"Neon Genesis Evangelion" este un anime controversat, comercial, influentabil si cu un succes criticat, a carei saga incepe in 1995, scrisa si regizata de Anno Hideaki. In mare este o serie de actiune apocalitptica mecha care se dezvolta in jurul organizatiei paramilitara Nerv ce lupta cu fiinte denumite Angels, folosind roboti uriasi (mecha) numiti Evangelions pilotati de adolescenti. Evenimentele ce au loc in seria TV face referenta la simbolurile iudeo-crestine din Vechiul Testament si apocriptelor biblice. Pe parcurs episoadele dezvolta psihoanaliza asupra caracterelor principale, care prezinta diferite probleme emotionale si boli mentale, natura existentei si realitatea fiind puse sub semnul intebarii la modul in care Evangelion este caracterizata ca fiind "fantezie postmoderna". Hideaki Anno, directorul si regizorul seriei, a suferit o depresie clinica in ordin de a crea seria, prezentand aspectele psihologice din propria lui lupta cu aceasta boala.
Povestea Evangelion incepe in 2000 cu "Second Impact", un cataclism global care distruge aproape in intregime Antarctica si care duce la moartea a jumatate din locuitorii planetei. Impactul este considerat ca fiind urmarea caderii unui meteorit in Antarctica, formand un tsunami devastator care schimba axa de rotatia a Pamantului si clima. Mai tarziu "Second Impact" se descopera ca ar fi fost contactul cu rezultatul experimental al primului Angels: Adam. Experimentul era sponzorizat de misterioasa organizatia Seele si pus in practica de oganizatia de cercetare Gerhin.
In anul 2010, Gerhin reuseste sa indeplineasca un numar de schimbari corporateristice de ordin stiintific si ingeneristic in cadrul organizatiei paramilitara Nerv, al carei sediu central se afla in Tokio-3, un oras civil militarizat, localizat in ultimul loc uscat din intraga Japonie; principalul scop al organizatiei Nerv este aceea de a localiza Angels ramasi, prevazuti de Seele, pentru ai distruge. In orice caz Nerv are propria agenda secreta condusa de machiavelicul Ikari Gendo: Human Instrumentality Project, care urmareste unirea mintilor umane intr-o entitate spirituala globala unica. Asociata cu Nerv este Institutul Marduk, al carui rol este acela de a selecta pilotii pentru Eva, cei mai capabili adolescenti dupa al doilea impact (in virsta de 14 ani).
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As the first episode opens in the year 2015, Tokyo-3 is being attacked by the third Angel. Conventional weapons prove ineffective, largely due to its projected force field called an AT Field. Nerv takes command of the battles, and is able to intercept and defeat the Angels using the Evangelions (Evas), biomechanical mecha previously developed in secret by Gehirn inside the underground Geofront; the Geofront is located underground and underneath Tokyo-3.Not knowing why his father summoned him, Shinji Ikari, a 14 year old boy arrives to Tokyo-3 just as the Third Angel attacks the city. Shinji reluctantly agrees to join Nerv to pilot Evangelion Unit 01, and begins living with Captain Misato Katsuragi. He and Rei Ayanami battle the successive advances of the Angels together and are later joined by Asuka Langley Soryu, the pilot of Unit 02.
Each Eva has its own designated pilot (Unit 00 – Rei, Unit 01–Shinji, Unit 02–Asuka, and subsequently Unit 03–Toji Suzuhara), and operates by synchronizing the pilot's soul and the human soul inside the Eva via the enigmatic liquid substance known as LCL. (In the context of Evangelion, a "soul" refers to an individual's conscious existence, mental structure and identity, rather than a more conventional "supernatural" entity.) Surrounded by LCL, the pilot's nervous system, mind and body join with the Eva's controls, allowing the Eva to be controlled by the pilot's thoughts and actions. The higher a pilot's synchronization ratio, the better the pilot can control the Eva and fight more adeptly.
