Thoughts on Evangelion

Probably not the right thing to do to write a review of Evangelion (NGE + EoE) in 2021, given the time since its release and all the (very well documented) follow-ups, alternate versions and general discussion around it. I have however just done a quite full-bodied rewatch a few years after my first and just want to record some thoughts.

For clarity, I watched some version of Neon Genesis Evangelion (probably the platinum edition) and End of Evangelion (zx.end.of.evangelion.renewal.v3) about 5 years ago (2016) and felt very unsatisfied with it overall. A lot of unclear elements, lots of questions unanswered and a shitload of very vague actions and messages at the end. This actually made me write out my thoughts on a story (voluntarily) for the very first time [copied out below, for reference] and it's clear from that that I was frustrated. I tried to find an explanation for what (I thought) I had missed in the series/movie but all the videos and blog posts explaining the plot started with "In the beginning, the first ancestral race created moons and spears", which just pissed me off more because it was stuff that the series/movie either barely covered or didn't even mention -  I wasn't missing anything, the answers were simply not presented.
So I then tried to find an explanation of how to understand Evangelion, rather than just an explanation of the plot, so I could at least have all the available pieces of the puzzle. I struggled to find that, which really put me off trying to understand it and I left it alone for ages. This all pretty much affirmed my requirements and preferences for what I like in a show (evidenced by the 'about' section of this blog).

Anyway, with the final rebuild movie being released this year, I decided it was time to finally just sort this out. So I posted on the evangelion subreddit, asking what exactly I needed watch/read/listen to etc. to finally understand this thing myself. The replies basically confirmed what I already suspected: this story does not all tie together in a neat little, easy-to-understand bow, so I should stop expecting it to. The main practical takeaways however were that evageeks will explain the 'how' and that this explanation would complicate things further, because it's debatable still what material should be considered canon. The most prominent bit of material, however, is the Classified Information. So I recapped NGE by watching Death (True)2, read all the Classified Information translations, then rewatched End of Evangelion. Here are my final thoughts on the lot:

Thoughts
So my overall thought is that this thing is not a masterpiece, in my very humble opinion. Everything up until Third Impact is actually quite well constructed. I say quite well, because it isn't perfect: even supplementing with knowledge from the Classified Information (CI), some mechanics of the story don't completely add up. For example, why would contact between Adam and Lilith result in Third Impact? Why did Seele and NERV need to wait until the last angel to implement the Human Instrumentality project? These might be as simple to solve as "it's in the Dead Sea Scrolls" but that's the annoying thing - they're easily resolved, yet the series doesn't easily resolve them. Anyway, like I said, stuff makes sense up until this point; the Human Instrumentality Project, Gendo's secret plan, why it has to be kids and what happened to everyone's mums. This mostly comes from reading the CI, which was very satisfying to read, but this stuff should be explained well enough on screen to not need the CI (which is my first very solid, very strong, unchanged criticism). It does makes basic sense, though. After Third Impact, however, it's just a mess of symbolic, metaphoric crap.

Having metaphors and meaning is cool but it has to coincide with a solid plot. The whole Third impact bases little parts in what you know but the rest is just completely random. What even happens? Does Shinji end up making decisions about humanity's entire existence? Like, his inner lack of faith (or just confusion) basically dooms humanity for all eternity. Is that divinity?  Why is Shinji there at the end? Why is Asuka (who just died a normal death, pre-LCL-soup) there? Why he strangles her is a human story and I'm more than happy for that to be left a bit open but they literally wrote that that happens and animated it and recorded her response, so clearly there was a reason for it - so give us some explanation at least! Same goes for why Rei suddenly develops a personality and starts making her own decisions. And why make Gendo have an unspoken line? It's like they actually just wanted frustration and dissatisfaction. Also, what was the point of showing a theatre full of people? Made no sense. I thought all the internal stuff going on in Shinji's mind was interesting but didn't really do much for me. That would have been fine but then they have this weird, bizarre conversations like the one with Rei and Kaworu and it just leads to nothing but more vagueness and confusion.

