You could be thinking why are you going to review this movie that was released about three decades ago, right? Why now the slug and why Evangelion? On that note, before proceeding any further, as a joke, I suggested we review The End of Evangelion after watching it again at my nearby Cinemark. However, what took me by surprise is that my editor agreed with me and told me to go ahead. Since then, I have known that writing this piece would not be easy because the story of Evangelion is difficult to understand in brief words so bear with me for not being able to try hard enough regarding scene-by-scene explanations. Moreover, throughout the years there have been countless interpretations (and regenerations) of the entire Eva universe by people smarter than myself; hence I am doubtful whether I will add anything new to it. Nevertheless, here we go.
The End of Evangelion deals with our 14-year-old Eva pilots facing up to the end and whether they ever had a place in it anyway. Inexperience with Evas leaves one unable to comprehend them as gigantic humanoid bioweapons which are all that remains between humanity and angels. For various reasons though summed up as—a common psychic connection—these robots can only be operated by those three little ones mentioned above. Whereas basically other celestial beings like kaijus came from heaven only for wiping off mankind except some cases already existing angelic figures forming most of their numbers currently found on earth were destroyed through combating multiples of angels in the Neon Genesis Evangelion TV show previous episode. According to an ancient prophecy concerning another awakening angel signaling Armageddon or rather total destruction of earth where they inhabit begin where former movie left off.
After having his heart shattered into pieces and getting himself beaten until he almost goes insane Shinji Ikari (Megumi Ogata), our main character decides he doesn’t want to save humanity anymore but pleads for someone to save him instead. Meanwhile, Asuka Langley (Yuko Miyamura), the more headstrong of our pilots is physically and mentally out of action in a coma and Rei Ayanami (Megumi Hayashibara), who ’s most distant among them all just disappears on us. At the same time, NERV which oversees Evangelion project has started showing their sinister motives.
When I was 14 and feeling angsty, I first saw Neon Genesis Evangelion in the year 2015. It’s kinda funny that the characters in the series are also 14-year-olds who feel angsty themselves in 2015. At the time Eva had everything I wanted in a series – it was miserable as much as it was beautiful, hopeful as much as horrifying. Even to put aside my former weeb nostalgia as much as I can, it still somehow seemed sublime in its most metaphysical meaning. Quietly curled up on my leather couch, I would still find myself holding my breath at times. My eyes would begin to sting from not blinking.
The End of Evangelion is most readily admired for its graphic and savage visuality. The film’s iconic style seen only during late 90s/early ’00s becomes cooler with age thus gaining an old retro science fiction appeal similar to that of The Matrix or Cowboy Bebop another anime. Moreover, Anno and Tsurumaki shook viewers with different animation styles and sometimes used live action shots which perfectly depict our characters coming apart and give us a slightly overstimulated visual experience that feels too intense for comfort through their eyes at least (1). Although Tsurumaki denies the possibility of any religious meanings behind his show’s famous set pieces while admitting these are simply aesthetic choices with no reference to Abrahamic faith whatsoever but for people raised by it may seem otherwise.
However lovely it may be visually, The End of Evangelion might be asking more questions than it can answer thematically. My interpretation of the original Eva series’ message is to confront your worst fears and stop living in your own imaginary world like Shinji is told explicitly later on in the film (2). In addition, this movie cherishes individuality and personal choice—-one more guiding notion behind this film’s philosophy would be unity at your expense because without it, there is no Eva. On the other hand, Eva touches on concepts of abandonment, love and the absurdity of puberty.
Such disorganized occurrences “hard to follow” does not even begin to describe the film. The movie typically prefers to deal with softer, more human aspects rather than explaining what’s happening and if that is why you watch Eva well then I guess that’s alright as it goes. Sandwiched in between a military coupe and robot fight however, these parts can feel really offbeat. This contrast is something I relish while still understanding that it may be off-putting for some viewers out there. Conjuring all the terms and lore from End of Evangelion doesn’t take one sitting still worth doing though it may require multiple viewings. It seems unfair to criticize a movie for being “too confusing” but this has been one of the major reasons why people have avoided this franchise since its release (3). Besides there are scenes or lines of dialogue which might not be uncool at all but were never cool in reality like most guys always pretend them to be, they know who they are anyway (4).
The End of Evangelion is one the most important animated movies from Japan, a film that has been parodied and alluded to in other series and movies for the past 27 years. Evangelion is much; then again, so is growing up. I did not have to deal with a dystopian biblical sci-fi end-of-days scenario when I was 14 but that does not mean that I did not have my own problems. Looking back now, I still think The End of Evangelion is worth it and at the same time confusingly challenging and deeply human as well. Whether you are ready or not to get into that robot, The End of Evangelion may just last another 27 years waiting for you to face it.
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