Weaving a Story

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"Weaving a Story"
Neon Genesis Evangelion episode
Weaving a Story.png
An image of Rei Ayanami's inner monologue. Several images of the girl put in a row appear during Rei's stream of thoughts, described by critic Dennis Redmond as reminiscent of 1970s science fiction.
Episode no.Episode 14
Directed byMasahiko Otsuka, Ken Ando
Written by Hideaki Anno
Original air dateJanuary 3, 1996 (1996-01-03)
Running time22 minutes
Episode chronology
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"Weaving a Story" [a] is the fourteenth episode of the Japanese anime television series Neon Genesis Evangelion , which was created by Gainax. The episode, written by Hideaki Anno, and directed by Masahiko Otsuka and Ken Ando, was first broadcast on TV Tokyo on January 3, 1996. The series is set fifteen years after a worldwide cataclysm known as Second Impact and is mostly set in the futuristic, fortified city of Tokyo-3. The series' protagonist is Shinji Ikari, a teenage boy who is recruited by his father Gendo 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, a secret sect named Seele examines Gendo Ikari's actions to determine whether his actions are in accordance with the organisation's plans, which follow ancient documents called Dead Sea Scrolls. Evangelion's pilots are tested; during her test, Rei Ayanami has a long stream of consciousness in which she investigates her identity.

Contents

During the making of the series, director Anno felt he had neglected Rei's character, so he tried to devote space to her by writing an inner monologue of her by depicting her as a girl with schizophrenia. A friend of his had lent him a volume on mental illness with a poem written by a nervous sufferer. It was thanks to the book Anno wrote Rei's monologue by inserting more and more psychological introspection in the episodes to follow.

"Weaving a Story" drew a 0.9% audience share on Japanese television. The first part of the episode, a summary of the previous thirteen, was deemed both useful and superfluous by reviewers. In contrast, Rei's inner monologue attracted positive comments.

Plot

The first half of this episode is a clip show, in the form of a report by the secret organization Seele reviewing the actions of Gendo Ikari, commander of the special agency Nerv, summarizing the first season of episodes and the story up until this point. In the second half, Nerv's scientist Ritsuko Akagi conducts an experiment to determine if pilots can be switched between the Evangelion mechas they normally pilot. Pilot Rei Ayanami can synchronize with Unit-01 fairly well, but when Shinji Ikari attempts to synchronize with Unit-00, it goes violently out of control inside of the base. Unit-00 attacks the hangar's observation booth, smashing the window. However, Rei was standing at the window instead of Gendo, causing Major Misato Katsuragi to wonder if Unit-00 was trying to kill Rei. Meanwhile, Ritsuko feels that Unit-00 was trying to attack her. At the end of the episode, Rei uses Unit-00 to bring a giant weapon named Spear of Longinus recovered from Antarctica to the deepest level of Nerv's base, the Terminal Dogma.

Production

In 1993, Gainax wrote a presentation document for Neon Genesis Evangelion entitled 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) to find potential sponsors for the series, containing the initial synopsis for the planned episodes. [1] [2] The Proposal document was then published in 1994. [3] For the first twelve episodes aired, the company roughly followed the schedule envisioned by the first draft, with only a few minor script differences. [4] [5] From the thirteenth episode onward, however, the production deviated from the original plan of the writers and from what was initially envisioned in the submission document. According to Michael House, translator for Gainax, [6] Neon Genesis Evangelion's main director Hideaki Anno initially intended to give the whole story of the anime a happy ending, but during production he realized that he had created characters that were too problematic, so he changed his plans. [7] According to Hiroki Azuma, a culture critic who personally interviewed the director, Anno during the airing of the series also began to criticize otakus , whom he considered too closed-minded and introverted, [8] so he changed his original plans by creating a more dramatic and introspective story [9] toward the middle of the series. [10] [11] The fourteenth episode of the series was to be titled "The Sickness Unto Death, and" (死に至る病、そして, Shi ni itaru yamai, soshite), and not "Weaving a Story"; [1] during the installment, the second of a trilogy of episodes with the same basic theme, Shinji would learn "true fear and despair". The staff in progress abandoned the original project, and some of the ideas for the trilogy were later transferred and condensed into the sixteenth episode, "Splitting of the Breast". [12]

