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Revision as of 22:30, 14 October 2013 by ChrisGualtieri (talk | contribs) (lead fix)(diff) ← Previous revision | Latest revision (diff) | Newer revision → (diff) This article is about the television series. For other media, see Neon Genesis Evangelion (franchise).
Neon Genesis Evangelion
The Neon Genesis Evangelion logo.
新世紀エヴァンゲリオン
(Shin Seiki Evangerion)
GenreApocalyptic/post-apocalyptic, Drama, Science fantasy, Psychological
Anime television series
Directed byHideaki Anno
Written byHideaki Anno
Music byShiro Sagisu
StudioGainax & Tatsunoko
Licensed by
Original networkTV Tokyo, Animax
English network
Original run October 4, 1995 – March 27, 1996
Episodes26 (List of episodes)
Movies

Neon Genesis Evangelion (新世紀エヴァンゲリオン, Shin Seiki Evangerion, literally "Gospel of a New Century"), commonly referred to as Evangelion or Eva, is a Japanese science-fantasy animation series that first aired from October 1995 to March 1996. The 26 episodes series was created by the anime studio Gainax and was both directed and written by Hideaki Anno.

Evangelion is an apocalyptic anime in the mecha genre. It focuses on a teenage boy recruited by an organization named NERV to control a giant bio-machine called an Eva to fight monstrous beings known as Angels. The show takes place largely in a futuristic Tokyo years after a worldwide catastrophe. It also centers around other Evangelion pilots and members of NERV as they try to prevent another catastrophe. The anime is considered a critique and deconstruction of the mecha genre. Throughout it, many Christian religious symbols and terms are used, such as the Christian cross.

The series, one of most successful anime of the 1990s, and one of the most critically acclaimed anime TV series of the decade, influenced many subsequent anime and their commercial viability. It has had record numbers of sales in Japan, and its franchise has grossed over 150 billion yen.

Plot

See also: List of Neon Genesis Evangelion episodes

In 2000, the "Second Impact", a global cataclysm, destroys most of Antarctica and leads to the death of half the human race. The Impact, thought by the public to have been a high-speed meteorite impact, causes devastating tsunamis, global climate change due to resultant changes in the Earth's axial tilt, and geopolitical unrest, including general economic distress and nuclear war. Over the next ten years, the research organization GEHIRN and its benefactor, the mysterious SEELE organization, achieve a number of scientific and engineering feats, including the creation of giant humanoids known as Evangelions and the construction of Tokyo-3, a militarized civilian city located on one of the last dry sections of Japan, in preparation for the arrival of beings known as Angels.

Fifteen years later, 14-year-old Shinji Ikari is summoned to Tokyo-3 by his father Gendo Ikari, the Machiavellian commander of NERV (the paramilitary successor of GEHIRN), and coerced into becoming the pilot of Evangelion Unit-01 on the eve of an Angel attack. Shinji begins living with Captain Misato Katsuragi. He is soon joined in his mission to locate and destroy the Angels by Rei Ayanami (pilot of Unit-00) and Asuka Langley Soryu (pilot of Unit-02). However, the true nature of the Angels, Rei, and the Evangelions is increasingly called into question by the conflicting conspiracies and agendas of both SEELE and NERV, and their links to the mysterious Human Instrumentality Project.

Characters

The cast of Neon Genesis Evangelion as depicted on the Japanese "Genesis" (volume) 14 laserdisc and VHS cover
Main article: List of Neon Genesis Evangelion characters

For the series, Anno attempted to create characters that represent different things to different viewers. To some, the characters are historical, religious, or philosophical symbols, while others see themselves in the characters. All of the characters reflect different parts of Anno's own personality.

In the story, the characters of Evangelion struggle with their interpersonal relationships, their personal problems, and traumatic events in their pasts. Anno has described the hero, Shinji Ikari, as a boy who "shrinks from human contact" and has "convinced himself that he is a completely unnecessary person". He has also described both Shinji and Misato Katsuragi as "afraid of being hurt" and "unsuitable—lacking the positive attitude—for what people call heroes of an adventure." Rei Ayanami and Asuka Langley Soryu, the other major protagonists, are presented with their own flaws and difficulty relating to other people.