While Ritsuko mentions at the series' beginning that the Evas do have some biological components to them, the extent of this is not immediately apparent. Unit 01 is connected to Yui Ikari, Gendo's wife and Shinji's mother, since it absorbed her body and soul in a failed experiment, as shown in episodes 16 and 20. Rei herself is suspected to be a partial clone of Yui, and is known to harbor the soul of Lilith, the second Angel.
It is finally revealed, towards the end of the series, that the Evas are not really "robots" but are actually cloned Angels (Units 00, 02, 03, and 04 are made from Adam, and 01 is made from Lilith) onto which mechanical components are incorporated as a means of restraint and control. This control is not perfect, as various units are shown over the course of the series driving into "berserker" mode, in which they can act of their own will, independent of any artificial power input.
Along with the battles against the Angels, the central characters struggle to overcome their personal issues and personality conflicts, which factor heavily into the events of the series and its eventual conclusion. Throughout the series, many of the main characters constantly have to cope with several social and emotional problems: characters are unwillingly forced to confront socially complex and challenging situations; unresolved sexual tensions grow between numerous characters; injuries, deaths, and defeats cause blows to their psyches; and previously steady relationships begin to falter.
Over the final months of 2015, the characters begin to learn of the true plan of Nerv and Seele, the Human Instrumentality Project. Its purpose is to force the completion of human evolution, and thereby save it from destroying itself. To do so, they plan to break down the AT fields that separate individual humans, and in doing so, reducing all humans to LCL, which is revealed to be the "primordial soup," the fundamental composite of human beings. All LCL would then be united into a supreme being, the next stage of humanity, ending all conflict, loneliness and pain brought about by individual existence. At the end of the series, Seele and Nerv come into direct conflict over the implementation of Instrumentality.
In the last two episodes (the second set in 2016), Gendo and Rei initiate the Human Instrumentality Project, forcing several characters (especially Shinji) to face their doubts and fears and examine their self-worth. This ending was made up of flashbacks, sketchy artwork, and flashing text "over a montage of bleak visuals, that include black and white photos of desolate urban motifs such as a riderless bicycle or vacant park benches interspersed with graphic stills of the devastated Nerv headquarters in which Shinji's colleagues are seen as bloodstained bodies", and a brief interlude depicting an "alternate" Evangelion universe with the same characters but apparently in the highschool comedy genre, eventually seems to depict Shinji concluding that life could be worth living and that he did not need to pilot an Eva to justify his existence; he is then surrounded by most of the cast, clapping and congratulating him. The introduction implies that this same process took place for everyone."
Personaje:
"The characters of Evangelion are continuously struggling with their interpersonal relationships, their inner demons, and traumatic events in their pasts, creating a complex pattern of relationships.
Anno described the hero, Shinji Ikari, as a boy who "shrinks from human contact", and has "convinced himself that he is a completely unnecessary person, so much so that he cannot even commit suicide." He describes Shinji and Misato Katsuragi as "extremely afraid of being hurt" and "unsuitable — lacking the positive attitude — for what people call heroes of an adventure."When compared to the stereotypical hero, Shinji is characterized more by lack of energy and emotion than by any sort of heroism or bravery.Rei Ayanami and Asuka Langley Soryu, the other major protagonists, have similar flaws and difficulty relating to other people.
According to Anno, Evangelion was an attempt to make all perspectives into one, creating characters that represent different things to different viewers to make it impossible for everyone to arrive at a single theory. To some viewers, the characters are psychological representations, while to others, they are philosophical, religious, historical, and even themselves. It seems the main goal was to present characters who reflected the deep depression and eventual recovery that Anno experienced before beginning work on Evangelion the characters all reflect at least a little of Anno.
However the deeply pessimistic nature of the series as well as the rarely seen huge array of problems in all the characters has drawn curiousity on why there is no real happiness in the setting's world. Assistant Director Kazuya Tsurumaki said of the series, "But when all is said and done, Hideaki Anno's comments on 'Evangelion' + 'Evangelion' are that it is a message aimed at anime fans including himself, and of course, me too. If a person who can already live and communicate normally watches it, they won't learn anything."