Hideaki Anno wrote the screenplay and produced the storyboards. [13] [14] "Weaving a Story" was one of the three episodes of the series which Anno wrote all by himself. [15] Masahiko Otsuka and Ken Ando acted as directors. [16] Kazuya Tsurumaki and Masayuki, the two assistant directors of the series, worked on the main designs [17] together with Hisaki Furukawa, Shohei Sotoyama, and Yasuhiro Kamikura. [18] [19] Production involved other studios besides Gainax, such as Cosmos, Studio Bihou and Maki Productions. [20] Anno worked on "Weaving a Story" at the same time as the production of the sixteenth episode. [8] During the making of the series, he felt particularly conflicted about the character of Rei Ayanami. [21] Anno tried to bring a hidden side of his psyche into the character, portraying her as a representation of his unconscious. [22] In spite of this he felt uneasy, because he did not really feel interested in or akin to Rei. [21] During the course of the episodes, he devoted very little space to the character, and halfway through the series he decided to devote more space to Rei inserting an inner monologue of her. Initially, the director thought of portraying Rei as a girl suffering from schizophrenia, [22] and tried to "talk about himself". [23] Despite his attempts, however, he could not write the monologue. To help him, a friend of his lent him a volume from a series of magazine-like books called Bessatsu Takarajima (別冊宝島) on mental illness, inside which was a poem written by a mentally ill person. [9] The poem deeply affected Anno, [23] and he was finally able to write the monologue in one go. [24] From then on, the concept of the series veered in an introspective direction, [8] in an attempt to describe how the human mind works. [23] [25]

Most of the episode consists of a summary of the previous thirteen installments, [20] [26] with the use of numerous captions written in Matisse Mincho font and in bold type. The entire first part is devoid of background music; [20] [27] the staff also kept character lines to a minimum. [28] [29] The second part, on the other hand, while presenting unedited sequences and continuing the plot, consists of images constructed using photographic material collected from previous episodes. [30] [31] The number of new frames was reduced to only five hundred. [27] Whilst normally for summary episodes duplicate films of the scenes already filmed are used, Neon Genesis Evangelion staff decided to re-photograph the component drawings for "Weaving a Story" instead. [29] For the scene of Sachiel's attack, the crew intentionally deleted the flying VTOL vehicles present in the original installment. [20] [29] The staff also added old sequences with different colouring, such as the scene where the Eva-00 goes berserk. Takashi Nagasako, Junko Iwao, Takehito Koyasu, Katsumi Suzuki, Miki Nagasawa, Tetsuya Iwanaga and Kotono Mitsuishi played unidentified characters audible in the background of the scenes of "Weaving a Story". [32] [33] Yoko Takahashi, who had already sung the opening theme song, also sang a version of "Fly Me to the Moon" which was later used as the episode's closing theme song, [34] later replaced in later editions of the series by a version called "Rei solo/Normal". [35]

Cultural references and themes

The deformed face of Rei Ayanami which Shinji sees while on Eva-00. This lead fans to speculate that Eva-00 has the soul of the first Ayanami clone. Writer Kaichiro Morikawa compared it with the installations of Tony Oursler Rei Ayanami Weaving a Story.png
The deformed face of Rei Ayanami which Shinji sees while on Eva-00. This lead fans to speculate that Eva-00 has the soul of the first Ayanami clone. Writer Kaichiro Morikawa compared it with the installations of Tony Oursler

According to Kazuya Tsurumaki, assistant director of the series, Anno may have taken inspiration from the 45th episode of Mobile Suit Victory Gundam , "Uso Dances in Hallucination", to compose "Weaving a Story"; like the Gundam episode, "Weaving a Story" is a summary episode that is not really one, telling something new instead. [36] Evangelion Chronicle magazine compared the heavy use of captions in the first part of "Weaving a Story" to the films of director Kon Ichikawa, and the Furuhata Ninzaburo series. [37] The Japanese title of the episode has been translated in the English edition as "Seele, the throne of the soul". Carl Gustav Horn, editor of the North American edition of the manga, linked the "throne of the soul" to the Jewish Kabbalah, describing it as "a very Sephirothic concept". [38] Critic Mario Pasqualini noted how the character za (座) could also be translated as "theater", linking the title translation "Theatre of the Soul" to the last episodes of the series, in which the characters of the series undergo therapy in a metaphysical theater. [39]

