Kusanagi (Ghost in the Shell) or Deunan Knute (Appleseed). Unlike those characters she has suffered serious trauma and the films are certainly much darker in tone than many others in what is itself an often grim genre of crime and violence. Rune is a victim of incest and sexual abuse, falling into prostitution at a young age. She has little respect for herself and has isolated herself from regular human interactions. Her relationship with Oeuf Coque is one of the best parts of the story as the two must grow to trust one another. The art and animation do a good job of creating the world and it is a shame that the films do not explore more of it. Despite having one foot firmly in cyberpunk, it definitely has its own style. The “Paradise” they visit in the second part has a unique design and the film has its own aesthetic, with Easter’s transport and other details adding a lot of texture to the world. The script balances humour with its emotional moments. The first part has some fairly wacky concepts, such as Oeuf Cocque, which could have jarred against the serious subject matter of Rune’s trauma, but they work fine. The flashes of comedy grow more infrequent towards the end and the finale packs an emotional punch.

Mardock Scramble deals with many difficult themes, including sexual assault and rape. Underlying this there is a serious question about whether violence is ever justified, in revenge or self-defence in particular. Both Rune and Shell have been victims in an earlier life and this is given as partial justification for his actions. The idea of fate plays heavily in part two and ties in with this notion. The idea of transhumanism is also explored in some depth, with Rune being able to remotely operate electrical devices, Shell having his memories stored externally, and one character being no more than a head in a cage.

Matt Cooper Anime, Films

Asura (2012) by Keiichi Sato

In a world suffering from famine a woman gives birth to her son. With starvation warping her sensibilities she almost resorts to eating the infant to survive. Terrified by the thought of what she was about to do she runs, leaving her child to fend for itself. Eight years later the boy (Masako Nozawa) has become feral, killing and eating people to stay alive. When he crosses paths with a monk (Kinya Kitaoji) he is little more than a beast, snarling without language and knowing only how to fight. The monk gives him the name Asura and tries to steer him back to a path of humanity, attempting to teach him Buddhist sutras. Asura later meets a young woman, Wakasa (Megumi Hayashibara), whose kindness encourages him to follow a better path. However, some people want revenge for the deaths he has caused and the darker side of Asura’s nature is always lurking just beneath the surface.

Based on a manga by George Akiyama, Asura is directed by Keiichi Sato. The animation style blends 3D computer generated models with a hand-drawn style. The characters have a sketchy design, with pencil lines visible on their features, which gives the film a storybook feel. This complements the plot which resembles a fable. There are some stunning sequences enabled by the digital art techniques, such as soaring aerial shots, and the final battle. The computer-aided graphics also provide some fantastic weather and lighting effects and give the world a tangible feel, further enhanced by great sound work. The music by Yoshihiro Ike, Norihito Sumitomo and Susumu Ueda includes a thrilling theme and an orchestral feel that offsets the drama perfectly. The story is tragic and the emotions raw. There are also a lot of bloody action sequences and the kinetic energy of Asura’s acrobatic fighting style is a joy to watch. The character of Asura is likeable despite his horrific deeds in the early part of the film and provokes genuine sympathy in his struggle to rein in his atavistic instincts in favour of more civilised behaviour. Again the look of the characters goes a long way towards making them memorable and the film as a whole has a unique feel.

Asura is at heart a simple morality tale about redemption and retaining ones humanity in the face of terrible circumstances. In the beginning of the film Asura has lost all semblance of humanity, having resorted to killing to survive. He moves and sounds like an animal and has no compassion for other humans. The priest and Wakasa, by contrast, are prepared to die rather than sink to the level of killing or indulging their worst instincts. Through their kindness Asura is shown another way to live. It is an interesting moral conundrum as to what should be permitted in order to survive. In a harsh world, where starvation leads people to desperate acts, is it possible to retain a civilised society? Alongside this question, the film also asks the audience to consider Asura’s position, having already committed terrible crimes. Can and should he be forgiven? Can he redeem himself? Some of those Asura meets treat him as a villain, others as a victim, and this impacts him in turn. A film that asks important questions of its audience, with excellent animation and a unique style.