Had to add this, because it's just so painfully ironic. Yes mate, we all hate things being left vague!
Assuming this is an accurate translation on Netflix, yeah I feel you, Shinji.

One thing that I really notice now, that I would've maybe not even thought of 5 years ago is all the unnecessary sexualisation. Firstly, it's obviously mainly on female characters but more importantly, it's on a bunch of kids. As I'll do my best to never get tired of saying: sexulising something is a cheap, lazy storytelling mechanic that adds little to no substance to a situation or relationship. They need to stop doing it so damn much.

What should not go without saying is how phenomenally beautiful the art and animation of Evangelion are. Asuka's fights in EoE are weighty, substantial and just straight up aweseome. If you watched them in isolation with no other information, I reckon you'd have a great time. Same goes for almost everything in the series; it really does not feel like a single shortcut was taken in animation and the artwork and design of characters, machinery, backgrounds, effects etc. were just phenomenal. Not sure how much importance the symbolism and stuff in the art design had (and maybe I'll look into it one day) but it looked cool and I'll give it marks for that.

The series (obviously) also gets full marks for the way it subverts the tropes of the genre and explores the psyche of its characters. How has Shinji's life affected who he is today? How does that show up in the way he acts? Just seeing someone react in a different way to what you're expecting is always really interesting but to make the character somehow a complete extreme yet totally relatable is amazing. His self worth and cowardice overshadows what he thinks is right and that's annoying, even infuriating, to watch on screen but it's still understandable. That's one of the best things about Evangelion.

The overall conclusion has to be that for all its positives, in itself, Evangelion is not worth watching. If you just want entertatinment, there's no way it's worth your time watching 26 (or 24) episodes of a series and a 90-minute movie to not fully understand their story. There is no viewing order I can recommend that would give someone new to all this a full enough understanding to enjoy this work and keep them entertained the entire time. If you factor in the time spent snooping around the internet to get that full undserstanding, Evangelion just becomes less and less rewarding the further you go. For me personally, I'm glad I've seen it and tried to make sense of it for two reasons: 1. understanding a staple and classic of the medium and what made it so impactful, and 2. further refining my understanding of story and my own personal preference. That second point is very specific and personal to me, so the only reason I would recommend even dipping a toe into Evangelion is the first point - it's a very important work and anyone involved with creating stories for film and TV absolutely should watch it.

As I went through this rewatch, I considered re-writing a sort of skeleton of a story for Evangelion, so that it answers all of the original unanswered questions using the CI throughout the series. Thought that would be useful for me as a writing exercise, in case I ever want to write, as well as just helping me straighten out my undertanding of the whole thing. But I realised that that too is just more effort than it's worth. Evangelion isn't about a clear, straight story - it's literally about how much it changed from its original conception, it's about Hideaki Anno's depression, it's about the nature of humanity and how we relate to one another. Rewriting the story would be pointless because then all you would have is a timeline. Nothing entertaining at all. (Plus that already exists in various forms.) So I'm not going to try to force any more lessons out of this than it needs; the show is more stardust than substance and that's okay and it's an unquestionable masterpiece from a visual perspective but not a plot/storytelling perspective. So accept that and move on.

And watch the rebuilds.