"Weaving a Story" contains the first explicit mention in the anime of the Dead Sea Scrolls, a series of secret documents in Seele's possession. The name refers to the real Dead Sea Scrolls, [40] discovered in a cave on the northwest coast of the Dead Sea region in Palestine in 1947. [41] [42] It was rumoured that parts of these ancient manuscripts were hidden by the Vatican because of inconvenient material that could shake the foundations of the Christian religion. [29] [30] According to the character designer of the series, Yoshiyuki Sadamoto, the post-apocalyptic scenario and the use of the Dead Sea scrolls in Neon Genesis Evangelion are a "side effect" of Nadia: The Secret of Blue Water , a previous work by Gainax and Anno. [43] Rei also mentions the "Red Earth" in her monologue, [44] [45] a reference to some theories about the etymology of the name Adam, according to which it means "earth" or "red". [46] [47]

In the final scene of the episode, the spear of Longinus is mentioned for the first time. [48] The spear is named after the legendary Roman soldier who used his spear to pierce Jesus Christ when he was crucified on Golgotha; [49] legend has it that whoever wields this spear impregnated with Christ's blood will control the world. Writer Patrick Drazen have compared Longinus' spear from the series to Amenonuhoko (天沼矛), the spear of the two creator kamis Izanagi and Izanami. [50] Furthermore, "Weaving a Story" presents for the first time the real names of the Angels who appeared in the previous episodes. [51] [52] Their names all refer to real angels from the apocryphal Judeo-Christian manuscripts; [53] the characteristics of each Angel are also linked to them, forming a complex web of symbolism. [54] [55]

Neurology terms are mentioned in the compatibility test scene, such as the optic nerve, [56] autonomic neurons, [57] the two brain hemispheres, [58] vertebrae, [59] synapses, [60] corpus callosum, [61] spinal cord, [62] cerebrum, [63] tactile neurons, [64] and sensory neurons. [65] Shinji, having climbed onto the Eva-00, notices that he can feel Ayanami's smell. The book Evangelion Glossary (エヴァンゲリオン用語事典, Evangerion Yougo Jiten) by Yahata Shoten noted that the sense of smell is related to memory and sexual arousal, since a quarter of people with anosmia do not experience desire. [66] For a moment Shinji glimpses a distorted image of Rei. This has led to discussions among fans and to speculation that Eva-00 contains the soul of the first clone of Rei, or Naoko Akagi. [67] Architect Kaichiro Morikawa compared Rei's deformed face which Shinji sees with the installations of Tony Oursler. [68] Mechademia writer Mariana Ortega also noted how Asuka compares Eva-01 to the maternal breast and womb during the same scene, [69] another theme presented in the following episodes. [70]

The episode is the first to paint the inner world of a character, Rei, offering a long poetic monologue marked by a series of seemingly disconnected images and memories. [71] Mechademia academic magazine noted how it is labeled "Rei's poem" by fans for its "fragmentary, cryptic nature". [72] The fundamental theme of the second half of the series thus becomes that of the representation of the characters' psyche and the investigation of the "human heart", [71] [73] reaching its climax in the finale. [74] In the course of the monologue Rei asks "Who am I?" and "Who are you?"; several identical images of the girl arranged in a row also appear in the scene. Writer Dennis Redmond linked Ayanami's questions to "Who is No.1?", the refrain from The Prisoner , and to the key line "Who am I?" from Heiner Müller's Germania Death in Berlin. [75] According to Redmond, Rei's multiple images are reminiscent of the clones and androids endemic to 1970s science fiction, while the images appearing during Rei's poem "suggest a spectrum from classic East Asian mythology", such as the creation of Monkey King in Journey to the West from the union of Heaven and Earth, referred to by Rei as "sky" and "mountains". [75]

