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"He was aware that he was still a child"
Neon Genesis Evangelion episode
Kozo Fuyutsuki and Yui Ikari with young Shinji discussing on Dead Sea Scrolls scenario. The scene comes from the extended (director's cut) home video version. Mechademia Mariana Ortega described Yui playing with Shinji as a "benign Madonna".
Episode no.Episode 21
Directed byHiroyuki Ishido (on-air version)
Masahiko Otsuka, Shunji Suzuki (director's cut)
Written byHideaki Anno, Akio Satsukawa
Original air dateFebruary 21, 1996 (1996-02-21)
Running time22 minutes (on-air version)
28 minutes (director's cut)
Episode chronology
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"He was aware that he was still a child"[a] is the twentyfirst episode of the Japanese anime television series Neon Genesis Evangelion, which was created by Gainax. Hideaki Anno and Akio Satsukawa wrote the episode, which animator Hiroyuki Ishido directed. The series' protagonist is Shinji Ikari, a teenage boy whose father Gendo recruited him to the special military organization Nerv to pilot a gigantic, bio-mechanical mecha named Evangelion into combat with beings called Angels. In the course of the episode, Kozo Fuyutsuki, deputy commander of Nerv, is kidnapped by a secret organization called Seele, which questions him about his past and how he met Gendo. Fuyutsuki traces his youth and his meeting with Yui Ikari, a young scientist with whom he falls in love. Ryoji Kaji, a member of Nerv, meanwhile rescues Fuyutsuki, and is killed by Seele.

Gainax wrote "He was aware that he was still a child" in haste due to a tight production schedule and time limitations. After the first broadcast, Gainax also released extended version called director's cut or home video version, with new footage. Animators Masahiko Otsuka and Shunji Suzuki directed the home video version. In the writers' original vision, the episode was supposed to focus on an event called the Dead Sea Evaporation Incident, which during production the series staff turned into the melting of the southern ice cap. During the installment, clues are given about two underground cavities, one in Tokyo-3 and the other in Antarctica, called White Moon and Black Moon, dating from the time of the giant impact and left behind by an alien species called the First Ancestral Race.

"He was aware that he was still a child" was first broadcast on 21 February, 1996, and drew a 7.7% audience share on Japanese television. The episode was generally well received by critics because of the music, direction, voice acting and ending; some reviewers, however, complained of poor character development and lack of clear explanations. The use of flashbacks was both praised and criticized.

Plot

[edit]

The episode begins with footage from video surveillance cameras at a research base at the South Pole in 2000. Scientists discuss Dr. Katsuragi's supersolenoid theory, a mysterious weapon called the Spear of Longinus on its way from the Dead Sea, and the "Guf chamber". In 2015 Ryoji Kaji, a member of the special paramilitary agency Nerv, leaves a message on someone's answering machine, sensing his own death is near. At the Nerv base, the deputy commander, Kozo Fuyutsuki, is kidnapped. Misato Katsuragi, head of Nerv's strategy department, is taken into detention because she is connected to the individual suspected of kidnapping Fuyutsuki, Kaji, her lover. Kozo discovers that he has been kidnapped by an esoteric organization called Seele, which is suspicious of Nerv's commander Gendo Ikari. Seele questions Fuyutsuki about Gendo, and Fuyutsuki recalls when he met Yui Ikari, a promising researcher, and Gendo, who then had the maiden name of Rokubungi, in 1999.

Yui and Gendo enter into a romantic relationship. Fuyutsuki falls in love with Yui and is suspicious of Gendo, who he believes is only approaching Yui to get in touch with the Seele, who is connected to her. After the Second Impact, an event that exterminates billions of people, Fuyutsuki begins to investigate the causes of the tragedy, a mysterious being called Adam and an underground cavity located in Antarctica called the White Moon, dating back to an event called the Giant Impact, discovering Gendo and Seele's involvement in the event. Gendo then meets Yui and Gendo at the Artificial Evolution Institute in Hakone. Threatening Gendo with public disclosure of what he has discovered, he follows Gendo to an underground cavity beneath Hakone artificially constructed by someone nonhuman, and here he meets the brilliant researcher Naoko Akagi. Fuyutsuki then agrees to join Gendo's organization, the Gehirn.