__________________________________________________________________________

As I read the CI, I tried to lay out the important information in a clear way, just for my own benefit. The end result isn't really that clear but for future reference, here it is: CI Notes

This also has one or two comments from myself.
__________________________________________________________________________

Here, I've just copied and pasted my notes from the first time I completed NGE and EoE (dated 06/07/2016):


What I Think Happened in End of Evangelion
And its implications

So, second impact was instigated by humans – presumably by SEELE – following first impact, where they first discovered Adam and Lilith. They were somehow able to predict how many angels were coming, knowing that the human race was also one of the angels.  They created the Evas from mothers of newborn children and only their children could pilot them and at age 14 for some reason. Rei is also born from Shinji’s mum somehow, but she’s also like the 150th attempt at making the perfect clone of whatever she is. The human instrumentality project was intended to merge all souls into one in order to find the next form of existence for human beings, because they are all too flawed and imperfect. As the host Eva for the third impact, Unit 01 and Shinji were left with deciding the fate of human beings based on Shinji’s will to live and keep the human race going, but he is a little bitch. He just about pulls through in the end, but realises humans will never be perfect and takes them to a new reality, in which everyone is one glob. He then learns that if he has the will to live, he can. He then chooses to live on (possibly to save the rest of humanity). He is left in this lonely pane of existence with his thoughts and he hates Asuka or that he never understood her but he definitely hates himself.

Shinji’s dad also wanted to somehow have Rei do some shit to him that would make him move on to the afterlife differently to everyone else, and I presume this was against the wishes of SEELE and alike, which is why Ritsuko wanted to stop him as well. Also, something to do with Ritsuko’s mum selling her out. Gendo seems to have slept with everybody’s mothers and could quite possibly be everyone’s dad himself. I presume he was tasked with this great responsibility by SEELE. Also, NERV is like his own company that works with SEELE, but they all hate him and want to cut him off or kill him at the first opportunity. T

Spirit (2002)

Writer: John Fusco
Directors: Kelly Asbury, Lorna Cook
Studio: Dreamworks Animation

Watched on: 29/12/2020

Review contains ***SPOILERS*** for Spirit (AKA Spirit: Stallion of the Cimarron)

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
44464


Am I even that glad I've seen this? Shit was weird and it feels like nothing even happened in it. It was just 90 minutes of nothing, really.

Why did the Horses not speak? They were humanoid enough with all the emotions and expressions, so them exclusively neighing felt really strange - especially with the spoken voiceover for Spirit's thoughts, which came at seemingly completely random times.

As mentioned, there wasn't really an overarching story or narrative. It was more like just recalling some events that happened in this horse's life, with some of them kinda relating to each other but not really. Like the US commander guy letting him go was a good end to that little sub-plot but the rest were just a middle or an end with no hook in the beginning. Was Spirit's wish to find a partner? That would make meeting Rain make sense. Was his wish to bond with the 'two-legged's? That would give meaning to his thing with that native dude. Or was his destiny to free all the horses taken as slaves? Because that would have at least given all his actions in the training camp and the railroad some significance.
    Also, there were a few moments where the mood of the music, styling and tone just did not match what was happening on screen. Like the scene where Spirit first gets chained up for his shoes and stuff; that's a really horrible moment for this horse and I was feeling terrified for him... but they made this a silly, comedic back and forth with the shoemaker. Maybe that was edited to be more upbeat because it's a kids' film but that would just mean the film had no clear angle it was coming from. It also suffered from the same thing that Treasure Planet did, with the weird rock music interludes, instead of characters actually breaking out into song. That was weird and only added to the confusion of the horses neighing. If they'd gone completely with no words (like Wall-E did and like I Lost My Body should have done), I think it could have been improved by having a clear identity but also pushing the animation to something amazing.

The animation is a bit of a mixed bag but sadly its high point isn't actually that high. The clear strong point is the traditional animation of the horses. The running motions are believable and really make you feel the force of the animal and they also managed to translate all these animal movements into coherent, understandable emotional gestures too. I feel with though that it shows they did their research and design incredibly well beforehand but then didn't take it anywhere special after that. Once they'd nailed down the porportions and anatomy, all the animators were given the tools but no one took it to any heights that were really impressive. Then the bad stuff. The weird, lifeless CGI horses that have no personality or believability. They're really robotic and untextured. The end result really disrupts the feeling of being out on these great planes, because these weird 3D running blobs just remind you that this is not the natural world. They also weirdly used the same for the american soldiers sometimes. And speaking of the great planes, there was some pretty poor CG environments, which felt really artificial, especially when used in conjunction with such a heavy parallax effect.