The characters' visual designs were done by Yoshiyuki Sadamoto. He said that he designed the characters of the series so that their personalities "could be understood more or less at a glance". His designs of the three main female leads, Asuka, Rei and Misato, contributed to high sales of merchandise, especially the design of Rei. She became so popular that the media referred to the character as "Premium Girl" due to the high sales of books with Rei on the cover.

Cast

Character Japanese English
Shinji Ikari (碇 シンジ, Ikari Shinji) Megumi Ogata Spike Spencer
Rei Ayanami (綾波 レイ, Ayanami Rei) Megumi Hayashibara Amanda Winn-Lee
Asuka Langley Soryu (惣流・アスカ・ラングレー, Sōryū Asuka Rangurē) Yuko Miyamura Tiffany Grant
Toji Suzuhara (鈴原 トウジ, Suzuhara Tōji) Tomokazu Seki Joe Pisano, Michael O'Connor and Brett Weaver
Gendo Ikari (碇 ゲンドウ, Ikari Gendō) Fumihiko Tachiki Tristan MacAvery
Kozo Fuyutsuki (冬月 コウゾウ, Fuyutsuki Kōzō) Motomu Kiyokawa Guil Lunde
Misato Katsuragi (葛城 ミサト, Katsuragi Misato) Kotono Mitsuishi Allison Keith
Ritsuko Akagi (赤木 リツコ, Akagi Ritsuko) Yuriko Yamaguchi Sue Ulu
Ryoji Kaji (加持 リョウジ, Kaji Ryōji) Kōichi Yamadera Aaron Krohn
Kaworu Nagisa (渚 カヲル, Nagisa Kaoru) Akira Ishida Kyle Sturdivant

Production

Anno fell into a deep depression following completion of work on Nadia: The Secret of Blue Water and the 1992 failure of the Royal Space Force: The Wings of Honnêamise sequel project. According to Yasuhiro Takeda, Anno agreed to a collaboration between King Records and Gainax while drinking with King representative Toshimichi Ōtsuki; King Records guaranteed Anno a time slot for "something, anything". Anno expressed the intention to create a show similar to Yamato and Gundam, which he saw as anime series "with a soul", in contrast to his recent Nadia project which he viewed as "too childish". Anno began development of the new series in 1993 around the notion of not running away; this had been the underlying theme of Aoki Uru, an earlier project that had failed to move into production.

In interviews during the first phase of the project, Anno said he intended Evangelion to increase the number of otaku by making anime fans of an audience not traditionally interested in it. For the series, Hideaki Anno used scenarios and introspection similar to a previous project entitled Gunbuster. The central story was developed around conflict between humans and the gods. Similar to other Gainax anime, a female protagonist was initially proposed. This idea was scrapped in the interest of originality and because it was decided a male protagonist would be more appropriate. The first title considered for the show was Alcion, but the name was rejected due to its lack of hard consonant sounds. In the early design phase of the Evangelion project several formats were considered, including a film, a television series or an original video animation (OVA) series. The producers finally opted for the television series as it was the most widely accessible media in Japan at that time.

The seat of Gainax in Koganei, Tokyo

The final version of the story differs from the original concept in several respects. In the original story design, the first episode presented the battle between an Angel and Rei, while the character of Shinji was only introduced after the first Angel had been defeated. The later episodes initially follow the original concept before diverging from episode 13. In the original version, Earth was attacked by 28 Angels rather than 17, and the Human Instrumentality Project failed after the attack of an Angel from the moon.

Initial cuts of the first two episodes of the series were screened at the second Gainax festival in July 1995, three months before they were put on the air. There were some changes to the plot following the Aum Shinrikyo sect's sarin gas attack on the Tokyo subway. Fearing censorship and not wanting to deprive the series of its character of fiction and its potential interpretation, Anno changed the story to make less noticeable the parallels with reality. The director said that his work arises rather as a critique of the sect, whose followers, in a manner similar to the otaku, have formed a group too closed and self-referential until losing "all contact with reality".

From episode 16, the show focuses more on the characters, changing drastically. This change coincides with the interest of Anno to the psychology, when a his friend lent him a book on human psychological illnesses, and this feature is brought to the limit in the last two final episodes. The last two episodes did not follow the original script, although some scenes of the twenty-fifth episode had already been completed and shown in the preview, but were redesigned and produced in the short time remaining. In these episodes, there is a constant use of animation "abstract", flashbacks, with extensive use of simple line drawings, photographs and fixed scenes with only dialogue. This was caused by a budget cut for the production, but according to Toshio Okada, the real problem was the lack of a good idea on how to end the series. Many fans criticized the final and the director Anno. Due to the protests of the fans, Hideaki Anno and Studio Gainax released in 1997, two animated feature films: Death & Rebirth and The End of Evangelion.