Yui, meanwhile, offers herself as the subject of a contact experiment with a mecha called Evangelion 01, dying in the event. Gendo, after a period of mourning, proposes a new project, the Human Instrumentality Project, to Fuyutsuki. Ritsuko Akagi, daughter of Naoko, meets Misato and Kaji at the university, and meanwhile enters the Gehirn with Misato. Here Ritsuko discovers that her mother and Gendo are having an affair. Gendo one day brings a little girl named Rei Ayanami into the Gehirn. Naoko, after completing the Magi supercomputers, finds Rei alone lost in the base of the Gehirn; Rei starts calling her "old brag", saying that it was Gendo who referred to her that way. Naoko recognizes in Rei the somatic features of Yui, and strangles Rei, killing her, and then commits suicide. Gehirn then becomes Nerv.

In the present, Kaji frees Fuyutsuki and is then killed by Seele. Misato is released, and returns home, discovering a message on the answering machine, in which Kaji says goodbye to her. Misato bursts into tears, and Shinji Ikari, her housemate, hears her, but fails to give her words of comfort. Shinji thus acknowledges that he does not know what to do and that he is still a child.

Production

[edit]

Genesis and staff

[edit]
Neon Genesis Evangelion director Hideaki Anno

In 1993 Neon Genesis Evangelion studio Gainax wrote a document introducing the series in the pipeline called New Century Evangelion (tentative name) Proposal (新世紀エヴァンゲリオン (仮) 企画書, Shinseiki Evangelion (kari) kikakusho), which already contained a synopsis of the episodes.[1][2] In the original plan it would have been the twentieth episode that would have been titled "The Birth of Nerv".[3] In the course of the episode, Eva-01 would have been sent to the Nerv of Germany and the history of Gendo, the Evas and the Nerv would have been presented. The scenario would include an in-depth look at an event called the Dead Sea Evaporation, which occurred fifteen years before the events of the main series.[4] Kaji's death was to take place in the previous episode, "A Man's Battle", instead.[5] For the Dead Sea Evaporation Incident, the series staff took a cue from Gainax's previous work, Nadia: The Secret of Blue Water; in the last episode of Nadia, Gargoyle, the main antagonist of the series, becomes a salt statue,[6] like Lot's wife from the Book of Genesis in the episode of Sodom and Gomorrah, two cities speculated to be located near the Dead Sea. Adam itself would also be discovered in the Dead Sea, while in the final version the setting veered toward Antarctica,[7] keeping the idea of using Seele's Dead Sea Scrolls.[6] The basic idea of the Dead Sea setting, a highly saline sea with no fish, was retained, representing a forbidding Antarctica for any living thing, including microorganisms.[8]

In the initial scenario, the Angels were supposed to be security devices left scattered around the world by an alien First Ancestral Race (第一始祖民族, Dai'ichi shiso minzoku), which was never mentioned in the version that aired.[8] Gainax also wrote a draft for the twenty-first episode of the series which included a line from Misato saying: "I know the Angels aren't just weapons left behind by the First Indigenous Race" (使徒は第１先住民族の残したただの戦闘兵器ではない事は、わかっているわ).[9] Gualtiero Cannarsi, editor of the first Italian edition of the series, compared the initial scenario proposed by Gainax to that of James P. Hogan's Giants series, itself influenced by Arthur C. Clarke's short story The Sentinel. In the initial scenario, in fact, the Angels attacking Tokyo-3 would have been Adam's divine sentinels woke up after Adam's discovery, but Gainax later changed its plans.[10] Writer Virginie Nebbia compared the First Ancestral Race idea and the concept of mergin extraterrestrial life with birth of human race to Nadia, which already presented a similar scenario. Gainax later reused the idea of a First Ancestral Race for the videogame Neon Genesis Evangelion 2.[11]