Basically, I can see why this film isn't really a classic. So plenty learned from it.

Your Name (Kimi No Na Wa) (2016)

Writer & Director: Makoto Shinkai
Studio: CoMix Wave Films

Watched on: 28/12/2020

Review contains ***SPOILERS*** for Your Name (Kimi No Na Wa)

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
44764


Not for me. Very successful film that received huge praise but just not my sort of thing. It's ambiguous, it's fluffy and ultimately it's about romance. It also didn't actually look good the whole way through, in my opinion.

So in terms of how it looked, I was definitely impressed right from the opening scene. The clouds, the comet and scenery all looked legitimately beautiful. Then the big comet/shower looked really nice and anything related to the comet or just the sky looked really great, with a nice, well-blended CG element to it. A few things made it a bit weird for me though; the heavy use of layering and parallax, the odd bit of out-of-place CGI and of course, the very limited style of 'anime' character art and animation. The environments looked fucking incredible - like every coffee cup, rock, book, phone, tree etc. looked amazing and was finished to an amazing standard. But yeah, the characters just didn't look great; they were more like chariacatures ready to be filled in with the final detail. Of course that's an incredibly subjective thing because this is an anime film and was always going to look like that, so can't really knock it for it.

That's pretty much it for positives. I didn't like anything else in the film lmao. The story is so pointless I genuinely wonder if it was worth telling (in terms of revenue, it clearly was). Basically, there's no real substance to it. Is the point that they are meant to be together? That they saved the town? The first point seems to suggest that destiny meant they would always end up together but the second suggests they can change destiny - so what's it going for? Is it just that we're supposed to just see that things are weird and interesting and that's it? Fundamentally, I just wasn't invested in this story at all. I wasn't rooting for Mitsuha and I didn't really get what Taki wanted in life. Did they do all of that so that they could be in love? Why did Taki write "I love you" on her hand. That was fucking dumb. But I also just saw no reason for them to like one another, because the fruits of the positive changes they made in each other's lives didn't even come to anything. So probably says more about me and what I like but I hated the ambiguity and the general lack of a solid plot.

I guess the above highlights the fact that I didn't find the characters very interesting nor compelling. I guess I'd give the directing a positive score overall, because it looks amazing and any key points (i.e. the comet, the switching of lives, the escape plan etc.) are all clearly communicated and there are some interesting storytelling mechanics that worked well, like the opening credits rushing through things so that they felt like an actual distant memory to you, the viewer, as well. But overall, it was just too wishy washy for me to ever like it. Think it's unlikely I go for 'Weathering with You' now too.

Sleeping Beauty (1959)

Writer: Erdman Penner (based on the original tale by Giambattista Basile)
Director: Clyde Geronimi, Eric Larson, Wolfgang Reitherman, Les Clark
Studio: Walt Disney Productions

Watched on: 26/12/2020

Review contains ***SPOILERS*** for Sleeping Beauty

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
44674


A classic "glad I've seen it" but the film was pretty bad overall. Obviously a lot of leeway has to be given for the fact the film is 61 years old at this point. So it would be pointless to go into detail about how poor the film does in terms of women's agency, stereotypes and consent but obviously that does form part of my very subjective low score. I will say that this film really highlights (what I think is) the point of the Bechdel Test though, as the 3 fairies are a big focus of the story and talk lots to each other, passing the test, but then for example, Aurora's mum - the literal queen - appears on screen but doesn't actually say a word throughout the entire film.

The story's pretty poor. As funny as the idea of a witch cursing a baby to death because she wasn't invited to a party is, the actual plot had little substance and basically drove itself. Things happened exactly as they were supposed to and there were literally zero complications - the only potential issue was Aurora and Philip falling in love with the 'peasant' version of each other, so a non-issue. Felt a bit like a panto.

