. In this film , the core is anime's greatest embodiment of angst, Shinji Ikari . Or, as series grump and cult favorite Asuka puts it, he doesn't want to live, but he can't bring himself to die.
Each of the Evangelion pilots has been broken by the war, trapped in perpetual teenhood, and haunted by their lost childhoods. Asuka is an angry nihilist plagued by her own shielded humanity; Ayanami is an imitation of herself, her memories and identity wiped away; and Shinji is trapped within his PTSD and guilt about his failures, and the carnage he has wrought in his victories.– is still almost impossibly convoluted.
Not that there's no epic combat: The opening defense of Paris is as bombastic as the franchise has ever got, while Asuka's enraged raid into the gates of hell is kinetic, animalistic, and tragic. But there's tenderness, too, in the opening act in which Shinji, Ayanami, and Asuka are given a moment of peace in a village where the simple joys of life – family meals, planting rice, harvesting rice, the satisfaction of predictability – survive under the threat of the apocalypse.
Without those scenes, the final conflict with the ultimate religious zealot, Gendo Ikari would have less weight: With them, it adds both emotional and metaphysical weight. It's the ultimate summation of Anno's grand design, highlighting the extraordinary visuals of the franchise, from the verdant Japanese countryside to nightmarish biomechanical automata and Kabbalist symbolism, all centered around Shinji's embracing of what"neon genesis" really means.
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Source: screenrant - 🏆 7. / 94 Read more »
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