The Proposal document does not mention the Katsuragi research group with which Misato goes to Antarctica, nor Misato's past, while in the final version it is revealed that Misato suffered and later recovered from aphasia, but without revealing how she recovered.[12] It also mentions a discovery of ancient ruins of a place named Arqa (アルカ, Aruka); as noted by academic Taro Igarashi, Arqa ruins possibly become the geofront, which Fuyutsuki describes as a perfectly round cave,[13] and for Igarashi this means that geofront is "some sort of ancient ruin" itself.[14] Furthermore, the Institute for Artificial Evolution was supposed to be located in the underground geofront, home of Nerv, while in the final version later aired its headquarters is moved to the shores of Lake Ashi.[15] It was conceived not as a predecessor organization to Nerv, like the Gehirn, but as an entity still active in 2015 that operates separately from Nerv.[16] The presentation document describes the Human Instrumentality Project as an attempt to acquire power equal to that of God and a forbidden fruit; according to Evangelion Chronicle, an official encyclopedia on the series, this description would allude to "scientific arrogance".[16] Instrumentality was supposed to recreate a perfect being, freeing man from the original sin and curses that plague him; according to Evangelion Chronicle, the perfect being in the original scenario could be related to Rei Ayanami's character.[16] The Proposal document also mentions that Gendo carries on the Human Instrumentality Project, but in the final version it is unclear whether or not the Project is his idea.[17] The character of President Keel is introduced even before Fuyutsuki, which shows his importance to the scenario originally proposed by Gainax, while Fuyutsuki's introduction page is simple and there is no mention of his past with Gendo.[18]

Neon Genesis Evangelion main director Hideaki Anno[19] and Akio Satsukawa wrote the screenplay for "He was aware that he was still a child",[20][21] while Hiroyuki Ishido took on the role of director.[22][23] Junichi Sato wrote the storyboard for the episode under the pseudonym of Kiichi Hadame,[24][25] while Satoshi Shigeta served as animation director.[26] The production also involved other studios besides Gainax, such as at Vega Enterteinment and Tatsunoko Color Center.[27][28]

Development

[edit]
A comparison between the on-air and the director's cut versions

The production of "He was aware that he was still a child" and other episodes in the second half of Evangelion suffered several problems, mainly due to production schedules.[29] Due to time constraints, the version originally broadcast on TV Tokyo saw a decline in animation quality,[29] and the script for the episode was written in a row.[30] From the twentyfirst episode onward, the staff inserted few scenes featuring the Evangelion units because there were no animators who could animate them.[31] The promise to give viewers of the series more fan service, audible in previews of upcoming episodes after the credits, was dropped, reflecting a more violent and dark plot for the last episodes.[32] Anno also decided to depict the members of Seele in the form of a monolith, reflecting the progress of the series, which became increasingly "abstract" and introspective.[33] Anno himself stated that he felt such pressure during production that the only way he adapted to survive was to immerse himself in deeper and deeper introspection.[29]

Several scenes in episodes twenty-first through twenty-fourth were redrawn after the end of airing on TV Tokyo, and Anno tried to rework the parts that did not meet his expectations as much as possible.[31] The changes improved the quality of the animations[34][35] and clarified some mysteries and underexplored plot points.[36] Gainax therefore produced two versions of "He was aware that he was still a child" and the following three episodes: one for the original television broadcast, and the other in an extended version called director's cut,[37] or home video release version.[34][38] Gainax also produced a feature-length recap film called Neon Genesis Evangelion: Death and Rebirth (1997), the first part of which, Death, consists of a summary of the series with the addition of unreleased scenes.[39] The unreleased scenes from Death flowed into the director's cut versions of the episodes,[40] later released in the various domestic editions of the series,[41][35] starting with the 1998 LaserDisc edition.[42] Junichi Sato thus returned to work on the episode by creating the storyboard for the director's cut version of "He was aware that he was still a child". Masahiko Otsuka and Shunji Suzuki handled the staging, with Suzuki serving as chief animator.[27] Animator Mitsuo Iso also contributed to the scenes in the extended version.[43][44]

In the director's cut version, the staff added the scene in which Fuyutsuki is seen working on a boat as an improvised doctor,[45] the one in which he investigates the mysteries of the Second Impact, Fuyutsuki meeting Yui in front of Artificial Evolution Laboratory,[21] and the sequence in which Yui and Fuyutsuki argue on the shores of Lake Ashi about the transience of life.[46][47] Other sequences presented in Death and later merged into the director's cut are those of the scientists in Antarctica during the Second Impact.[45] Sato originally drew the scene of Fuyutsuki and Yui for television airing, and only later was this reworked and included in the director's cut version. Sato did not receive precise directorial directives from Anno; for example, he had no idea how the research ships sailing to the South Pole were built in Gendo and Fuyutsuki's scene in Antarctica, so they had to explain to him how to represent them.[48] In addition, during the first television broadcast fans speculated that it was Misato who killed Kaji,[49] when in fact Kaji's killer is identifiable in unidentified people sent by Seele,[50] as confirmed by Evangelion staff itself;[51][52] to remove ambiguity and not let people mistakenly think that the killer is Misato, Anno and Gainax therefore edited the final sequences of the director's cut version.[21][53]