The character designs by Yoshiyuki Sadamoto have also contributed to the popularity of Evangelion. Sadamoto's attractive designs of the three main female leads, Asuka, Rei and Misato, led to extremely high sales of merchandise(especially of Rei, the "Premium Girl"), and they have been immortalized in the dōjinshi community, garage kit models, and in subsequent anime (such as Burst Angel)."
Simbolism:
"Evangelion is dense with allusions to biological, military, religious, and psychological concepts, as well as numerous references or homages to older anime series (for example, the basic plot is seen in earlier anime like Space Battleship Yamato) – a tendency which inspired the nickname for the series, the "remixed anime"Anno's use of Freudian jargon and psychoanalytical theory as well as his allusions to religion and biology are often idiosyncratically used and redefined to carry his message. This tendency of Anno's has been criticized as "Total plagiarism!" and "just more mindgames from the animation crew". However, Anno has defended himself by denying the possibility of really original work without borrowing in anime:
"There is no longer room for absolute originality in the field of anime, especially given that our generation was brought up on mass-produced anime. All stories and techniques inevitably bring with them a sense of déjà vu. The only avenue of expression left open to us is to produce a collage-like effect based on a sampling of existing works."
"The people who make anime and the people who watch it always want the same things. The creators have been making the same story for about 10 years; the viewers seem to be satisfied and there's no sense of urgency. There's no future in that."
Regardless, Anno seems to have hoped to reinvigorated the genre of anime – seen as lifeless and moribund in the early 1990s – and restore originality: to create a new anime. This desire is also the reason Anno cited for creating the Rebuild of Evangelion movies:
"Many different desires are motivating us to create the new "Evangelion" film … The desire to fight the continuing trend of stagnation in anime.
The desire to support the strength of heart that exists in the world…
Many times we wondered, "It's a title that's more than 10 years old. Why now?"
"Eva is too old", we felt.
However, over the past 12 years, there has been no anime newer than Eva.
The interpretation of the symbols and concepts varies from individual to individual,and it is not clear how many are intentional or meaningful, nor which were merely design elements or coincidences. 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.
Many of the characters share their names with Japanese warships from World War II (such as the Sōryū, Akagi, and Katsuragi, though the ship names and character names are written with different kanji, they share the same pronunciations.) Other characters' names refer to other works of fiction, such as the two characters named after the protagonists of Ryu Murakami's Ai to Genso no Fascism ("Fascism in Love and Fantasy"; the two main characters are named Aida Kensuke and Suzuhara Toji)."
Psihologie si psihoanaliza:
"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
The connection between the Evas and their pilots, as well as the ultimate goal of the Human Instrumentality Project, bear a strong resemblance to Freud's theories on internal conflict and interpersonal communication.
The hedgehog's dilemma is a concept described by philosopher Arthur Schopenhauer and later adopted by Freud. It is the subtitle of episode 4 and is mentioned in that episode by Misato Katsuragi as descriptive of her relationship with Shinji.