Themes

Main article: Themes of Neon Genesis Evangelion

Religion

The destruction of the Third Angel caused an explosion that was cross-shaped: an example of Christian icons being used in Evangelion.

There are numerous references in Evangelion to Kabbalah, Christianity, Judaism and Gnosticism, which make it difficult to give an unambiguous interpretation to the series. Of particular influence for the contents of the anime are the Midrash, the Zohar and other Kabbalistic texts on the Book of Genesis, reworked within the series to create a new "mythology", but still maintaining a certain connection with the original texts. Assistant director Kazuya Tsurumaki, however, said that the religious references would have as its main purpose to make the series more "interesting and exotic", denying the existence of a real "Christian meaning".

The series also contains numerous allusions to Shinto's sacred text, the Kojiki and the Nihongi, and images of this religion, such as the Black and White Moons, and the lance of the Shinto deities Izanagi and Izanami. Additional allusion are to many Christian concepts, such as Adam, Lilith, Eve, the Lance of Longinus, the Dead Sea Scrolls, and the Kabbalistic Tree of Life. SEELE's version of the Human Instrumentality Project is similar to the Kabbalistic concept of Tikkun olam, and the design of the Evangelions, as well as trace the image of the traditional oni, seems to be related to the image of medieval mythological figure of the Golem. Sometimes, in the series and in The End of Evangelion is recurrent the use of Buddhism and Zoroastrianism terminology.

Psychoanalysis

Evangelion has long been taken as a deeply personal expression of Hideaki Anno's personal struggles. From the start, Evangelion invokes many psychological themes. Phrases used in episodes, their titles, and the names of the background music frequently derive from Sigmund Freud's works, in addition to perhaps some Lacanian influences in general. Examples include "Thanatos", "Oral stage", "Separation Anxiety", and "Mother Is the First Other" (the mother as the first object of a child's love is the basis of the Oedipus complex). The scenery and buildings in Tokyo-3 often seem laden with psychological import, even in the first episode.

Allusions

Evangelion has numerous allusions and references to elements of religion, philosophy and psychology. In addition, there are frequent references to previous anime series, influential for Anno and content of the series, such as Star Blazers, Mobile Suit Gundam, Devilman and Space Runaway Ideon.

Additional references and tributes of the series include the novels of Ryū Murakami (a source of inspiration for Anno), The Andromeda Strain, The Divine Invasion, the poem Pippa Passes by Robert Browning, The Hitcher, and the television series The Prisoner, Thunderbirds, Ultraman and Ultra Seven. The series also is reflected with the philosophy of Georg Wilhelm Friedrich Hegel, and the "Human Instrumentality Project" was influenced by the novel Childhood's End, a source of inspiration for Anno as he himself recognized, and from the science fiction author Dr. Paul Linebarger, better known by his pseudonym, Cordwainer Smith. In addition, according to Sadamoto, the figures of Gendo and Fuyutsuki are based on two characters Ed Straker and Alec Freeman of the series UFO.

The use of these references also characterizes the narrative structure of his previous work Nadia, but with Evangelion Anno multiplies the references to the point where viewers no longer know which frame of reference is the most important, or if there is a frame of references for the series. Anno himself said, "It might be fun if someone with free time could research them." A number of these symbols were noted on the English DVD commentary for Death and Rebirth and End of Evangelion.

Films

Main articles: Evangelion: Death and Rebirth, The End of Evangelion, and Rebuild of Evangelion

In May 1996, Gainax announces a new film version for Evangelion, in response to the protests of the fans, dissatisfied with the series finale. The film Death and Rebirth, released March 15, 1997, was composed of two parts: Shi ("death"), consisted of 60 minutes of various clips taken from the first 24 episodes of the series, including some new scenes, and Shinsei ("rebirth"), anticipation of about 40 minutes of the movie The End of Evangelion, released on July 19 of the same year to complete the series, and in fact divided into a 25 episode and an episode 26, an alternative to those of the series.