For "He was aware that he was still a child", following the lead of previous episodes, Gainax used scenes with fake newspaper clippings, real black-and-white photographs, and sketches of characters from the series.[54] Evangelion Chronicle also noted how the episode presents the scenes set in 2015 with dull colors, while the scenes from Fuyutsuki's past feature bright colors, linking this gimmick to the fact that Fuyutsuki remembers the scenes as a past that is not yet fully closed.[55] Voice actress Megumi Hayashibara, who plays Rei Ayanami, also played Yui Ikari in the episode, reflecting the biography of Rei's character, who since the Proposal document has been thought of as a clone of Shinji's mother.[56] Furthermore, in the original script of the episode, the first Rei, who in the final version is strangled and killed by Naoko, was supposed to survive, waking up in a Nerv control room.[9] For the TV version, Gainax used a version called Off Vocal of "Fly Me to the Moon" played by Yoko Takahashi,[57] while for the director's cut version they used an instrumental version called 4 Beat instead.[58][59]

Cultural references

[edit]
Seele's monolyths are a reference to Stanley Kubrick's 2001: A Space Odyssey monolyths (pictured)

According to writer Dennis Redmond, Naoko's character is clearly modeled after William Gibson's novel Neuromancer's Marie Tessier-Ashpool.[60] In the scene where Seele interrogates Fuyutsuki, the members of the organization are presented in the form of monoliths.[61][62] The monoliths are a reference to those featured in Stanley Kubrick's movie 2001: A Space Odyssey (1968) and Arthur C. Clarke's The Sentinel.[63][64] According to Wired magazine, Neon Genesis Evangelion shares with 2001 the theme of human evolution and the discovery of a prehuman civilization that man investigates, and "whose power men seek to harness at the cost of their own survival".[65] Seele believes that humanity must evolve to a new stage at all costs, which is what the 2001 monoliths allow.[66] For Japanese academic Yasutaka Yoshimura, the reference to the monoliths in 2001 is one of many references to 1960s design in the series.[67] The series staff also compared Seele to Freemasonry.[68] Yūichirō Oguro, editor of the unofficial extra materials from the Japanese domestic editions of Neon Genesis Evangelion, noted how the Nerv instead is similar to the SHADO organization from the British television series UFO; the episode also recalls the "Confetti Check A-O.K." episode of UFO, in which Commander Straker recalls the time when the organization was founded.[30] A few scenes later, during Fuyutsuki's reminiscences, it is revealed that he taught a discipline at the university called metaphysical biology,[69] or metabiology;[70] the name constitutes reference to the branch of philosophy of metaphysics, whose designation comes from a book of the same name by Greek philosopher Aristotle.[71][72]

In the scene where Naoko and Gendo introduce the Evangelions to Fuyutsuki they describe Evangelion units as beings from the first Angel, Adam. The line is a reference to Old Testament book of Genesis, according to which Eve was created by Adam.[73][74] Adam itself is depicted as a giant equipped with wings also of light. Writers and academics Víctor Sellés de Lucas and Manuel Hernández-Pérez have linked Adam's luminescent wings to the Christian iconography of angels.[75] Mariana Ortega of Mechademia described it as a "Gnostic-inspired giant of light".[76] Writer Virginie Nebbia linked its appearance to that of a giant of light appearing in the Ultraman 80 tokusatsu series,[77] while academic Marc MacWilliams noted Evangelion Adam is represented as "in Kabbalistic texts before his Fall".[78]