Many of the characters have deep psychological traumas in relation to their parents. Shinji's introversion and social anxiety stem from the death of his mother at an early age and his abandonment by his father. Asuka was the target of her mother's insanity, and discovered her mother's body after she hanged herself; her tough, bullying personality is a means of distracting herself from her pain, and she has made piloting Unit 02 her only source of pride and satisfaction. Misato's father neglected her when she was a child; after he was killed in the Second Impact, she stopped talking for a couple of years. In episode 25, Misato states that she was both attracted to and afraid of Ryoji Kaji because he reminded her of her father. Ritsuko saw her mother having an affair with Gendo Ikari; after her mother's suicide she felt both attraction and hate towards Gendo. Indeed, the last two episodes are "stripped of the high-tech gadgetry and the colorful visuals that characterize the earlier episodes in the series, these last two episodes take place largely in muted tones… a form of interrogation proceeds to be carried out as he [Shinji] asks himself – or is asked by an unseen voice – probing psychological questions." The questions elicit unexpected answers, particularly the ones dealing with Shinji's motivation for piloting the Eva – he feels worthless and afraid of others (especially his father) if he is not piloting the Eva.Asuka and Rei are also depicted in deep introspection and consideration of their psyches. Asuka comes to the realization that her entire being is caught up in being a competent Eva pilot and that without it, she has no personal identity: "I'm the junk… I'm worthless. Nobody needs a pilot who can't control her own Eva." Rei, who throughout the series has displayed minimal emotion, reveals that she does have one impulse; it is Thanatos, an inclination to death: "I am Happy. Because I want to die, I want to despair, I want to return to nothing." In episode 25 Shinji and Asuka both show that they in fact suffered similar pasts and found different ways of dealing with it. This is further established in Shinji when he claims he has no life without Eva and this is disproven by the world shown in Episode 26 followed by the famous "Congratulations" scene."
Religie:
"The most prominent symbolism takes its inspiration from Judeo-Christian sources and frequently uses iconography and themes from Judaism, Christianity, Gnosticism, and Kabbalism, in the series's examination of religious ideas and themes.
Assistant director Kazuya Tsurumaki said that they originally used Christian symbolism only to give the project a unique edge against other giant robot shows, and that it had no particular meaning, and that it was meant to be susceptible to multiple interpretations.Hiroki Sato, head of Gainax's PR department, has made similar statements.
References, with multiple equally plausible interpretations which exist, include:
- Adam and Eve (known in other languages as Eva) refer to the first human beings from the Book of Genesis. Eve comes from Adam's rib. Similarly, most of the Evas come from the Angel first identified as Adam
- The Christian cross is often shown, frequently represented by energy beams shooting up skyward.
- The second Angel, Lilith is shown crucified. In Jewish folklore, Lilith is the first wife of Adam, and in some works of popular culture, the first vampire. Lilith is impaled with a spear named the "Lance of Longinus", used to pierce the side of Jesus during his crucifixion. Lilith represents the first woman and mother of humanity; traditionally she is identified as being the mother of all demons (who are called in general the "Lilin" or "Lilim"). In Evangelion, she may even be the source of humanity itself, as Kaworu identifies Lilith as the source of the Lilim (humanity) in episode 24, "The Final Angel".
- The Angels could be a reference to the angels of God from the Old Testament. In Japanese, the word used is the same one used for apostle (or messenger), as in the New Testament. Eyecatches during the series as well as the introduction sequence flashes "Angels" at a point. In addition, their origin is vaguely explained in the series as descending from "Adam" (yet another Judeo-Christian reference) and being "different evolutionary paths humanity could have taken".
- The Magi supercomputers are named Melchior, Balthasar and Casper after the names traditionally given for the Magi who were mentioned in the Gospel of Matthew as having visited Jesus in Bethlehem (often called "the three wise men", though the number of visitors is not recorded in the Gospel).
- The Tree of Sephiroth (Tree of Life) is mentioned, as well as shown in the opening title sequence and on the ceiling of Gendo's office, with Hebrew inscriptions on it (the terms written there are mostly Kabbalic). It also appears in End of Evangelion during Seele's version of Instrumentality.
- The Marduk Institute is a front organization for Nerv, tasked with finding the teenagers suitable for piloting Evangelion units. Marduk was the name of the chief Babylonian deity and patron god of the city of Babylon.
- In episode 9, Asuka describes the door between her and Shinji as the "Wall of Jericho" which, in the Book of Joshua, was an impenetrable wall, though it eventually fell after being circled seven times by the army and priests of Israel.