Reception

"Weaving a Story" was first broadcast on January 3, 1996, at 8:00 AM, an unusual time for Neon Genesis Evangelion due to a New Year's rescheduling, [76] and thus drew a 0.9% audience share on Japanese television, the lowest in the entire series. [77] Merchandise on the episode has been released. [78] [79] A virtual reality game named Neon Genesis Evangelion VR: The Throne of Souls has been developed by Khara and Bandai Namco Entertainment; [80] the same companies released an upgraded version of the attraction entitled Evangelion VR THE Throne of Souls: Runaway (エヴァンゲリオンVR The 魂の座：暴走, Evuangerion VR The tamashī no za: Bōsō) in 2017. [81] [82]

The Anime Café's Akio Nagatomi positively received the episode. The summary of the previous installments is in his opinion useful; Nagatomi also found Rei's soliloquy "fascinating", concluding his review by saying, "Not an exciting episode, but very important in its content". [83] Film School Rejects' Max Covill, on the other hand, commented negatively on "Weaving a Story", placing it second to last in his ranking of the Neon Genesis Evangelion episodes and criticizing the heavy recycling of already used animations. [84] For Digitally Obsessed's Joel Cunningham the episode does a good job of "answering some questions without really answering anything", but he described it as weaker than the twelfth and the thirteenth for the long summary. Cunningham still praised the ending, "a real shocker that left me, upon first viewing, racing to the store to purchase the next video". [85] Writer Dennis Redmond described Rei's monologue as an "astonishingly beautiful dream sequence". [86]

See also

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References

  1. ↑ Japanese: ゼーレ、魂の座, Hepburn: Zere, tamashii no za, lit. 'Seele, the seat of the soul'