In the course of the episode, Fuyutsuki describes 2001, the year of the world after Second Impact, as a "hell". Writer Fabio Bartoli has therefore linked Adam's re-enactment to the biblical myths of the Fall, the Flood and the paleocontact theories, according to which human evolution can be traced to the intervention of alien life forms in its processes.[79] According to Bartoli, the Second Impact would in fact have occurred as a result of an attempt by scientists to unite the fruit of life with the fruit of knowledge by implanting Misato's human genes into Adam, also a reference to the book of Genesis.[80] As a result of the catastrophe, the waters of the South Pole turn red and are covered with columns of salt. Comic Book Resources' Theo Kogod compared the melted sea of Antarctica to the Book of Revelation, in which the sea is turned red as blood.[81] The pillars of salt constitute a reference to Sodom and Gomorrah[82][83] and the episode of Lot's wife's transformation into a statue of salt.[84][85] It is believed that Sodom and Gomorrah were in fact located near the southern end of the Dead Sea, known to be a completely prohibitive environment for the life of any aquatic species due to its extremely high salinity.[86]

In the opening scene of the director's cut version, the scientists of the Katsuragi expedition mention the Guf chamber, a foreshadowing of a concept later presented more fully in "Rei III" and the 1997 film The End of Evangelion. The term constitutes a reference to the Guf,[87][88] a space in Jewish mythology[89] where souls reside before their earthly incarnation.[90][91] Mariana Ortega linked Yui Ikari to the Sophia of Gnosticism because of "her intellectual brilliance, maternal wisdom", and status as one of the founding members of Nerv.[92] According to her, moreover, the scene showing her with little Shinji on the shores of Lake Ashino would depict her as a "benign Madonna".[93] According to Dennis Redmond, moreover, in the episode is given "the significant clue" that the geofront is not a human creation:[61] the underground cavity of Nerv's future geofront is described as something clearly artificial[94] and left by "someone else".[95] In the scene where Fuyutsuki investigates the Second Impact, a screen shot is also framed depicting the underground cavity located in the south pole, referred to as the White Moon[96][97] and analogous to the Black Moon under Hakone, Nerv's future geofront;[98][99] according to the screen shot it was "possibly created at time of Giant Impact".[100] The Giant Impact, or First Impact, in the series indicates an impact that occurred between the Earth and a celestial body that would later form the Moon[101] that occurred four billion before the events of the series.[102][103] In the video game Neon Genesis Evangelion 2, it is speified how during the Giant Impact the Black Moon, a vessel sent by a First Ancestral Race with the Angel Lilith inside accidentally arrived on Earth, coming into conflict with Earth's original inhabitants, Adam and its progeny.[104] The scenario is a reference to the real giant impact theory,[105][106] and Virginie Nebbia has linked it to the first Ultraman series, in which the eponymous hero and his enemy Bemular arrive on Earth aboard two orbs.[77]

Themes

[edit]

"He was aware that he was still a child", which opens the last story arc of the series, focuses on exploring the intimate psychology of the characters, solving some narrative mysteries while simultaneously presenting new ones.[34][35] It explores the creation of the Evas,[107] the past of Misato, Ritsuko, and Naoko, and focuses on the relationship between Gendo, Fuyutsuki, and Yui.[30] According to Allen Divers of Anime News Network, the exploration of the characters and their past "has an outsider's feel", since it follows the recollection of many of the side characters, instead of a major player like Gendo Ikari; for Divers, "there is a definite push to show that Gendo still hides more secrets than is shared here".[108] IGN noted how Gendo "never receives any introspective soliloquies", unlike the other characters in the series.[109] Evangelion Chronicle also noted how there are no scenes in which Gendo and Yui are seen together, emphasizing the distance between the two.[110] Japanese architect and academic Taro Igarashi has compared Evangelion's narrative structure to that of David Lynch's Twin Peaks series, in which all segments of the narrative revolve around an absent character, similar to an "empty center" in the circle of the dramatic plot, Laura Palmer and the discovery of her corpse.[111] Although Evangelion has a different structure from Twink Peaks, for Igarashi its center could be located in Gendo, but it constantly oscillates. Yui's presence and absence, however, can be seen as the empty center of the series' narrative; in fact, in Evangelion, all traces of Yui, including her dead body and photographs, are erased, and "the continuing search for this erased mother figure" is the driving force behind the story.[112]