- Reference is made to the "Room of Gaff" (spelling taken from the English subtitles; correct spelling/transliteration is "Guf") and its being "empty"; in Jewish lore, when the Room of Gaff is emptied of souls waiting to be born, the end of the world, and with it the coming of the Messiah, is nigh. The Room of Gaff is further referenced in Death and Rebirth & End of Evangelion, where it is given greater importance than the one mention in the television series; one analysis of the End of Evangelion has it being "the door to both the beginning and the end of the world, and the hall of souls. When exposed to the power of the Hall of Gaff all living forms lose their ability to maintain themselves as individual lifeforms, reverting to LCL. At the Second Impact the door to the Hall of Gaff is opened by Adam, and everything changes into a sea of LCL. At the Third Impact the portal is opened once again by Rei, who has assimilated with Lilith, and all life-forms revert to LCL." Note that in the movies, human souls come from and return to the Hall of Gaff. There seems to be two separate Rooms of Gaff in the movies: one for the humans, openable through Lilith in the Japanese GeoFront; and a different one, presumably for the Angels in the Antarctic GeoFront, which was opened on the same day the Second Impact occurred (presumably all the Angels produced, except for Kaworu who was born that day, were destroyed as part of the process, explaining why Kaworu is the last Angel to be born while humans continued to be born – the Angel Hall of Gaff was empty after him
- The Angels themselves are named after angels from angelology, including Sachiel, Shamshel, and Arael. The total number of Angels identified in the series, eighteen, is a spiritually significant number in Judaism, as it is associated with the Hebrew word חי (chai),or "life"."
Fictiune si filozifie:
"Neon Genesis Evangelion and particularly the Human Instrumentality Project show a strong influence from Arthur C. Clarke's novel Childhood's End, an influence Anno acknowledged.Similarities between the works, such as the larger theme of humanity's evolution to a higher plane of existence, or lesser details such as the declining birth rate after the Second Impact, were gleaned from this work.
Evangelion shows influences from the science fiction author Dr. Paul Linebarger, better known by his pseudonym, Cordwainer Smith. Linebarger was raised in China, became the god-son of the nationalistic leader Sun Yat-sen, and during World War II, worked in psychological warfare on behalf of the U.S. Army, including propaganda efforts by the U.S. against the Japanese. Linebarger's work included strong influences from both East Asian culture and Christianity. His science fiction novels revolve around his own concept of the Instrumentality of Mankind, an all-powerful central government of humanity. Like Seele, the Instrumentality of Mankind see themselves "to be shapers of the true destiny of mankind." Although Anno insisted that Hokan (補完, complementation, completion) be translated as "Instrumentality" in English, perhaps as a way to pay homage to Linebarger, the two authors' conceptions of "instrumentality" are extremely different.
Existential themes of individuality, consciousness, freedom, choice, and responsibility are heavily relied upon throughout the entire series, particularly through the philosophies of Jean Paul Sartre and Søren Kierkegaard. For Sartre, humans ultimately exist in an abandoned and free state. There is no essential truth about what human beings want to be or ought to be- instead, each person must find their own identity and their own purposes. This incredible freedom, in a way, makes us "condemned to be free", because our actions and choices are our own and no one else's, which makes us responsible for them. We are constantly making decisions and choices, whether to continue doing something or to stop and do something else. Being aware of this fact, can bring on despair or anguish; and typically we try to avoid the consciousness of our own freedom.
Sartre's position can be seen as standing in opposition to the theories of Freud, which held that we are not in control of ourselves, but are more at the mercy of primordial unconscious mechanisms which drive us. Sartre found such theories dangerous, since he believed that human passions arise not from the animal element of human nature, but from the fact that human beings are not merely animals or objects, and not merely minds or free subjects either, but always both. In the series, even the mecha Evangelion units turn out not to be machines, with Unit 01 moving without a pilot to protect Shinji and fighting even without the aid of an external power source when it goes berserk. Eventually, it is learned that the Evas' external armor is actually to restrain its freedom and to bind it to the control of Nerv, and that they are not just simply machines or animals, but have souls of their own.