The characters were pretty boring in general. As suggested above though, Maleficent is brilliant. I'd honestly put her in the top tier of Disney villains, because on top of her flair for the dramatic, she actually has a plan in place to realise her very clear ambition (literally killing Aurora lol). There could have been far better depth to all the characters though, Maleficent included.

Animation was nice but not amazing (but obviously we're talking manually painted cels, so fair play), although it was cool too see huge names like Kahl, Thomas and Johnston in the credits. I did actually notice the odd error here or there but overall it was smooth, expressive and a good balance between realistic and exaggerated. A lot of stuff in it was also cute and charming, which ties into the directing as well. I think they managed to have some pretty good storytelling mechanics in there actually, like the spells coming out of the chimney and the little smirk on the raven's face as it overhears the conversation.

So yeah, overall poor film that's terrible to women but has a cool villain (who even turns into a dragon). Undeniably a classic but definitely not timeless.

Dragon Ball Super: Broly (2019)

Writer: Akira Toriyama
Director: Tatsuya Nagamine
Studio: Toei Animation, 20th Century Studios

Watched on: 23/12/2020

Review contains ***SPOILERS*** for Dragon Ball Super: Broly

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
86797


Wow wow WOW! That was a fucking amazing experience. Without any of the added value of nostalgia, this film straight up had some of the sickest fight scenes I've ever seen. With the nostalia though, I feel like this was some long overdue closure and a lovely way to wrap up a 30-year journey through the DBZ series, the Budokai Games and a bunch of (apparently non-canon) movies. It wasn't quite so perfect as Endgame was for MCU fans but the film paid its respects to all of that stuff and nicely put a ribbon on it. And it looked amazing doing it.

Nowehere else to start than the animation. Legitimately unreal how good it is. So much of it is hand-drawn, which always looks amazing to me. But it's done so well, with all the little angles and turns and small touches that the rest of Super really didn't have. It's just high quality traditional animation. They also made the decision for the cleaned up animations to keep a sort of unkempt 'grease pencil' look on all the outlines - that worked perfectly! It never looked messy but always felt hand-made, as if someone genuinely put their heart and passion into it. Speech isn't quite that fluid, fully-acted, perfectly-synced style I like but the characters are at least expressive with their bodies when they speak. As mentioned, the fights are what really make this film such an experience. Even the early sparring match between Goku and Vegeta just looks sick. Genuinely interesting hand-to-hand combat that's clearly articulated, well choreographed and super active. Never stands still. I'll come onto the 'final' fight in a bit but the art design is all unmistakably Toriyama as well. He's got a very distinct style that so many people are familiar with and enjoy, so it was nice to see that really shining in every character, outfit and animal. The style can also fit both serious and playful moods so well and switched between both pretty seemlessly throughout. Leaning so heavily into that style really let this film be a bit of a swansong for Toriyama, which was pretty sweet.
        Now onto that final fight. First of all, I'll say I'm impressed with just how long it lasted. They actually genuinely spoiled us viewers with how long it was, whilst keeping it visually interesting, constantly evolving, and even story-related in bits. It goes way past the usual allotment of high-quality action (fucking 'sakuga') you'd normally expect. The fight also has maybe a dozen passages of distinctly different animation styles, likely by multiple key animators and studios. The amazing thing is that they're each stylised enough to distinguish themselves but they're never dissonent with the main style. They all fit together perfectly. That even goes for the parts where they clearly rigged up 3D models for a few seconds of action, with the characters and the environment moving around mad quick. They even sometimes smoothed this out by hand drawing the last few frames to bring it back home, which worked very nicely and just speaks again to the quality of the whole thing. The 3D models even had those hard outlines that give them that faux-2D look and I read that as almost a direct tribute to the Budokai games (although will concede that might be a bit of a reach). The same harmony was clearly shown with the effects animation, which was definitely a mixture of hand-drawn and computer-generated. All the powering up, auras and energy blasts looked amazing. There were sadly 1 or 2 parts where the CGI environment (icy mountains and water) looked a little soft (I may learn a better word for what I mean here one day), as did the Frieza Force's CGI ships in the rest of the film. But yeah, what a whole load of fun that fight was.
    Also a clear reason why this film was so much better than most of Super was the environments. A ridiculous amount of Super takes place in a bland, flat arena in the middle of space. There's nothing to interact with and a plain back background all around is really boring. The vibrant, varied, dimensional arenas in this film make for far more interesting fights. Also, setting the big fight in a glacial tundra just gave it a nice feeling, kinda like the library planet in Rogue One.