In the opening scene of the director's cut version, Gendo and President Keel reflect on science and scientists, arguing that they believe in themselves too much[113] and they seek truth for their own self-affirmation, since "discovery is joy and understanding is dominance". A weapon named spear of Longinus is also named. Academic Fabio Bartoli therefore noted how Longinus' spear is closely related to the concepts of desire and dominance in the series; in fact, the scientists in Antarctica stick it into Adam in the same scene, and Gendo in a dialogue from the following episodes later describes it as an obstacle to his desires.[114] Igarashi, on the other hand, pointed out that Evangelion persistently repeats the theme of copies and cloning: for example, Eva-01 and Rei's clones replace Yui; Ritsuko takes over her mother Naoko's work, replaced by the three Magi computers; and both Ritsuko and her mother are Gendo's lovers, replacing Yui.[115] Furthermore, Naoko is portrayed as a brilliant scientist who admits that she can be "replaced" in the episode. Japanese academic Keisuke Tada thus noted how the episode summarizes a typical pathological feature of Evangelion characters, who are rewarded for their abilities but remain overly concerned with others' expectations.[116]

Japanese critic Akio Nagatomi wrote that, "this episode marks the beginning of the end, and something that's most common in Japanese tragedies: deaths".[117] He particularly noted how, just as in traditional Japanese tragedy, the deaths of almost all secondary characters occur, until only the main characters remain.[117] For Evangelion Chronicle, the Nerv is portrayed as a mysterious organization that is difficult to trust, following and amplifying the trend inaugurated by Mobile Suit Gundam anime series, which in 1979 proposed a scenario questioning the classic model of good guys and righteous versus bad guys.[118] Misato's past and her aphasia after Second Impact is also explored. Allison Keith, the character's first English voice actress, described Misato as a woman trapped at a childlike level and, at the same time, "defensive", as she had to grow up quickly after the Second Impact.[119] Furthermore, "He was aware that he was still a child" portrays the Eva-01 contact experiment in which Yui loses her life; for Fabio Bartoli, "she did this to allow her son to realize himself through others".[120] Fuyutsuki meets Yui for the first time in the installment, toward whom he has romantic feelings;[121][122] Yui is portrayed as a balanced and complete person, but willing to give up her career to build a family.[30] In one scene Fuyutsuki argues with Yui while playing with little Shinji, and he stares at her, looking at her thigh and part of her breast. According to the storbyboard, he looks at her with some disgust, because Yui has given birth to a baby and is now vulnerable.[48] Writer Virginie Nebbia interpreted the scene as a criticism of otaku fetishization of the female body and typical anime fan service, in which women are often victims of the male gaze.[123]

Reception

[edit]

"He was aware that he was still a child" was first broadcast on 21 February, 1996, and drew a 7.7% audience share on Japanese television.[124] In July 2020, Comic Book Resources reported an 8.6/10 rating for the installment on IMDb, making it sixth among the highest-rated Evangelion episodes.[125] Merchandise based on the episode, including a line of official tee-shirts,[126][127] has been released.[128][129]

Akio Nagatomi of The Anime Café praised the episode for its music, voice actress Kotono Mitsuishi's performance as Misato in the final scene, and the direction, particularly the use of flashbacks; according to Nagatomi, while most shows, "flashbacks are thrown in so awkwardly, that they interfere with the flow of the program", in the case of "He was aware that he was still a child", "the direction is very tight, and the quick cuts to various scenes are skillfully interwoven with the main storyline that the viewer receives the background information, without getting confused in timelines".[117] Nagatomi, however, while acknowledging that Evangelion does a good job of introducing interpersonal relationships between characters, argued that the characterization remains superficial and two-dimensional: "This series yields such information most reluctantly, and in ways that border on frustrating".[117] Kenneth Lee of Anime News Network, on the other hand, criticized the use of flashbacks and lamented the lack of clear explanations of plot elements, such as Yui's death or Misato's aphasia.[130] Max Covill of Film School Rejects also criticized the excessive amount of information, but still wrote that "it is a fascinating look into the lives of the many supporting characters in the series pre-Nerv".[131]