In 2006, Gainax announced they were beginning a brand new retelling of the series in a tetralogy of films collectively titled Rebuild of Evangelion. Three of the four films have been released in Japan: Evangelion: 1.0 You Are (Not) Alone on September 1, 2007, Evangelion: 2.0 You Can (Not) Advance on June 27, 2009, and Evangelion: 3.0 You Can (Not) Redo on November 17, 2012. The final film tentatively titled Evangelion: Final has not yet had its release date announced.

Other media

See also: Evangelion manga, List of video games, Angelic Days, Petit Eva, Campus Apocalypse, and Music

To promote the television series prior to the anime's release, a manga was created by Yoshiyuki Sadamoto which ran for 18 years. Several video games based on the series also exist, ranging from RPG and adventure games to mahjong, card games, and visual novels. One of these visual novels inspired one of the derivative manga series Angelic Days, a setting within one of the alternate realities presented in episode 26. Other manga adaptations are Petit Eva: Evangelion@School, a parody series which received its own original net animation series, and Campus Apocalypse, an original story that does not feature the Evangelion robots. A long series of soundtrack albums were also released over the years. Several art books and radio dramas, released on CD and cassette, were also produced to introduce fans and make the material more accessible.

Releases

The original releases in Japan included VHS and laserdisc sets using a release structure around "Genesis 0:(volume number)" with each of the first 12 releases containing two episodes each. For "Genesis 0:13" and "Genesis 0:14" these episodes contained the original and alternate episodes of 25 and 26. The fifteenth and final release was called "Genesis 0:X" and contains episodes 21-24. The Japanese DVD release was spread across 7 volumes, each containing 4 episodes except for the 7th volume which included both the original broadcast and Neon Genesis Evangelion: Death & Rebirth versions of episodes 25 and 26.

In 2001, the Second Impact Box was released in Japan in three parts, containing the 26 uncut, remastered episodes and the 2 movies (also including Rebirth). In 2003, the Japanese only, nine-volume "Renewal of Evangelion" DVDs were released, with the series' sound and picture remastered for 5.1 technology (for example, acoustic effects were also boosted by completely remixing the dialogue and soundtrack in 5.1 stereo). The first eight volumes covered the original 26 episodes (with two versions of episodes 21-24: the uncut version and a reconstruction of the edited version). The ninth volume, containing two discs, named Evangelion: The Movie, contained Death(true)² and End of Evangelion. The Renewal Project release formed the basis for the western "Platinum Edition".

ADV Films distributes the series in North America and Europe, whereas the movies were licensed by Manga Entertainment. The 13 English VHS tapes, released from August 20, 1997 to July 7, 1998, contain 2 episodes each and were released in the same format of "Genesis 0:(volume number)" with each of the numbered installments being successive. Two laserdisc collections were released as Collection 1 Deluxe Edition and Collection 2 Deluxe Edition, each containing episodes 1-4 and 5-8. The first DVD release by ADV Films was the 8-disc Perfect Collection in 2002, containing the original 26 installments. In 2004, ADV released two DVD compilations titled Neon Genesis Evangelion: Resurrection and Neon Genesis: Reborn, encompassing the directors' cuts of Episodes 21 through 23 and Episodes 24 through 26, respectively. In the same year, the "Platinum Edition" release was announced by ADV in 2004, and it consists of seven DVD, released on 27 July 2004 to 19 April 2005, concluded with the seventh DVD. The "Platinum Edition" contain the original 26 and the 4 "Director's cut" episodes 21-24. A six-disc version of the Platinum Edition, the "Platinum Complete Edition", was released on November 22, 2005, which lost some extras included in other versions, including commentary and trailers. The "Platinum Edition" does not contain the film version.

Reception

The series has enjoyed great popularity among the Japanese public and foreign, which over the years has not weakened. The number of media report about the series, and its increasing popularity involved a large number of non-otaku adult fans, that is, those who would not usually watch anime. It thus developed into a social phenomenon beyond the limited scope of anime fans, generating a diverse range of discussion.