To act as if one is merely an object or label or to use outwards perceptions and actions to change their inner thoughts and feelings is what Sartre called bad faith, which was in a sense an individual rejecting their ability towards free choice and definition. Examples of this include Rei's single-minded allegiance to Gendo and Nerv's agenda, Ritsuko's dying her hair blonde to hide her similarity to her mother (even as it is hinted throughout the series, particularly in her relationship to Gendo), and Shinji calling himself a coward as if that is an excuse that makes it impossible for him to act differently. This sort of self deception was also addressed by Kierkegaard in a paradox he called "the sickness unto death," someone who goes on pretending in life as though he has no soul, and as a result, is in danger of losing his "self." Episode 16's title, "The Sickness Unto Death, And…" (死に至る病、そして, Shi ni itaru yamai, soshite) is a reference to this work.
thSartre in Being and Nothingness calls the conditions that bring about consciousness (ourselves, the world, others) "instrumentalities." Martin Heidegger, another existentialist, wrote an essay describing technology as an instrumentality that reveals "truth." Philosophically, the Human Instrumentality Project is a representation of the idealism developed by Georg Wilhelm Friedrich Hegel: a unification of all conflicts and tensions between societies, knowledge, and consciousness through a sort of historical evolution. Earlier philosophers such as Fichte had proposed that the human ego had come about through the instrumentality of freedom; it was Hegel's theory that this consciousness was not separated from the world, but was a part of it and would eventually evolve into an Absolute spirit or mind, a sort of God-like being with absolute freedom. In the movie End of Evangelion, Shinji literally becomes such an absolute being, dissolving all other conscious beings and merging with them.Søren Kierkegaard criticized Hegel's theory, not only because it was arrogant for a mere human to claim such a unity, but because such a system negates the importance of the individual in favor of the whole unity. He writes:
So-called systems have often been characterized and challenged in the assertion that they abrogate the distinction between good and evil, and destroy freedom. Perhaps one would express oneself quite as definitely, if one said that every such system fantastically dissipates the concept existence. … Being an individual man is a thing that has been abolished, and every speculative philosopher confuses himself with humanity at large; whereby he becomes something infinitely great, and at the same time nothing at all.
As illustrated in episodes 25 and 26, part of what shapes us as individuals are limitations: gravity, the horizon, a body, and other people. Misato tells Shinji in the first episode, he has to learn how to deal with his anxiety and how to deal with others. Sartre in his earlier works went so far as to say that "hell is other people". Other people limit our freedoms, or may tell us things we do not like to hear, and they may see aspects of our personality we do not. Shinji later reflects upon the fact that everyone he knows has their own impression of him that may be different from his own. But in his later work, Sartre said he felt that both Hegel and Kierkegaard had a point. Individuality is important, but because part of who we are is shaped by the way others see us, we can have an effect on others too, and must work together with others in our collective struggle for existence.
During the period Kierkegaard wrote The Sickness Unto Death he wrote in his journal a poem listing seven discourses. He wrote: "Let not the heart in sorrow sin so you abandon faith in God, so you abandon faith in men, so you abandon hope of eternity, so you abandon hope for this life, so you abandon love to God, so you abandon love to men, and finally, let not the heart in sorrow sin so you abandon love to yourself. The last episode of the series is fittingly subtitled "Take Care of Yourself."
Interestingly, some Eastern philosophies, such as Brahmanism and its derivatives, teach that enlightenment involves liberation from individuality through the re-absorption of the soul into a great All-Soul of creation. Seele attempts to engineer such enlightenment for the entire human race, unifying all souls into one and causing all pain and misunderstanding to end. If one wants a separate existence from others, one must be limited and opposed to others, causing pain and suffering (the Hedgehog's Dilemma inevitably arises); Buddhism identifies existence as inevitably bringing pain. The way to avoid pain is to extirpate desire and become formless. In the final episode, Shinji realizes how to attain his individuality, that he can come to have an identity separable from being an Evangelion pilot, a self he can perhaps come to love and not hate. Arthur Shoepenhauer, whose work is referred to in the title of The Hedgehog's Dilemma, was heavily influenced by Buddhist thought, but Friedrich Nietzsche and Sartre both came to a similar conclusion, rejecting many of his tenets."