Writer Dennis Redmond described the scene in which Misato discovers Kaji's death as "heartbreaking".[132] Kotaku similarly cited "He was aware that he was still a child" among the best episodes of Neon Genesis Evangelion, describing the scenes of Kaji talking to his killer and Misato bursting into tears upon discovering his death among the "most iconic scenes in the series".[133] DVD Talk noted how it is sometimes difficult to follow the plot because of all the time jumps, "but it successfully pushes the series into high gear as the finale approaches".[45] GameFan, in its review of the homevideo release of "He Was Aware That He Was Still a Child" and the following episode "Don't Be", described the in-depth exploration of Nerv's origins as the "most interesting" part of the volume.[107] Digitally Obsessed similarly described the insights into Ritsuko, Misato, and Kaji as intriguing, "and perhaps shocking".[134]

References

[edit]
  1. ^ Japanese: ネルフ、誕生, Hepburn: Nerufu, tanjō, lit. 'The Birth of Nerv'

Citations

[edit]
  1. ^ Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. p. 26.
  2. ^ Nebbia (2023), Chap 2: La Proposition
  3. ^ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. pp. 25–26.
  4. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 88. ISBN 4-04-852700-2.
  5. ^ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. pp. 25–26.
  6. ^ a b Sanenari 1997, pp. 169–170.
  7. ^ Evangelion Chronicle (in Japanese). Vol. 6. Sony Magazines. p. 26.
  8. ^ a b Evangelion Chronicle (in Japanese). Vol. 7. Sony Magazines. p. 28.
  9. ^ a b "Episode: 21 - He was aware that he was still a child". Evangelion Original III. Fujimi Shobo. 1996. ISBN 4-8291-7323-8.
  10. ^ "Neon Genesis Evangelion: "Angeli" o "Apostoli"? Gualtiero Cannarsi ci spiega il suo nuovo adattamento per Netflix" (in Italian). 22 June 2019. Archived from the original on 29 February 2024. Retrieved 15 June 2020.
  11. ^ Nebbia (2023), Chap. 2: La Première Race Ancestrale
  12. ^ Evangelion Chronicle (in Japanese). Vol. 14. Sony Magazines. p. 26.
  13. ^ Morikawa 1997, p. 94.
  14. ^ Morikawa 1997, p. 96.
  15. ^ Evangelion Chronicle (in Japanese). Vol. 5. Sony Magazines. p. 28.
  16. ^ a b c Evangelion Chronicle (in Japanese). Vol. 9. Sony Magazines. p. 22.
  17. ^ Evangelion Chronicle (in Japanese). Vol. 16. Sony Magazines. p. 28.
  18. ^ Evangelion Chronicle (in Japanese). Vol. 17. Sony Magazines. p. 26.
  19. ^ 新世紀エヴァンゲリオン 原画集 Groundwork of Evangelion (PDF) (in Japanese). Vol. 3. Ground Works. 2020. p. 314. Retrieved 4 November 2024.
  20. ^ Evangelion Chronicle (in Japanese). Vol. 27. Sony Magazines. p. 26.
  21. ^ a b c Neon Genesis Evangelion: Platinum Edition Booklet. Vol. 6. ADV.
  22. ^ Evangelion Chronicle (in Japanese). Vol. 48. Sony Magazines. p. 1.
  23. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 178. ISBN 4-04-852700-2.
  24. ^ Porori 2010, p. 64.
  25. ^ Nebbia (2023), Chap. 1: Production et catastrophes
  26. ^ Poggio 2008, p. 75.
  27. ^ a b "Staff". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  28. ^ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 24.
  29. ^ a b c Nebbia (2023), Chap 1: Tenir bon jusqu'à la fin
  30. ^ a b c d Oguro, Yūichirō. "第54回　エヴァ雑記「第弐拾壱話　ネルフ、誕生」". style.fm (in Japanese). Retrieved 27 May 2020.
  31. ^ a b "SFマガジン 1996年8月号" (in Japanese). Archived from the original on 26 October 2016. Retrieved 15 June 2020.
  32. ^ "第55回 エヴァ雑記「第弐拾弐話 せめて、人間らしく」" (in Japanese). Archived from the original on 18 May 2016. Retrieved 27 May 2020.
  33. ^ Sanenari 1997, pp. 95–96.
  34. ^ a b c "Episode 21: He was aware that he was still a child". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  35. ^ a b c Neon Genesis Evangelion Laserdisc Encyclopedia (in Japanese). Vol. 11. 1998.
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Bibliography

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