    A lot of the above of course comes from great directing and storyboarding and I gotta give major props in that department. The decision was clearly made to really make the film as much about wicked fights as possible, as Dragon Ball always should be and that alone deserves praise. It was really nice actually to see the things we liked about DBZ brought back and honoured, without the things we disliked, like excessive dialogue and hours of powering up. That said, it wasn't perfect. There was a bit of trying too hard with the fusion - although it was funny-ish to see them do the 2 staple fuck-ups of the fusion dance, it seemed very weird to suggest that all 3 of Goku, Vegeta and Piccolo spent a full hour sitting around doing nothing while Bulma and a few others were definitely in danger. That could have just been a funny thought or flashback. It was also really nice though to see 2 fan favourites finally given their place in the canon, in Broly and Gogeta. My main experiences with Broly are through the games, so all I know him for is being the Legendary Super Saiyan and basically a mindless, raging brute. So it was interesting and refreshing to see this portrayal of him as a sensitive, kind-hearted young kid, although I haven't seen any of his older movies, so that may be who he always was. Either way, it made for a great character, who you will really feel for as a viewer. A lot of the Saiyans we saw were pretty good characters actually.
    I do have to be critial of a few things in terms of the directing/story. Firstly, the pacing of the story was a bit off. I think the Planet Vegeta opening was a little too long and could have probably been improved by having bits of the second half of it drip fed throughout the rest of the movie. All the same, it was cool to see Bardock and quite a bit of Planet Vegeta. Young Vegeta and Raditz looked a little odd but oh well.The same timing criticism goes for the Broly fight. It was too long to be watched in one go. They should have split it up into an initial encounter that ends fairly quickly and a long final fight (maybe 3/4 of the original) after some other plot stuff and/or training. The film also put too little or too much focus on certain things, which felt a bit odd - like the fuzzy green ear wasn't necessary at all and they spent like 5 minutes talking about it but Broly breaking the shock collar is a pivotal moment in the story and isn't acknowledged at all. Also probably just an issue with the dub but there was a lot of unnecessary explaining, which was a bit annoying but that's not really a criticism; gotta remember this is aimed at kids/teens after all. I will also say on the big fight that it was the same old formula of the fighters randomly being better than each other, then switching with no real explanation. That will always be poor storytelling but you kinda allow it because 1. it's the last hoorah, 2. it's a movie, so has limited time to set stuff up and 3. the fight is so thoughtfully executed, that things like that becomes way less important. It's also fundamentally Dragon Ball, so you can't complain. The same goes for the stupidity of Beerus being more powerful than all of the Z-fighters at "15%" of his power, then Whis being far more powerful than him, then Zeno being incomprehensibly more powerful than him. You just gotta gloss over it.
    The story itself was pretty simple and straighforward but ironing out a few points would have made it that much more fulfilling; like Frieza revealing an actual serious plan for the Dragon Balls. I did like the fact that it basically ended with "well Frieza still on his bullshit", that was fair. I found the last scene between Goku and Broly really lovely too.

Nothing else to say, really. I can now happily put the main story of Dragon Ball to bed and move on peacefully. Also makes for a nice change that I'm finally happy with a closing chapter.