Traducerea titlurilor date episoadelor:
"The Japanese title for the series, Shin Seiki Evangelion, is composed of two parts: "Shin Seiki" (新世紀, new era/century) from Japanese and "Evangelion" (εὐαγγέλιον, Anglicisation eüangélion, "gospel, good messenger, good news"—etymologically unrelated to the Hebrew word Eva) from Ancient Greek. The decision to call the series Neon Genesis Evangelion in English was originally made by Gainax, and not by translators; the use of the word "Evangelion" in particular was chosen by Anno "because it sounds complicated" It appears in the eyecatches of the original, untranslated episodes, and is used by Gainax to market the series worldwide.
The title Neon Genesis Evangelion (νέον γένεσις εὐαγγέλιον, New Beginning Gospel) appears to be wholly Greek, except that "genesis" (nominative case and feminine gender) is not grammatically correct with respect to the other two words (nominative case and neuter gender). (If the title was to be translated into Ancient Greek it would have the form Νέας Γενέσεως Εὐαγγέλιον pronounced [néaːs ɡenéseɔːs ewːaŋɡélion] "New Beginning's Gospel", where the two first words are the respective grammatically/syntactically appropriate allomorphs of νέον and γένεσις —that is, both genitive case and feminine gender.) Genesis (γένεσις) means "origin, source" or "birth, race" and is the Greek title for the first book of the Hebrew Scriptures, describing the creation of the universe and early Hebrew history. The Japanese term for the first book in the Bible is "Souseiki" (創世記, Account of the beginning of the world), perhaps a wordplay (with two different beginning and ending kanji) with "Shin Seiki" in the Japanese title. Euangelion (Latinized evangelium) originally referred to a reward offered for good news (eu (εὖ) meaning "good" and angelos (ἄγγελος) meaning "messenger", and later "messenger of god; angel"), and later came to mean "good news" itself. Eventually it became most commonly associated with the Christian gospel (from Old English gōdspell "good story"). It is the source of the English word "evangelist." This dual meaning (message and messenger) may be the reason both the series itself and the "mecha" are called Evangelion.
There has been debate over the correct pronunciation of "Evangelion." In the original Japanese version a hard 'g' (IPA: [ɡ]) pronunciation is used by Japanese characters, and, episode 18 of the series, a native English-speaking announcer. Official secondary dubs, including the English one, use the pronunciation /ˌeɪvænˈɡɛliən/ with a hard 'g'. The confusion probably results from that related words in English, such as "evangelist", the 'g' is soft (/dʒ/). The pronunciation /ˌiːvænˈdʒɛliən/ (with the first vowel rhyming with "Eve" instead of /e/) is not uncommon.
The hard 'g' and /e/ is correct because it is accurate in both the original Greek and Japanese, and they are the pronunciations preferred by Gainax since Evangelion is a Greek word.
In the first episode, Ritsuko names the robot with a hard 'g' /ˌeɪvænˈɡɛliən/ when presenting it to Shinji.
The three influential organizations, Gehirn, Nerv and Seele, originate from German cognates. Gehirn is translated literally into the English word brain or mind, referencing it as the brainchild of the EVA Project. Nerv comes from the German Nerv meaning literally nerve, referencing it as the nerves of the EVA Project. Seele, pronounced [ˈzeːlə] in German, means literally soul, referencing it as the soul of the EVA Project."
Seria Tv este superba, est iasalatat de diferite emotii si de orori psihologice, nu poti explica in cuvinte efectul pe care il lasa in urma vizionarea seriei.
Recomand cu limitat de varsta: 20 de ani in sus, vizionati cu open mind.