Following its release, Neon Genesis Evangelion received a polarized reception from the public and critics, especially with regard to the final two episodes. The radically different and experimental style of the finale confused or alienated many fans and spawned debate and controversy, to the point that Hideaki Anno even received anonymous online death threats. The criticism particularly noted the lack of content and a conclusion to the plot of the series in the final two episodes, saying that they failed to resolve the storyline. There was not a unanimous opinion towards them, and the audience was divided broadly into two factions, composed of those who argued that the episodes "were deep," and on the other those who argued that their meaning was "more apparent than real". When the American voice actors who handled the lead roles in those episodes were asked about the final volume, they admitted that they also had trouble understanding it. The Mainichi Times would remark that "When Episode 25 first aired the following week, nearly all viewers felt betrayed… when commentator Eiji Ōtsuka sent a letter to the Yomiuri Shimbun, complaining about the end of the Evangelion series, the debate went nationwide." For the most part, Hideaki Anno stood by the style he chose for the ending. Despite the controversy generated by this factor, the popularity of the series was not affected, and Evangelion is still popular among the otaku.

Neon Genesis Evangelion also won several popularity polls. In 1995, the series won first place in the reader-polled "Best Loved Series" category of the Anime Grand Prix, a reader-polled award series published in Animage magazine. The show was once again awarded this prize in 1996, receiving 2,853 votes, compared to the second place show with only 903 votes. The End of Evangelion would win first place in 1997, allowing Neon Genesis Evangelion to be the first anime franchise to win three consecutive first place awards. This feat would not be duplicated again for several years, until Code Geass won the 2006, 2007, and 2008 awards. "A Cruel Angel's Thesis" won the Song category in 1995 & 1996; "The Beginning and the End, or "Knockin' on Heaven's Door"" won the 1996 Episode category; and Rei Ayanami won in the Female Character category in 1995 and 1996 (followed by Shinji Ikari winning in the Male Character category in 1996 and 1997). In the August issue of Animage, Rei Ayanami was the most voted character by the readers, while Asuka was the third, Kaworu Nagisa the fourth and Ikari Shinji the sixth. In 1998, EX.org's readers voted it the #1 US release and in 1999, the #2 show of all time. In 2007, in an survey of the company One's Communications, it is in second place among anime that inspired the survey respondents to become an otaku. In a different survey, conducted on a large sample of fans by TV Asahi, Evangelion is, after Fullmetal Alchemist, the anime most appreciated by the Japanese public. Evangelion has also been recognized in 2006 as the anime most appreciated by the Japanese public, when it won a survey to a sample of 80,000 people at the Japan Media Arts Festival.

In 2002, Rei Ayanami has been recognized by TV Asahi as the 36th best character of an anime, and Shinji Ikari as the 77th. TV Asahi will recognize in 2003 the scene of the "first smile of Ayanami" in 45th place among the strongest anime scenes of the story, and the scene of the "suicide of Ayanami Rei" in ninth place among the most touching anime scenes. The opening theme of the show, A Cruel Angel's Thesis, has been recognized as the 18th best anime song since 1990. In a survey conducted by the Tokyo Polytechnic University on the aspect of Japanese culture that best represents the concept of Cool Japan, the Evangelion franchise emerged in 6th place in the anime category, with approximately 38% of votes. Differently, the research firm Neo Marketing has put a survey in 2013 on a sample of 500 people about what was the anime more "exportable to a foreign public", in which Evangelion has emerged in 7th place in the ranking. In 2010, the magazine Newtype recognize Rei Ayanami as the most popular character of the 1990s in the female category, and Shinji Ikari in the male category. The website IGN ranking Evangelion in 10th place among the most recommended animated series, and it is in third place among the "anime that should be remembered in the 21st Century" of the magazine Animage.

The series has captured the attention of cultural theorists inside and outside of Japan, and many critics have analyzed or commented it, such as Susan J. Napier, William Rout, Mick Broderick, Mari Kotani, and the sociologists Shinji Miyadai, Hiroki Azuma, Yuriko Furuhata, and Marc Steinberg. Mike Hale of The New York Times describes it as "a superior anime, a giant-robot tale of unusual depth, feeling and detail". Theron Martin (Anime News Network) describes the character design of the series as "distinctive, designed to be sexy rather than cutesy", and the mecha designs as "among the most distinctive ever produced for an anime series, with sleek, lithe appearances that look monstrous, fearsome, and nimble rather than boxy and knight-like". Mike Crandol says: "It no longer seems contrite to say that Evangelion is surely one of the all-time great works of animation". Zac Bertschy argues that "most of the backlash against Evangelion existed because people don't like to think". Depth and richness have been often credited to Evangelion. Evangelion is considered as the "best anime ever created," but some anime reviewers disagree with this affirmation.