Citations

  1. 1 2 Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. p. 26.
  2. ↑ Nebbia (2023) , Cap. 2: La Proposition
  3. ↑ Nebbia (2023) , Chap. 1: Lancement du Project Eva
  4. ↑ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 88. ISBN   4-04-852700-2.
  5. ↑ Neon Genesis Evangelion Theatralical VHS Box Booklet (in Japanese). King Amusement Creative. 1997.
  6. ↑ "ミニミニゲリオンナ人達: Michael Houseの巻". Eva Tomo no Kai (in Japanese). Vol. 9. Gainax. 1996.
  7. ↑ House, Michael (November 28, 2011). "Interviewing translator Michael House". Archived from the original on August 24, 2020. Retrieved July 23, 2020.
  8. 1 2 3 Gainax, ed. (1997). "Kazuya Tsurumaki Interview". Neon Genesis Evangelion: The End of Evangelion Pamphlet (in Japanese).
  9. 1 2 Nebbia (2023) , Chap 1: Diffusion à la télevision
  10. ↑ Azuma, Hiroki. "Animé or Something Like it: Neon Genesis Evangelion". NTT InterCommunication Center. Archived from the original on August 8, 2012. Retrieved August 13, 2012.
  11. ↑ Krystian Woznicki (September 1991). "Towards a cartography of Japanese anime – Anno Hideaki's Evangelion Interview with Azuma Hiroki". Blimp Filmmagazine. Tokuma Shoten.
  12. ↑ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. pp. 23–24.
  13. ↑ Porori 2010, p. 36.
  14. ↑ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 23.
  15. ↑ Nebbia (2023) , Chap. 1: Production et catastrophes
  16. ↑ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 178. ISBN   4-04-852700-2.
  17. ↑ 新世紀エヴァンゲリオン 原画集 Groundwork of Evangelion (PDF) (in Japanese). Vol. 2. Ground Works. 2000. p. 251. ISBN   4903713016. Archived from the original (PDF) on 26 October 2023.
  18. ↑ "Staff". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  19. ↑ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. pp. 22–23.
  20. 1 2 3 4 "Episode 14: Weaving a Story". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  21. 1 2 Takekuma 1997, pp. 97–100.
  22. 1 2 Takekuma 1997, pp. 93–97.
  23. 1 2 3 Eng, Lawrence. "In the Eyes of Hideaki Anno, Writer and Director of Evangelion". CJas.org. Archived from the original on July 9, 2009. Retrieved September 7, 2013.
  24. ↑ "庵野 秀明 - Part II". Zankoku na tenshi no you ni. Magazine Magazine. 1997. ISBN   4-906011-25-X.
  25. ↑ ＥＶＡ ＳＰＥＣＩＡＬ ＴＡＬＫ ｗｉｔh 庵野秀明＋上野俊哉. Newtype (in Japanese). Kadokawa Shoten. November 1996.
  26. ↑ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 25.
  27. 1 2 Poggio 2008, p. 49.
  28. ↑ Platinum Booklet. Vol. 3. ADV.
  29. 1 2 3 4 "Explanation". Neon Genesis Evangelion Genesis 0:7 Laserdisc Encyclopedia (in Japanese). Starchild Stereo. 1995.
  30. 1 2 Oguro, Yūichirō. "第47回 エヴァ雑記「第拾四話 ゼーレ、魂の座」". Style.fm (in Japanese). Archived from the original on September 1, 2016. Retrieved July 23, 2020.
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  32. ↑ Eva Tomo no Kaiエヴァ友の会[Eva Fan Club] (in Japanese). Vol. 7. Gainax. 1996.
  33. ↑ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 63.
  34. ↑ Evangelion Chronicle (in Japanese). Vol. 26. Sony Magazines. p. 26.
  35. ↑ Eva Tomo no Kaiエヴァ友の会[Eva Fan Club] (in Japanese). Vol. 6. Gainax. 1996.
  36. ↑ Khara (2008). "鶴巻 和哉 interview: 参加するからには価値あるものを". ヱヴァンゲリヲン新劇場版:序 全記録全集 (in Japanese).
  37. ↑ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 32.
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  39. ↑ "Gualtiero Cannarsi, nel di lui caso – Titoli". Dimensionefumetto.it (in Italian). Dimensione Fumetto. 27 December 2018. Archived from the original on 21 February 2020. Retrieved 19 February 2023.
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  43. ↑ Sanenari, Oizumi (1997). Anno Hideaki Schizo Evangerion (in Japanese). Ōta Shuppan. pp. 169–170. ISBN   4-87233-315-2.
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  46. ↑ Gainax, ed. (1997). "用語集". The End of Evangelion Program Book (in Japanese).
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  50. ↑ Patrick Drazen (2014). Anime Explosion!: The What? Why? & Wow! of Japanese Animation. Stone Bridge Press. p. 298. ISBN   978-1-61172-013-6.
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  52. ↑ Porori 2010, p. 37.
  53. ↑ "Encyclopedia". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  54. ↑ Neon Genesis Evangelion Film Book (in Japanese). Vol. 5. Kadokawa Shoten. pp. 80–81.
  55. ↑ Death & Rebirth Booklet (in Japanese) (Special ed.). Gainax. 1997.
  56. ↑ Glossary 1998, p. 37.
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  58. ↑ Glossary 1998, pp. 2, 33.
  59. ↑ Glossary 1998, p. 19.
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  65. ↑ Glossary 1998, p. 89.
  66. ↑ Glossary 1998, p. 125.
  67. ↑ Nebbia (2023) , Chap 2: Numériser une âme
  68. ↑ Morikawa 1997, p. 27.
  69. ↑ Ortega, Mariana (2007). "My Father, He Killed Me; My Mother, She Ate Me: Self, Desire, Engendering, and the Mother in Neon Genesis Evangelion". Mechademia. 2: 224–225. doi:10.1353/mec.0.0010. ISBN   978-0-8166-5266-2. S2CID   120554645.
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  71. 1 2 Poggio 2008, p. 51.
  72. ↑ Andreu Ballús; Alba g. Torrents (2014). "Evangelion as Second Impact: Forever Changing That Which Never Was". Mechademia. 9. University of Minnesota Press: 283–293. doi:10.5749/mech.9.2014.0283.
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  74. ↑ Platinum Booklet. Vol. 7. ADV.
  75. 1 2 Redmond 2004, p. 149.
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