Evangelion also won awards since it debuted as a series, such as Animation Kobe in 1996 and 1997, the 18th Nihon SF Taisho Award and the Japan Media Arts Festival in 1997.

Influence and legacy

Evangelion has had a significant impact on Japanese popular culture and on the field of anime, in a time when the anime industry was in a slump period (especially with regard to the anime on TV). In the 1980s and 1990s in fact, the anime productions destined to the home video market had been consolidated in the Japanese and abroad market, while the animation television serial knew a period of crisis and of decrease of the productions, which coincides with the Japanese economic crisis of the 1990s. This was followed by a crisis of ideas in the years to come, the answer to which was just from Evangelion, which brought the animation serial to success, greatly influencing the future dynamics of the animation. Against this background, Evangelion imposed new standards for animation serial, giving way to the so-called "new Japanese animation serial", characterized by innovations that allowed a revival of the industry from both a technical and artistic, such as greater authoriality, the concentration of resources in a lower number of episodes (13 or at most 26), an approach even closer to film directing from alive, a drastic reduction in the dependency ratio by the subjects of manga, and greater freedom from the constraints of merchandising. With the success of Evangelion, the OVA will live a situation of decline. The influence of Evangelion can be seen in numerous subsequent anime series, including Serial Experiments Lain, RahXephon, Texhnolyze, Gasaraki, Boogiepop Phantom, Blue Submarine No. 6, Mobile Battleship Nadesico, Rinne no Lagrange, Dual! Parallel Trouble Adventure, Argento Soma, Pilot Candidate, Brain Powerd and Dai-Guard. FLCL contains allusions to Evangelion, and is also mentioned in the third episode of Magical Shopping Arcade Abenobashi. References and homages to the show are also contained in Koi Koi Seven and Keroro Gunso. The show's mixture of religion and mecha also influenced various Japanese video games such as Xenogears or El Shaddai: Ascension of the Metatron. Even the live-action series of Ultraman of the 1990s were influenced by the series.

The design and personality traits of the character Rei Ayanami were reused for many anime characters of the 1990s, such as Ruri Hoshino of Nadesico, Ruriko Tsukushima (The Droplet), Miharu (Garasaki), Anthy Himemiya (Revolutionary Girl Utena), and Lain Iwakura (serial experiments lain). Characters Kōji Aibo and Neya from Infinite Ryvius also share visual similarity with Shinji Ikari and Rei, respectively. The character of Asuka was parodied by Excel (Excel Saga), and some of her traits were used for Mai of Gunparade March. In this respect, even Evangelion's mecha design, characterized by a greater resemblance to the human figure, and the "abstract" designs of the Angels, had a significant impact on the designs of future anime productions.

According to Keisuke Iwata, the global spread of Japanese animation expanded widely and rapidly due to Evangelion. After the success of the show, otaku culture gained wide attention. In Japan, Evangelion has prompted a review of the cultural value of anime, and with its success, anime reached a new point of maturity. With the interest in the series, otaku culture became a mass social phenomenon, and the show's regular reruns has increased the number of otaku, causing a boom in interest in literature on the Dead Sea Scrolls, Kabbalah and Christianity. Its impact in the animation field has been seen with director Makoto Shinkai acknowledging a cinematographic debt to Evangelion. In the aftermath of Evangelion, Anno reused many of its stylistic conceits in the live-action Love & Pop and the anime romance Kare Kano. The UK band Fightstar's debut album, Grand Unification, was heavily influenced by Neon Genesis Evangelion. From the name of Rei Ayanami is also derived the name of the Japanese band Rey.

Merchandising

Sadamoto's authorship of the manga adaptation caused problems as multiple publishers felt "that he was too passé to be bankable". The stylized mecha design that would later earn praise for Evangelion was initially criticized by certain toy companies as being too difficult to manufacture, with some expressing concern that models of the Evangelions "would never sell." Eventually, Sega agreed to license all toy and video game sales.

The popularity of Neon Genesis Evangelion extends to its merchandising which exceeded $400 million within two years of its release. The series has established itself greatly on the Japanese market, developing a varied range of products for the adult market, such as digital phones, laptop computers, many soundtracks DVDs, action figures, and telephone cards. At the time of the release of the Japanese film Death & Rebirth and The End of Evangelion, estimated sales of Evangelion merchandise topped $300 million. 70% of this was from sales of video and laser discs, soundtrack CDs, single CDs, CD-ROM, and the three-volume manga. Multiple merchandising products were released during the Renewal Project, such as CDs, video games, cel-art illustrations and collectible models of all sorts.

An Evangelion RT Test Type-01 Apple Shiden.

The commercial exploitation of the series for the home video market reached record sales and remained strong over a decade later. The fame of the show has grown thanks to home video sales, which exceeded two or three times the sales of anime sellers ever hitherto. The anime generated a considerable impact on the economy of Japan calculated in billions of yen, also contributing significantly to the spread of the DVD, which replaced the LaserDisc. According to a 2007 estimate, its total value is over 150 billion yen.

See also

Notes

  1. Haslem, Ndalianis & Mackie 2007, p. 126.
  2. Fontana & Donati 2013, p. 128.
  3. Clements & McCarthy 2006, p. xii.
  4. Brenner, Robin E. (2007). Understanding manga and anime. Libraries Unlimited. p. 162. ISBN 978-1-59158-332-5.
  5. Murakami, Takashi (2005). リトルボーイ: 爆発する日本のサブカルチャー・アート. Yale University Press. p. 185. ISBN 978-0300102857.
  6. ^ Martin Heusser (2005). Word and Image Interactions 4. Rodopi. p. 114. ISBN 978-90-420-1837-2.
  7. ^ Ishikawa 2007, p. 71.
  8. Gainax. "メインスタッフ紹介". Archived from the original on 15 February 1997. Retrieved 12 September 2013.
  9. Gainax. "Shin Seiki Evangelion". Archived from the original on 15 February 1997. Retrieved 12 Semptember 2013. {{cite web}}: Check date values in: |accessdate= (help)
  10. ^ Napier, Susan J. (2005). Anime - From Akira to Howl's Moving Castle. pp. 96–97. ISBN 1-4039-7052-1.
  11. Macwilliams 2008, p. 10.
  12. Camp & Davis 2007, pp. 244–245.
  13. Haslem, Ndalianis & Mackie 2007, p. 113.
  14. ^ Camp & Davis 2007, p. 249.
  15. Cavallaro 2007, pp. 57–58.
  16. Frenchy Lunning (2006). Emerging Worlds of Anime and Manga. Vol. 1. University of Minnesota Press. p. 133. ISBN 978-0-8166-4945-7.
  17. Jason Thompson (2012). Manga: The Complete Guide. Random House LLC. pp. 240–241. ISBN 978-0-345-53944-1.
  18. Macwilliams 2008, p. 56.
  19. ^ Tavassi 2012, p. 259.
  20. Takeda & 2002, 2005, p. 166. sfn error: no target: CITEREFTakeda2002,_2005 (help)
  21. ^ "「ヱヴァ」総監督　劇場で"緊急声明"". Sponichi Annex. 12 February 2007. Archived from the original on 2007-02-14. Retrieved 7 September 2013.
  22. ^ Tavassi 2012, p. 476.
  23. Evangelion: Death and Rebirth; End of Evangelion (DVD commentary track). Manga Entertainment.
  24. Kosukegawa, Yoichi (8 May 1997). "Cartoon 'Eva' captures sense of void among Japanese youth". Japan Economic Newswire. In the September 1996 issue of the Quick Japan information magazine, Hideaki Anno, the director of Evangelion, described Eva as a 'personal film,' each character reflecting part of his own personality.
  25. ^ Napier 2002, p. 425.
  26. Miller 2010, p. 85. sfn error: no target: CITEREFMiller2010 (help)
  27. Ishikawa 2007, p. 76.
  28. ^ Sadamoto, Yoshiyuki (1998) . "What were we trying to make here?". Neon Genesis Evangelion, Vol. 1. Essay by Hideaki Anno; translated by Mari Morimoto, English adaptation by Fred Burke. San Francisco: VIZ Media LLC. pp. 170–171. ISBN 1-56931-294-X. {{cite book}}: Unknown parameter |month= ignored (help)
  29. Napier 2002, pp. 425–426.
  30. Lamarre 2009, p. 204.
  31. Fujie & Foster 2004, p. 39.
  32. Gainax. "Evangelion - Characters". Archived from the original on 30-06-2004. Retrieved 12 Semptember 2013. {{cite web}}: Check date values in: |accessdate= and |archivedate= (help)
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